Transmissions and Traces: Rendering Dance
Keynote speakers will present during the conference day.
October 20, 2017
Nadine George-Graves, University of California, San Diego
“Sugar Notes: Black Bodies, Trade and Desire”
Annie Palmer was a white witch. Mistress of the Rose Hall Plantation in Jamaica, versed in witchcraft and voodoo, murderer of husbands and slaves, Palmer represents colonial, post-colonial and neoliberal desire at the nexus of race and commerce. In this keynote, George-Graves interrogates the legacy (traces) of the trans-Atlantic slave trade and colonial sugar cane industry on black bodies using this legend. She addresses the complicated ways in which sugar economies, Caribbean identity, mythology, fantasy, ethnic tourism, sexuality, health, cravings and race are inextricably linked arguing that the triangle trade at the root of slavery created not only the horrors of the “peculiar” institution but also the yoke fastening production and consumption, labor and desire, sweetness and blackness. We want (we need) black bodies to work for us, move (dance) for us, represent for us. This appetite is pathological and like a sugar high ultimately comes crashing down.
Judith Hamera, Princeton University
“Rehearsal Problems: Gus Giordano’s The Rehearsal, Canonicity, and the Place of the Local in Dance Studies”
Gus Giordano’s The Rehearsal toured widely during the 1970s, with its final performance in Mexico in 2001. It was provocative; an interracial pas de deux led venues in Texas to exclude it from the company’s tour programs. Giordano put it in anyway. Its PBS broadcast won a local Emmy. Yet it, like Giordano himself, is under theorized in dance studies scholarship. This presentation uses The Rehearsal to explore canonicity in dance studies. Unlike literary studies, dance did not endure bruising canon wars. Still, an implicit canon governs much of our scholarship, with limited scholarly attention to companies and works outside of New York and western European capitals, and outside key genres. How does “The Rehearsal” challenge our implicit biases about “canonical” dance and how can we theorize its place—and that of "local dance" — in our research?
October 20, 2017, 8:00 pm
Wexner Center for the Arts
1871 N. High Street (adjacent to Sullivant Hall)
Men In Black by Jame Kuldelka, created for BalletMet and performed by BalletMet
Duet from Slingerland by William Forsythe, performed by BalletMet
Merce Cunningham MinEvent staged by Daniel Roberts and Karen Eliot, performed by OSU Dance
Minus 16 by Ohad Naharin, performed by BalletMet and OSU Dance
Thanks to a generous grant from the OSU College of Arts and Sciences and Office of Research, we are able to offer subsidized orchestra tickets to conference delegates at the cost of $35/ticket. Conference delegates may purchase tickets at the subsidized price when they register for the conference.
October 21, 2017
Reception and performance at 5:30 p.m.
Free admission with conference registration
This performance of 2125 Stanley Street by Dahlia Nayar is made possible by generous donations from The Arts Initiative at OSU and by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.