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The Againness of Vietnam in Contempo...

Dellecave, Jessica Spring.

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The Againness of Vietnam in Contemporary United States Antiwar Choreography.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Againness of Vietnam in Contemporary United States Antiwar Choreography./
Author:	Dellecave, Jessica Spring.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
Description:	261 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
Contained By:	Dissertation Abstracts International77-02A(E).
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3731833
ISBN:	9781339183305

The Againness of Vietnam in Contemporary United States Antiwar Choreography.
Dellecave, Jessica Spring.

The Againness of Vietnam in Contemporary United States Antiwar Choreography. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 261 p.

Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.

Thesis (Ph.D.)--University of California, Riverside, 2015.

The Againness of Vietnam in Contemporary United States Antiwar Choreography examines eight twentieth- and twenty-first century postmodern antiwar choreographies in order to uncover the reverberations of Vietnam antiwar protests in these dances. The choreographies I examine in this study are Yvonne Rainer's 1970 M-Walk and 1970 (and 1999) Trio A with Flags, Wendy Rogers' 1970 Black Maypole, Ann Carlson's 1990 Flag and 2006 Too Beautiful A Day, Miguel Gutierrez's 2001, 2008, and 2009 Freedom of Information (FOI), Jeff McMahon's 1991 Scatter and Victoria Mark's 2006 Action Conversations: Veterans. I theorize a concept called "againness," in order to think through the multiple ways that repetitions specific to these particular choreographies continue to exist and to enact effects through time. I argue that repeated choreographic embodiment offers immediacy, nuanced response over time, expression through the bodies of former soldiers, and sites of mediated resistance such as live-streamed dance protest, to the United States public's commentary on and critique of war. I conclude that choreography's irregular and inexact repetitions are one of the ways that dance is especially apt for commenting on the large, never-ending, and ongoing traumas of the world such as war. My research extends established discussions about choreographic repetition and ephemerality, exchanging in questions of exactitude for conversations about impact. In particular, I show how the changes inherent to bodily repetitions reflect societal change, raise energy, garner power, and/or respond to current events. I study how politicized dances do not disappear after the time/space event of the initial performance, but instead linger on and reappear in unexpected moments. I thus parse out the many unbounded ways that protest choreographies happen again and again.

ISBN: 9781339183305Subjects--Topical Terms:

610547
Dance.

The Againness of Vietnam in Contemporary United States Antiwar Choreography.
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245 1 4 $a The Againness of Vietnam in Contemporary United States Antiwar Choreography.
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300 $a 261 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-02(E), Section: A.
500 $a Adviser: Jacqueline Shea Murphy.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2015.
520 $a The Againness of Vietnam in Contemporary United States Antiwar Choreography examines eight twentieth- and twenty-first century postmodern antiwar choreographies in order to uncover the reverberations of Vietnam antiwar protests in these dances. The choreographies I examine in this study are Yvonne Rainer's 1970 M-Walk and 1970 (and 1999) Trio A with Flags, Wendy Rogers' 1970 Black Maypole, Ann Carlson's 1990 Flag and 2006 Too Beautiful A Day, Miguel Gutierrez's 2001, 2008, and 2009 Freedom of Information (FOI), Jeff McMahon's 1991 Scatter and Victoria Mark's 2006 Action Conversations: Veterans. I theorize a concept called "againness," in order to think through the multiple ways that repetitions specific to these particular choreographies continue to exist and to enact effects through time. I argue that repeated choreographic embodiment offers immediacy, nuanced response over time, expression through the bodies of former soldiers, and sites of mediated resistance such as live-streamed dance protest, to the United States public's commentary on and critique of war. I conclude that choreography's irregular and inexact repetitions are one of the ways that dance is especially apt for commenting on the large, never-ending, and ongoing traumas of the world such as war. My research extends established discussions about choreographic repetition and ephemerality, exchanging in questions of exactitude for conversations about impact. In particular, I show how the changes inherent to bodily repetitions reflect societal change, raise energy, garner power, and/or respond to current events. I study how politicized dances do not disappear after the time/space event of the initial performance, but instead linger on and reappear in unexpected moments. I thus parse out the many unbounded ways that protest choreographies happen again and again.
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