Ninotchka bennahum biography of abraham

With her invention of task-based improvisation as a method of devising dance—a clandestine, communitarian agent of change—Halprin espoused dance making as a basic human right. This chapter essays how Halprin envisioned postwar dance as environmental study rather than merely physical practice. Through her visionary work Halprin reconceived movement as engendering climate activism and social justice, radical beliefs that emerged out of her Talmudic pedagogy.

Greatly influenced by the modernist productions of the Ballets Russes who sought political refuge in neutral Spain during World War I, La Argentina fused the modernism of the Spanish School of Music to the Escuela Bolera, or Spanish Bolero School of classical dance, adding many rhythmic and choreographic stylizations from Romani flamenco and other complex regional styles of folk dance she had learned on ethnographic trips throughout Spain.

Ninotchka bennahum biography of abraham: Ninotchka D. Bennahum. Professor. Dance

This hybrid vision resulted in a polyrhythmic, African and Hispano-Arab-Sephardic fusion of musical and choreographic cultures whose artistic influence can still be felt along the Iberian Peninsula. With this rich and varied musical and choreographic vocabulary, and a full company of Romani, Spanish, and European dancers and musicians, La Argentina took Europe, the Americas and Asia by storm.

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Ninotchka bennahum biography of abraham: Ninotchka Bennahum is a

Hispanic culture of South America. Carmen, a Gypsy geography. The figure of Carmen has emerged as a cipher for the unfettered female artist. Dance historian an Dance historian and performance theorist Ninotchka Bennahum shows us Carmen as embodied historical archive, a figure through which we come to understand the promises and dangers of nomadic, transnational identity, and the immanence of performance as an expanded historical methodology.

Bennahum traces the genealogy of the female Gypsy presence in her iconic operatic role from her genesis in the ancient Mediterranean world, her emergence as flamenco artist in the architectural spaces of Islamic Spain, her persistent manifestation in Picasso, and her contemporary relevance on stage.

Ninotchka bennahum biography of abraham: The exhibition at the Library for

This many-layered geography of the Gypsy dancer provides the book with its unique nonlinear form that opens new pathways to reading performance and writing history. Includes rare archival photographs of Gypsy artists. Benitez's teatro flamenco. Revealing La Argentina. The Oxford Handbook of Jewishness and Dance Log in with Facebook Log in with Google.

Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Need an account? Click here to sign up. About Press Papers Topics Academia. They ground their lively exchange of ideas in interdisciplinary research, a commitment to pedagogy, respect for their subject and one another, and an overarching passion for social justice.

Knowing they had something to build on, and fueled by their desire to share the long and nuanced history to which contemporary dancers and students are heir, they forged ahead with a Swarthmorean fearlessness. Through her art, activism, and exploration of the Africanist tradition, Dunham confronted American racism and transformed dance both here and abroad.

The stunning image of Dunham and a beautiful exhibition brochure welcome visitors to Border Crossings. A wall of iconic portraits sets the stage for seeing the performers as people — an invitation to witness the beauty, pain, and complexity of lived biographies that emerge with their art. The exhibition begins with Native American First Peoples and African American dancers including Aida Overton Walker, who faced virulent racism and dangerous transborder crossings.

Bennahum and Robertson were able to bring all of this material together because of their unique access to preeminent archives — a privilege they grew to appreciate even more during the pandemic. Archival recovery pushes back against silencing and erasure, as the show renders visible the fragile themes of exile that gave modern dance its language.

Throughout the exhibition, a combination of rare early film footage and still images results in a more complete archive that captures the dynamism of the BIPOC body, the laboring body, the body carrying the trauma of war — the political, asylum-seeking, exiled, border-crossing body. To unpack this history of dance modernism, Border Crossings gives rare geopolitical context.

In the s and s, for example, many modern dancers were members of the Communist Party-aligned dance arm, the Workers Dance League.