Mondays-Wednesdays 2-4: 00 pm, Amherst College

October 27: The Politics of Identity

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October 27: The Politics of Identity

emotional ferocity, bitter language of the tongue; autobiography

Gay Morris, “What He Called Himself: The Early Dances of Bill T. Jones”;

Susan Foster, “Speech As Act: Bill T. Jones’ Floating the Tongue and 21.

Bill T. Jones, Floating the Tongue, (1978)

Rotary Action, Jones & Zane (1982)

Freedom of Information, Jones/Zane ((1984)

Secret Pastures, Jones/Zane (1984) Mus. Peter Gordon

Fever Swamp (1983)
November 1: Pressing Hard on Closet Walls


Susan Foster, “Closets Full of Dances: Modern Dance’s Performance of

Masculinity and Sexuality: Swanning On Stage” (in Dancing Desires 147-208).

David Gere, “29 Effeminate Gestures: Choreographer Joe Goode and the

Heroism of Effeminacy” (DD 349-384)


Mark Morris, Jealousy (1985)

Joe Goode, 29 Effeminate Gestures (1989)

Nacho Duato, Remanso (c.1992)

November 3: Choreographing an Epidemic


David Gere, “Introduction” (pp. 3-37) and “Blood and Sweat” (DE 39-51) in

How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS (2004)
Proposal for TEXT(CON)TEXT Is Due November 3: a one-page paper proposal that identifies the performance artist and work, a statement of why the work is deserving of analysis within the parameters of the course, and list of at least 5-7 bibliographic and videographic sources (critical, historical, and theoretical texts that will aid in your analysis).

Mark Morris, Dogtown (1983);

Bill T. Jones, D-Man in the Waters, (1989);

David Rousseve, Pull Your Head to the Moon (1992).

Writing Assignment #3: Reflection: D-Man Due November 15

In a well-developed essay of not more than four double-spaced pages (1000 words), please answer the following question: How are themes of abjection, homosociality, homosexual desire, death, mourning, AIDS engendered in Bill T. Jones’ D-Man in the Waters? Use Visual and Corporeal evidence by enumerating the series of random images that provoked your experience of watching the dance. How is the theme of liquidity materialized in the choreography? What movement traditions does Jones draw on in the choreography? How does the work reflect, elaborate on, diverge from the methods of composition, materials, themes of choreographies seen/discussed in class?

November 8: Abjection, Desire, and Mourning


David Gere, “How Can a Dance Say AIDS?” (DE 11-24); “Melancholia and Fetishes”(DE 122-137); and “Transcendance and Eroticism” (DE 235-237) in How to Make Dances in an Epidemic: Tracking Choreography in the Age of AIDS (2004)

Arnie Zane, The Gift/No God Logic, Arnie Zane (1987)

Bill T. Jones, Untitled (1989)

Ulysses Dove, “Odes to Love and Loss,” Dancing on the Front Porch of Heaven

(1993) Youtube

Ulysses Dove, Red Angels (1994)

November 10: Inexplicit Sexualities


Valerie Briginshaw, “Dancing in the In-Between Spaces: Desire

Spatialized…That Can Be Read As Lesbian: Reservaat (1988)” ;

Jane Desmond, Introduction, Dancing Desires: Choreographing Sexualities On

Off the Stage.

Clara Van Gool, Reservaat (1988)

Doug Elkins, Narcoleptic Lovers, duet with Frithy Pengelly and Lisa Nicks


Ulysses Dove, Episodes (1990)

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