By V. Briginshaw
This e-book includes readings of yankee, British and eu postmodern dances proficient by way of feminist, postcolonialist, queer, and poststructuralist theories. It explores the jobs dance and area play in developing subjectivity. by means of concentrating on site-specific dance, the mutual building of our bodies and areas, body-space interfaces and ''in-between spaces,'' the dances and dance motion pictures are learn ''against the grain'' to bare their strength for troubling traditional notions of subjectivity linked to a white, Western, heterosexual able-bodied, male norm.
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Extra info for Dance, Space and Subjectivity
It ‘goes hand in hand with a view of space as innocent, as free of traps or secret places’ (ibid: 28). In this sense space is not seen as socially produced but as unproblem- Gendered Constructions of Travel, Spaces and Subjects 31 atic and neutral and, therefore, knowable and understandable. These ideas about space are bound up with the dominance of the visual as a way of knowing in Western culture, with what Lefebvre terms the ‘logic of visualization’. This notion and its associations with a single masculine viewpoint are explained brieﬂy in the Introduction and explored in some detail with reference to dance and architecture in Chapter 10.
Rather they ‘come and go’ throughout the text in a ﬂuid fashion deemed appropriate given their non-linear character and notions of interconnectivity which they embrace. To a certain extent, chapters and parts of the book stand alone and there is no one recommended way of reading. The book is loosely organized in three parts: ‘Constructions of space and subjectivity’, ‘Dancing in the in-between spaces’, and ‘Inside/outside bodies and spaces’, with a ﬁnal chapter that shows how the concerns of all three parts can overlap.
Prior to the title credits, an enigmatic female ﬁgure with feathered turban and trailing tail, a mythical, half-woman, half-bird, surreal creature of ﬂight, is seen ascending a vertical metal runged ladder. She appears repeatedly throughout the ﬁlm, often in high places looking down on the quayside and the migrants, who seem oblivious of her. The publicity synopsis states, ‘A woman appears. . ’ In between her appearances, the migrants are seen standing in a line in the water up to their ankles facing out to sea, some holding suitcases or boxes; standing, sitting and dancing on the harbour wall; walking, running and dancing in the dock area among warehouses and packing cases; and running and lifting each other up and down the gangplanks of a boat.