Mourning

Kwan, SanSan

doi:10.1093/oso/9780197514559.003.0003

Cited by 2 publications

(2 citation statements)

References 11 publications

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“…This embodied expression underscores the significance of sensing each other and stepping back with grace when conflicts arise. Exploring intercultural dance collaboration in her book Love Dances, SanSan Kwan (2021) notes that language barriers between two dance artists with different mother tongues could lead to misunderstanding, while danced gestures, often serving as a shared language, become a form of mediation. In the context of this documentary, gestures not only bridge gaps in Wen and Eiko's verbal communication, but they also emerge as a site where the two artists enact honesty and openness.…”

Section: Social Contract As a Foundation For Social Choreographymentioning

confidence: 99%

Choreographing Social Memories: Healing and Collective Imagining in Eiko Otake and Wen Hui’s Artistic Collaboration

Guan

2024

Arts

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This article explores the first-time choreographic collaboration between Eiko Otake, a renowned Japanese dance artist, and Wen Hui, a celebrated Chinese choreographer and filmmaker, which took place in mainland China in January of 2020. The outbreak of the coronavirus in Wuhan compelled Otake to return to the US prematurely, and the subsequent global pandemic led the two artists to continue working together through the computer screen. Constructed from daily footage of Wen and Otake moving together, conversing about their personal histories and choreographic works, and visiting the Nanjing Massacre Memorial, the resulting documentary film No Rule Is Our Rule (2023, 74 min) offers a poignant portrayal of their creative process, which places utmost importance on honesty and openness. Through an in-depth analysis of their artistic exploration presented through the film, the article examines how their collaborative endeavor which prioritizes corporeal interaction and unfiltered dialogues can be conceived as a form of mediated social choreography. I argue that their embodied methodology, grounded in the interweaving of personal and social memories, points to the potential for collective healing from the tension and trauma in Sino-Japanese history and promotes collective imagining through intercultural dialogues.

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Section: Social Contract As a Foundation For Social Choreographymentioning

confidence: 99%

Choreographing Social Memories: Healing and Collective Imagining in Eiko Otake and Wen Hui’s Artistic Collaboration

Guan

2024

Arts

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“…Although CMRS scholars have extensively explored multiracial representation in literature (Ibrahim 2012;Elam 2011;Collins 2022), theater (Paulin 2012;Nyong'o 2009;Heinrich 2023), and visual arts (Kina and Dariotis 2013;Joseph 2013;Nishime 2014;Storti 2020), dance is absent from most of these analyses (Shaffer 2023). For dance scholars, studies of racial representation in dance have been a major concern, as have analyses of intercultural choreographic processes (Albright 1997;Chatterjea 2013;DeFrantz 2004;Desmond 1997;Dixon Gottschild 1998;Kwan 2021;Mitra 2015;Wong 2016, among others). Yet explicit examinations of mixed-race dancers and choreographers are not necessarily included in this scholarship, although there are a few notable exceptions, which I will discuss later (Borelli 2016;Chatterjee and Moorty 2003;Kina 2017;Le Lay 2023;Storti 2023).…”

Section: Introductionmentioning

confidence: 99%

Choreographing Multiraciality: Mixed-Race Methods in North American Contemporary Dance

Shaffer

2023

Arts

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Multiracialism, or the concept of “mixed-race”, remains a key racial discourse within twenty-first-century North American societies. Scholarly and mainstream studies of multiracial people often highlight the function of speech in theorizing mixed-race experiences, where interviews or other first-person narratives resist racialized stereotypes and express complex multiracial identities. Yet these studies often overlook the body as a comparable analytical site, ignoring how the body’s mobilization—in dance, choreography, and everyday actions—might further nuance mixed-race subjecthood. My article emphasizes experimental dance and choreography as alternative methods for imagining multiracial subjects, where these body-based approaches reject both stereotypical depictions of multiracial people in mainstream media and “transparent” representations in interviews. Drawing on the concept of “opacity,” which describes unknowable, illegible difference, I propose that experimental dance enables the expression of “opaque” multiracial subjectivities. This article then offers a choreographic analysis of Glenn Potter-Takata’s Yonsei f*ck f*ck, an experimental dance that produces opacities for its performers, who are of mixed Japanese heritage. Through movement scores, stand-up comedy, and a re-created “late-night” talk show, the dance invites audiences to move beyond the desire to recognize, categorize, and “know” the mixed-race Asian American performer.

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Mourning

Cited by 2 publications

References 11 publications

Choreographing Social Memories: Healing and Collective Imagining in Eiko Otake and Wen Hui’s Artistic Collaboration

Choreographing Social Memories: Healing and Collective Imagining in Eiko Otake and Wen Hui’s Artistic Collaboration

Choreographing Multiraciality: Mixed-Race Methods in North American Contemporary Dance

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