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The biography of the first African-American prima ballerina

African American ballerinas --- African American women choreographers --- Women choreographers, African American --- Women choreographers --- Ballerinas, African American --- Ballerinas --- Collins, Janet. --- Collins, Janet --- United States --- Biography --- African American dancers --- Choreographers

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Award-winning choreographer shares insights and methods for making real art in the real world

Women choreographers --- Modern dance --- Choreography --- Dance --- Interpretive dancing --- Modern dancing --- Choreographers --- Philosophy. --- Lerman, Liz.

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This title offers a re-evaluation of one of the greatest contemporary dance pioneers of the twentieth century. It employs an innovative feminist post-structural lens. 2013 is the 22nd anniversary of Graham's death. In her heyday, Martha Graham's name was internationally recognized within the modern dance world, and though trends in choreography continue to change, her status in dance still inspires regard. In this, the first extended critical look at this modern dance pioneer, Victoria Thoms explores the cult of Graham and her dancing through a critical lens that exposes the gendered meaning behind much of her work. Thoms synthesizes a diverse archive of material on Graham from films, photographs, memoir, and critique in order to uniquely highlight her contribution to the dance world and arts culture in general.

Women choreographers --- Choreography. --- Choreographers --- Dance --- Graham, Martha. --- Gelanmu, Masha --- Choreographers. --- Dancers --- Dancers. --- Feminism and dance. --- Influence (Literary, artistic, etc.). --- Graham, Martha --- Criticism and interpretation. --- Influence. --- United States.

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Yvonne Rainer's The Mind is a Muscle (1968) stripped away the gestural conventions of dance or theatre narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam and an expanded notion of artistic practice, Yvonne Rainer presented her evening-length work, The Mind is a Muscle, a multipart performance for seven dancers interspersed with film and text. Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation and analyses her radical approach to image-making in live form. For Wood, The Mind is a Muscle proposed a new model of artwork that presents a dynamic tension between materiality and idea. It made manifest an agitated and contradictory relationship to the idea of 'work' in the context of affluent America, and stripped away the gestural conventions of dance or theatre narrative in an attempt to formulate new kinds of 'social scripts' while manipulating the seductiveness of the image, increasingly harnessed by capitalism

Women dancers --- Women choreographers --- Modern dance. --- Experimental films. --- Dance. --- Danseuses --- Femmes chorégraphes --- Danse moderne --- Films expérimentaux --- Danse --- Biography --- Biographies --- Rainer, Yvonne, --- Rainer, Yvonne --- kunst --- autobiografie --- Verenigde Staten --- choreografie --- dans --- film --- experimentele film --- minimalisme --- minimal art --- twintigste eeuw --- Rainer Yvonne --- 7.071 RAINER --- Femmes chorégraphes --- Films expérimentaux --- Dance --- Experimental films --- Modern dance --- Dancers --- Choreographers --- Interpretive dancing --- Modern dancing --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- États-Unis