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Lecture 8

Women's Studies 2162A/B Lecture 8: Week 9 – Bodies in Motion

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Women's Studies
Women's Studies 2162A/B
Julianna Beaudoin

Week 9 – Bodies in Motion Lecture 1 – Kimberly Dority Bodies in Motion Big Ballet Dance as Social Practice - Situated within social, cultural and historical context - Relates to others socially meaningful ways of moving - Positioned within a context of the history of dance forms within a specific society - Highly regulated As Social Practice Dance is: - Ideas about social world are communicated through dancing bodies - Ask: who dances, when and where, in what ways, with whom, and to what end? Who does not dance, and why? - Dance practice reflect notions of gender, sexuality, race, class, ability, etc. Learning Objectives - Identify how dance practices express social and cultural norms by evaluating and critiquing what kinds of movement are considered appropriate, and for whom - Understand Luce Irigaray’s concept of mimesis (repetition with a difference) and demonstrate how it may be used in movement to resist and re-imagine social norms Dancing Gender Norms - How are gendered norms choreographed within ballet pas de deux? - Who moves and who is moved? - In what way to the poses display one body more and another? - What skills are demanded of each dancer and what do they imply about desired attributes ascribed to men or women - How would you describe the movements you see and how do these descriptions relate to normative assumptions about masculinity and femininity? Resisting Gender Norms - Susan Kozel: “The Story is Told as a History of the Body: Strategies of Mimesis in the work of Irigaray and Bausch” - Pina Bausch 1940-2009, German choreographer, postmodern dance - Luce Irigaray – French philosopher, mimesis - Strategy of mimesis: excess, repetition with a difference, creates distortion Mimesis allows for Distortion - According to Kozel, “distortion implies a challenge to existing senses of order and normality through partially conforming to and partially transgressing the usual. It is the blending on familiar with unfamiliar which makes a distortion so unnerving: it is not totally new, it shows us the otherness within the same, the invisible which animates the visible” Dancing Mimesis - How does Bausch’s choreography create a distortion through mimesis? - How does this expose and re-imagine social norms? - Blurs distinctions: personal, theatrical, natural space - Blend familiar and unusual, excessive repetition, exhaustion - Emotions transform body movement - Mimesis- looks at the relationship between art and the real word, mimesis translates to imitation, idea that/question that how much does art imitative life, is it an exact representation? Not quite? How do we understand that relationship between life and art? Questions to think about during Pina (2011
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