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Die Corona-Pandemie verdeutlicht, wie eine Gesellschaft mit eingeschränktem körperlichem Miteinander und verringertem Bewegungsradius Formate des Teilens entwickelt. Im Teilen verbirgt sich eine Doppelbedeutung: mitteilen und teilhaben, aber auch zerteilen, Differenzen erfahren. Welche Bedeutung hat das Teilen für die tänzerische Praxis? Welche Formen des Tanzes treten dabei hervor? Und welche Zugänge des Teilens wurden in Online-Formaten entwickelt? Die Beiträger*innen des Bandes betrachten Ausschlusspraktiken und untersuchen das Teilen aus einer dekolonialen Perspektive, um (Un-)Möglichkeiten des In-Kontakt-Tretens von Kunstschaffenden, Forschenden und Zuschauenden zu entwerfen.

Art Production. --- Art. --- Choreography. --- Collective. --- Contemporary Dance. --- Dance Mediation. --- Decolonization. --- Sharing. --- PERFORMING ARTS / Dance / General.

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The concept of »worldmaking« is based on the idea that ›the world‹ is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing ›dance worlds‹: through artistic practice, discourse and media, choreographic form and dance material. The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral - an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal »world of dance«, but rather a multitude of interrelated dance worlds with more emerging every day. »Die beiden Herausgeberinnen bieten [...] einen umfassenden Einblick in praktische Positionen und theoretische Diskurse der internationalen Tanz- und Performancekunst.« Daniela Pillgrab, [rezens.tfm], 21.06.2012 »Auf wissenschaftlich anspruchsvollem Niveau wird [mit diesem Buch] die Annahme begründet, dass Tanz seine Wirksamkeit nicht in der Repräsentation existierender Strukturen und Systeme entfaltet, sondern gerade durch das Anbieten von Alternativen - von Utopien, entwickelt mit der Hilfe des Körpers und durch die Organisation der Bewegung.« Up to Dance, 2 (2012) Reviewed in: http://danse.revues.org, 17.12.2014, Valeria De Luca

Dance --- Choreography. --- Dance. --- Social aspects. --- Dance and society --- Dancing and society --- Society and dance --- Dances --- Dancing --- Amusements --- Performing arts --- Balls (Parties) --- Eurythmics --- Arts. --- Body. --- Cultural Theory. --- Gender. --- Imagination. --- Interculturalitity. --- Media. --- Psychoanalysis. --- Theatre Studies. --- Dance; Choreography; Media; Psychoanalysis; Gender; Interculturalitity; Imagination; Body; Arts; Cultural Theory; Theatre Studies --- Choreography --- Social aspects

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"Revolutionary Bodies is the first primary source-based history of concert dance in the People's Republic of China. Combining over a decade of ethnographic and archival research, it analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Emily Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China's dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author"--Provided by publisher.

Dance --- Socialism and dance --- Choreography --- History. --- Dance and socialism --- anthropology. --- artistic. --- ballet. --- book with videos. --- china. --- chinese choreographers. --- chinese dance. --- concert dance. --- cultural revolution. --- dance in the 1900s. --- evolution of dance. --- history. --- pboc. --- russian dance. --- social science. --- soviet dance.