By Clare Croft

If we think a number of methods of being jointly, how may possibly that shift choreographic practices and aid us think methods teams gather in additional various methods than simply pairing one other guy with one other lady? How may well dancing queerly ask us to visualize futures via whatever except heterosexuality and copy? How does not easy gender binaries consistently suggest pondering race, wondering the postcolonial, approximately ableism? What are the arbitrary principles structuring dance in all its arenas, no matter if live performance and social or advertisement and pageant, and the way will we see these invisible constructions and paintings to disrupt them?

Queer Dance brings jointly artists and students in a multi-platformed project-book, accompanying site, and concert sequence to invite, "How does dancing queerly gradually problem us?" The artists and students whose writing appears to be like within the publication and whose performances and filmed interviews look on-line degree a variety of genders and sexualities that problem and destabilize social norms. attractive with dance making, dance scholarship, queer experiences, and different fields, Queer Dance asks how identities, groups, and artmaking and scholarly practices may well think of what queer paintings the physique does and will do. there's nice energy in claiming queerness within the press of our bodies touching or within the exceeding of the physique most sensible measured in sweat and exhaustion. How does queerness exist within the realm of have an effect on and contact, and what then may we discover approximately queerness via those fulfilling and intricate physically methods of knowing?

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Nor do many of these people fit only into categories 02 20 I n troductio n of writer or artist. Scholars of queer dance defy traditional disciplinary and methodological divides, refusing divisions among history, ethnography, and theory—​camps that have always been underpinned by assumptions about gender, sexuality, and race that should be made visible and reimagined. Too, the writing by artists is one of the strongest aspects of this book, and it is key to note that much of that writing is creative and wide-​ranging, not just the kind of instrumental writing, for grants and so on, that has become the primary mode emphasized in teaching writing in arts-​oriented programs.

Here is “queer” in dancing terms: at once legible, but also refusing exact referent, at once overwhelming and unmarked. Abraham’s body will not speak into the microphone, but will speak otherwise with light, motion, and a gentle fabulosity. Queer chose its spotlight moment, and I saw it in its utterly bare, sexy physicality. 31 Testing the new identity has to precede coming out. The next time dancers appear in sequins the costuming seems to be a marker of gay male attraction, offering the performers’ desire as a central path into the work.

11 Introduction 11 difficult experiences manifest. Sequins that appear throughout the work often connect the tracksuits and the lights. The sequins function as an almost obvious symbol of gay subculture, but they also do queer work as, edging the dancers’ bodies, they refract the light. ’s last image struck me most. It centers a body simultaneously visible but also beautifully beyond my visual or kinesthetic grasp: a paradox crucially made possible through Abraham’s performance of Blackness and queerness.

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