The dancer, the choreographer and modern dance scholarship: a critical reading

This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Susan Leigh Foster, Amy Koritz and Randy Martin which draw on theoretical frameworks from outside dance are analysed in terms of the ways the theoretical frameworks that underpin them both make it possible to raise the question of the nature of the dance-making relationship while at the same time can also make the dancer's and the choreographer's dancing together invisible or unrepresentable. The analysis shows how scholarly discourses and the theoretical frameworks upon which they are built are already invested in regimes of intelligibility and visibility which have consequences for the representation of modern dance. This analysis forms the basis for proposing the need for a non-individualised, inter-subjective and intercorporeal understanding of the dancer and the choreographer and their relationship in modern dance.

Rope dancer : a novel and accompanying essay

The thesis combines a novel and a critical essay. The novel tells of a group of people in Melbourne, some of whom write, party, have sex, take drugs, go climbing and die. The essay discusses four aspects of the novel: climbing fiction, Nietzsche in literature, place and fiction and character as hero.

The idiosyncratic movement potential of the dancer's subject body in the work "Deep map"

An investigation into choreographic processes employed within contemporary modern dance. This involved the exploration of working methods used in the making of "Deep map" nos.1, 2 & 3, presented in Melbourne from 1997-2000. The focus of that method was the placement of the dancer as 'subject' whilst maintaining the role of the choreographer as 'auteur'.

Mighty Impressive: After 38 years as dean, vice president, dancer, and friend, Janice Kassman retires. But her legacy lives on

After 38 years, longtime dean Janice Kassman has retired. She leaves a legacy of accomplishment and countless Colby friends.

Dancer Tying Her Shoe

Edgar Degas; 1 ft. 6 37/64 in. x 1 ft. 4 59/64 in.; pastel and black chalk on buff pape

Tomb 1, excavated artifact, Dancer

Anhui. Huainan. Jiuli; H: 2 19/64 in.; jade

Seated Dancer

Edgar Degas; 1 ft. 4 17/32 in.x 1 ft. 19/32 in.; graphite and charcoal heightened with white on pink wove paper; squared for transfer

Gandy Dancer

401 Depot Street, Ann Arbor, Michigan 48104 (313) 769-0592. This magnificent 1886 Michigan Central RR depot of colorful Michigan granite now offers a glass walled trackside room, an elegant baggage scale room, the Roundhouse Saloon and some of the most romantic dining "on the line".