Introduction; A Choreographic Turn 1952-65; Positioning Dance/Theorizing Movement; Practices of Embodiment; Choreopolitics; Dancing in an Expanded Field: Image/Object/Score; Biographical Notes; Bibliography; Index; Acknowledgements.
André Lepecki is Associate Professor at the Department of Performance Studies at New York University. He is the author of Exhausting Dance: Performance and Politics of Movement (2006) and a regular contributor to Performance Research, Drama Review, Artforum, Nouvelles de Danse, and other publications in Europe, Brazil, and the Middle East.
"This variation in approach from humorous and cynical to conceptual and righteous and abstract, strengthens the collection. As he states in the introduction, Lepecki is trying to diminish misperceptions of dance and dance-makers 'as non-verbal artists creating a supposedly "visceral" art whose sole purpose is to move gracefully, flawlessly, to the sound of music.' His editorial choices help both to ground and to elevate the dialogue." - Publishers Weekly "This is essential reading for anyone studying the shift in art since 1950 to address or accommodate the body in motion. The book includes key texts by dancers, artists, art historians, dance historians, theorists and philosophers who have participated in and comment upon the often apparently divided but in fact intimately interwoven histories of dance and art over the past sixty years. Lepecki's elegant introduction insightfully traces these complex histories while also theorizing and complicating the exclusion of the dancing body even from the discussions of body and performance art in art criticism and art history. This is a fantastic resource." - Amelia Jones, Professor/Grierson Chair in Visual Culture and Graduate Program Director, Department of Art History & Communication Studies, McGill University "This is a great collection ... it does more than bridge the many gaps that have historically marginalized dance in contemporary thought about art, work and artwork. By actually placing moving bodies on its bridges, this book crosses dancing, writing, and writing dancing. Very often, these crossings take place between partners: dancers and critical theorists, visual artists and dancers, composers and dancers, dancers and dancers. Vitally, this volume privileges the voices of choreographers and dancers themselves as those voices engage across the arts. As a result we are given Dance to think with, speak with, and move with - whether in the theatre, on the street, in the contemporary art museum, or all the spaces between." - Rebecca Schneider, Professor of Theatre Arts & Performance Studies, History of Art and Architecture, Brown University
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