13 Spectacle and Dancing Bodies That Matter: Or, HIt Don't Fit, Don't Force It

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. Acknowledgments vii
4. Introduction 1
5. I DANCE AND CULTURAL STUDIES
6. 1 Embodying Difference: Issues in Dance and Cultural Studies 29
7. 2 Cultural Studies and Dance History 55
8. II SOCIAL LIVES, SOCIAL BODIES
9. 3 Reinstating Corporeality: Feminism and Body Politics 81
10. 4 "The Story Is Told as a History of the Body": Strategies of Mimesis in the Work of Irigaray and Bausch 101
11. 5 Classical Ballet: A Discourse of Difference 111
12. 6 Ballet as Ideology: Giselle, Act 2 121
13. 7 Dancing the Orient for England: Maud Allan's The Vtsion of Salome 133
14. 8 The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance 153
15. 9 Some Thoughts on Choreographing History 167
16. 10 Auto-Body Stories: Blondell Cummings and Autobiography in Dance 179
17. 11 Dance Narratives and Fantasies of Achievement 207
18. III EXPANDING AGENDAS FOR CRITICAL THINKING
19. 12 Dancing Bodies 235
20. 13 Spectacle and Dancing Bodies That Matter: Or, HIt Don't Fit, Don't Force It 259
21. 14 Sense, Meaning, and Perception in Three Dance Cultures 269
22. 15 Some Notes on Yvonne Rainer, Modernism, Politics, Emotion, Performance, and the Aftermath 289
23. 16 Homogenized Ballerinas 305
24. 17 Dance Ethnography and the Limits of Representation 321
25. Vodou, Nationalism, and Performance: The Staging of Folklore in Mid-Twentieth-Century Haiti 345
26. Notes on Contributors 379
27. Permissions 383
28. Index 385