Katherine Dunham and Her Contributions to American Modern Dance
Katherine Dunham and Her Contributions to American Modern Dance
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凯瑟琳·邓纳姆及其对美国现代舞的贡献
DOI：
10.1017/s014976770001072x
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发表时间：
1989
影响因子：
0.6
通讯作者：
A. Macdonald
中科院分区：
文献类型：
--
作者：
A. Macdonald
是运动工作坊，在此期间，与会者被教授几种不同流派的旧时光舞蹈。旧时光音乐与舞蹈基金会的杰基·克里斯蒂安为我们讲授了跳鹿舞的基础知识，鲍勃·达尔塞默教授了一种广场舞，菲尔·贾米森教授了一些基本的绿草人舞步以及他自己的一些曲目。周五的会议以晚上在当地一家名为比奇伍德的舞蹈和音乐表演空间的郊游为结束。经过半个小时的车程，我们穿过了美丽的田纳西山，到达了比奇伍德。它不是夜总会--绝对不允许喝酒；它是一个最好的舞厅：一个人们跳舞的大厅。各种各样的社区成员来到比奇伍德跳舞。他们也会来和邻居聊天，听音乐，见男朋友，或者只是穿着崭新的发型，但大多数来这里的人都是来跳舞的。更认真的舞者在进入大厅找到座位后，胳膊下夹着袋子，穿上踢踏舞鞋。这在很大程度上要归功于维罗尼亚·米勒的热情好客(比奇伍德广场舞的来电者，也是会议的传统艺术家之一)，我们的团队在一个对我们许多人来说非常陌生的环境中受到了欢迎。我们每个人的名字都受到了主持人的欢迎，社区成员似乎不厌其烦地与我们交谈，最好的是，邀请我们跳舞！周六是会议的“公开展示”部分。向公众重新介绍了在会议仅登记部分期间提交的一些相同材料。然而，发生了几件事，使周六成为一次真正令人难忘的经历。第一，由于我们前一天晚上参观比奇伍德引起的兴趣，相当多的社区成员决定参加周六的会议；第二，前来参加公开会议的传统艺术家相当不寻常。我们这些从事舞蹈研究的人总是谈论理想的思想交流论坛。对我来说，这一直是学者和实践者在语言和运动的对话中走到一起，当两种经历--智力和动觉--真正分享时。这种分享在周六发生了好几次。当我从切诺基印第安人沃克·卡尔霍恩那里学到一种舞蹈时，我无法写出我的感受，比奇伍德舞者可能会发现，当来自全国各地的学者来学习和享受他们的舞蹈时，他们一定很难表达他们的骄傲和肯定的感觉；但我们都感受到了这些。当来自不同地区的陌生巴克舞者聚集在一起，自发地在舞池上发起了一场小小的友好挑战时，其他伟大的时刻也发生了。在星期六的会议上还介绍了一些额外的历史材料。值得注意的是由来电者维罗尼亚·米勒领导的关于传统广场舞和广场舞召唤的讨论，以及北卡罗来纳大学教堂山分校的大卫·维斯南特关于民间学校现象的历史。在Whisnant博士的演讲之后，进行了一场精彩的讨论，在演讲中，人们围绕着民间复兴运动的“为什么”展开了讨论，比如时代政治和城市化压力。会议的最后一项活动是参观卡特折叠厅，这是该地区另一个传统的音乐/舞厅。我们再次有机会听到和看到一流的旧时光音乐和舞蹈，但整体体验不如前一天晚上的比奇伍德体验。除了许多与会者经历的情绪高潮外，这次会议最重要的方面是它发生了。智力研究的每个领域都必须有一个“第一”的东西；第一个是一本书、一篇文章还是一场会议并不重要。舞蹈学科现在第一次认真地审视了阿巴拉契亚传统舞蹈的丰富领域。会议策划者的努力应该得到祝贺。看到学者、复兴主义舞者和传统舞蹈艺术家聚集在一起，丰富彼此的经验，这是非常令人鼓舞的。特别表彰应授予项目主席LeeEllen Friedland、会议协调员Susan Spalding和阿巴拉契亚研究与服务中心。中国社科院已表示有兴趣在明年再主办一次会议。我们这些今年参加的人当然希望他们会这样做。
was the movement workshop during which conference participants were taught several different genres of old time dancing. Jacky Christian, of the Old Time Music and Dancing Foundation, gave us the basics of buck dancing, Bob Dalsemer taught a square dance, and Phil Jamison taught some basic Green Grass Cloggers steps as well as some of his own repertoire. The Friday portion of the conference was capped by an evening outing at a local dance and music performance space named Beechwood. After a half-hour drive through the beautiful Tennessee hills we arrived at Beechwood. It is not a night club—absolutely no drinking is allowed; it is a dance hall in the best sense of the word: a hall where people dance. All sorts of community members come to Beechwood to dance. They also come to talk with neighbors, listen to music, meet a boyfriend, or just be seen in a brand new hairdo, but mostly those who arrive are there to dance. The more "serious" dancers arrive with tap shoes in bags under their arms to be put on after entering the hall and finding their seats. Largely due to the gracious hospitality of Veronia Miller (Beechwood's square dance caller and one of the conference's traditional artists) our group was made to feel welcome in what was, for many of us, a very unfamiliar environment. We were each welcomed by name by the emcee and community members seemed to go out of their way to talk with us, and best of all, to ask us to dance! Saturday was the "public presentation" portion of the conference. Some of the same material presented during the registered-only portion of the conference was reintroduced for the public. However, several things happened that made Saturday a truly memorable experience. First, due to interest generated by our visit to Beechwood the previous night, quite a number of community members decided to attend the conference on Saturday; and second, the traditional artists who came to participate in the public sessions were quite extraordinary. Those of us in dance studies always talk about the ideal forum for the exchange of ideas. For me it has always been the coming together of scholar and practitioner in a dialogue of words and movement when there is a true sharing of both experiences—the intellectual and the kinesthetic. That sharing happened several times on Saturday. I cannot write about how I felt as I learned a dance from Walker Calhoun, an elderly Cherokee Indian, and Beechwood dancers would probably find it difficult to express the pride and feeling of affirmation they must have felt when scholars from all over the country came to study and enjoy "their" dances; but we all felt those things. Other great moments happened when unacquainted buck dancers from different areas came together and spontaneously started a little friendly challenge on the dance floor. Some additional historical material was presented during the Saturday session. Notable were discussions of traditional square dance and square dance calling led by caller Veronia Miller, and a history of the folk school phenomenon by David Whisnant, of the University of North Carolina-Chapel Hill. An excellent discussion followed Dr. Whisnant's presentation, during which questions centered around the "whys" of the folk revival movement, such as politics of the times and urbanization pressures. The final event of the conference was a trip to Carter's Fold, another traditional music/dance hall in the area. We once again had the opportunity to hear and see first rate old time music and dance, but the overall experience did not live up to the Beechwood experience of the night before. Apart from emotional high points experienced by many participants the most important aspect of this conference is that it happened at all. Every area of intellectual inquiry must have a "first" something; whether that first is a book, article, or conference is not important. The discipline of dance has now had its first serious look at the rich area of traditional Appalachian dance. The conference planners should be congratulated on their efforts. It was very encouraging to see scholars, revivalist dancers, and traditional dance artists come together to enrich the experience of each other. Special recognition should go to LeeEllen Friedland, Program Chair; Susan Spalding, Conference Coordinator; and the Center for Appalachian Studies and Services for their efforts. CASS has indicated an interest in hosting another conference next year. Those of us who attended this year certainly hope they will do so.