Reconstructing the Present Through Kinesthetic History: An Investigation into Modes of Preserving, Transmitting, and Restaging Contemporary Dance

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dc.contributor.advisorFisher-Stitt, Norma Sue
dc.creatorYoung, Heather Elizabeth
dc.date.accessioned2015-08-28T15:36:14Z
dc.date.available2015-08-28T15:36:14Z
dc.date.copyright2015-04-09
dc.date.issued2015-08-28
dc.date.updated2015-08-28T15:36:14Z
dc.degree.disciplineDance Studies
dc.degree.levelDoctoral
dc.degree.namePhD - Doctor of Philosophy
dc.description.abstractMethods of dance preservation have evolved alongside conceptual themes that have framed dance’s historical narrative. The tradition of written dance notation developed in accordance with notions that prioritized logocentricity, and placed historical legitimacy on tangible artifacts and irrefutable archives; whereas the technical revolution of the late twentieth century saw dance preservation practices shift to embrace film and video documentation because they provided more accessible, and more convenient records. Since the 1970s video recordings have generally been considered to provide authentic visual representations of dance works, and the tradition of score writing has begun to wane. However, scholarly criticism has unveiled both philosophical and practical challenges posed by these two modes of documentation, thus illuminating a gap between theories of embodiment and the practice of dance preservation. In alignment with contemporary discourse, which legitimizes the body as a site of generating and storing knowledge, this dissertation suggests ‘kinesthetic history’ as a valid mode of dance preservation. Operating as a counterpart to oral history, and borrowing theoretical concepts from contemporary historiography, existential phenomenology and ethnography, the term ‘kinesthetic history’ suggests a mode of corporeal inscription and transmission that relies on the reciprocal interaction of bodies in space. The use of ‘kinesthetic history’ as a methodological approach to the preservation, translation, and reconstruction of movement material reflects the elements of fluidity, plurality and subjectivity that are often characteristic of contemporary choreographic practices. This theory is interrogated through a case study, which explores the ways in which both a written and digitized score, video recordings, and the ‘kinesthetic history’ of an original cast member operated as modes of transmission in a 2013 restaging of William Forsythe’s One Flat Thing, reproduced (2000) at The Juilliard School. Conclusions drawn from the case study challenge the traditional notions of reconstruction and restaging and suggest ‘regeneration’ as an alternative term to describe the process of preserving and transmitting contemporary dance works.
dc.identifier.urihttp://hdl.handle.net/10315/30072
dc.language.isoen
dc.rightsAuthor owns copyright, except where explicitly noted. Please contact the author directly with licensing requests.
dc.subjectDance
dc.subjectPerforming arts
dc.subjectHistory
dc.subject.keywordsContemporary dance
dc.subject.keywordsDance notation
dc.subject.keywordsReconstruction
dc.subject.keywordsPreservation
dc.subject.keywordsRegeneration
dc.subject.keywordsKinesthetic history
dc.subject.keywordsTransmission
dc.subject.keywordsWilliam Forsythe
dc.subject.keywordsThe Juilliard School
dc.subject.keywordsDance documentation
dc.subject.keywordsEmbodied archive
dc.subject.keywordsRepertoire
dc.subject.keywordsOral history
dc.titleReconstructing the Present Through Kinesthetic History: An Investigation into Modes of Preserving, Transmitting, and Restaging Contemporary Dance
dc.typeElectronic Thesis or Dissertationen_US

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