(Post)Socialist Dance

This book sets out to search for the Second World - the (post)socialist context - in dance studies and examines the way it appears and reappears in today's globalized world.
It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The book's historical examples make the reader aware, too, of the (post)socialist bodies' influence in today's dance, including in contemporary dance scenes.
The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a 'quality' dance production? Which dance practices are worthy of scholarly study? What are the limits of dance studies' understanding of what dance is or should be? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but are not easy to answer; questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are often not at ease with either. In doing so, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.

Annelies Van Assche obtained a joint doctoral degree in Art Studies and Social Sciences in 2018 for studying the working conditions of European contemporary dance artists. She is a postdoctoral researcher at the department of Art History, Musicology and Theatre Studies of Ghent University, Belgium and lecturer at the Royal Conservatoire Antwerp's dance department. Her research focuses on the relation between labor and aesthetics in contemporary dance. She is author of Labor and Aesthetics in European Contemporary Dance. Dancing Precarity (2020) and a member of research group S:PAM, CoDa - European Research Network for Dance Studies and the Young Academy of Flanders. Dunja Njaradi is an associate professor at the Department of Ethnomusicology (Faculty of Music, Belgrade). She has published a monograph Backstage Economies: Labour and Masculinities in Contemporary European Dance (2014) as well as many book chapters, edited collections and monographs in her native Serbian. Her area of expertise includes dance theory, anthropology of dance and ritual performances. She is a member of CoDa - European Research Network for Dance Studies. Igor Koruga is an independent artist in contemporary dance and choreography working as author, choreographer for stage movement in theatre performances and film, pedagogue and dance dramaturge, and researcher in performing arts theory (published in journals such as Maska, Walking Theory, and Movements). He performed in various venues in Europe (Dansens Hus, Stockholm; Tanzquartier and Leopold Museum, Vienna; HAU and Uferstudios, Berlin; Kammerspiele, Munich, Bitef Theatre, Belgrade; etc.). Member of the team for archiving performing arts practices of the independent cultural and artistic scene in the Balkan region. Winner of several national awards and international scholarships in dance. Milica Ivic holds a PhD in Theory of Arts and Media at the University of Arts in Belgrade, Serbia. She is an independent researcher working in the field of contemporary dance in Serbia, interested in questions of archiving and institutionalization of contemporary dance. Also working as a dance dramaturge. She is a member of a research team for archiving contemporary dance and establishing the first online digital database of contemporary dance practices in former Yugoslavia, in collaboration with Nomad Dance Academy and Museum of Contemporary Art in Ljubljana.

List of Illustrations List of Contributors Preface Acknowledgements INTRODUCTORY ESSAYS (Post)Socialism? Postsocialist Studies and the Three-Worlds Theory Dunja Njaradi, Igor Koruga Dance? Dance Studies and (Post)Socialist Dance Annelies Van Assche, Milica Ivic PART 1 - DANCE HISTORY AND MEMORY ONE, TWO, THREE.COMRADE, COME, DANCE WITH ME Igor Koruga Choreography, Revolution, War: Kozaracko kolo between Anthropology and Dance Studies Dunja Njaradi The Complex Reputation of a Yugoslav Folklore Ballet: A Consideration of The Legend of Ohrid's National Character Stefanie Van de Vyvere The World of Art in the Russian World: Post-Soviet Rewritings of the Russian Ballet Hanna Järvinen Dancing in Life: Inner Mongolia's Ulan Muchir Grassland Art Troupes as Socialist Performance Practice Emily Wilcox PART 2 - DANCE PRODUCTION AND CIRCULATION Conversations with Kinga: A Tribute to the Body and Craftsmanship Annelies Van Assche From Revolutionary to Reactionary: Contemporary Dance in Serbia Between Institutionalization and Anti-Institutionalization. Milica Ivic Dancing in Ruins: Lorna and Gabriela Burdsall in Cuba and the Diaspora Elizabeth B Schwall Festival-making and choreography: tales of affordance and crises in the work of Dusan Muric Alexandra Baybutt Index