عنوان

The Againness of Vietnam in Contemporary United States Antiwar Choreography

Number

TL22t95945

.Language of Text, Soundtrack etc

انگلیسی

Title Proper

The Againness of Vietnam in Contemporary United States Antiwar Choreography

General Material Designation

[Thesis]

First Statement of Responsibility

Dellecave, Jessica Spring

Subsequent Statement of Responsibility

Shea Murphy, Jacqueline

Name of Publisher, Distributor, etc.

UC Riverside

Date of Publication, Distribution, etc.

2015

Body granting the degree

UC Riverside

Text preceding or following the note

2015

Text of Note

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.

Dellecave, Jessica Spring

Shea Murphy, Jacqueline

UC Riverside

Electronic name

p

[Thesis]

276903

a

Y