Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
38 Cards in this Set
- Front
- Back
|
Somatophobia |
The fear of bodies, the idea that bodies are secondary, less than, or should be ashamed of. Ties into mind/body dichotomy.
|
|
|
Corporeality |
The state of having a body, the materiality of our bodies. The body as a site of power or power struggles. How we are regulated via our bodies, how we use our bodies as protest, how we enforce or challenge what is acceptible. |
|
|
Mind/Body Dichotomy |
Emotional vs. Rational - this idea then becomes genderized with men as raional and women as emotional, which then redners dance as "efemminate". This concept also relates to somatophobia, and somatic society. |
|
|
Normalization/ Naturalization |
Connecting an image with a specific value. Images becoming reality (values becoming accepted and adopted into society) through frequent use |
|
|
Structuralism |
Operates on the binary of signifier and signified - How meaning is contrsuted through language - The signifier is the sound or appearance of the word - The signified is the concept that's invoked by the word - Understanding of things through their opposite, ie. girl is girl because it is not boy, understanding things through binaries - Developed by Ferdinand de Saussure in 1916 |
|
|
Ferdinand de Saussure |
Developed the theory of structuralism in 1916 |
|
|
Poststructuralism |
Michael Foucault & Judith Butter - Began in the 70's and 60's, the theory of thought that meaning is not fixed and bianries not essential or innately right - Meaning is contingent on historical moment and place, ideas are not fixed, identity is not fixed and can change - eg. ideas of female beauty has changed, what was "crazy" in one era is just frustration in another |
|
|
Identity Politics |
If meaning is not fixed, is identiy fixed? - You are not the same person your whole life, your identity changes like your age, so can ohter aspects of your life change? - Judith Butler wrote on how gender is not fixed - Biological sex on a spectrum and gender is a performance - By doing this performance every day, we construct it - If you're constructing it, then you can change it |
|
|
Embodied Identities |
How identities about gender, race, age, etc. are conveyed thrugh our bodies |
|
|
Intersectionality |
The understanding of all the ideas you posess and the variations and power disrepancies within these groups, ie. black feminism |
|
|
Maude Allan |
- Born in Toronto in 1873 - After her brother's death, she abandoned her musical training and decided to be a dancer at the time when Isodara Duncan and others were "debasing" music by dancing barefoot - Became famous for the "Salomé" dance she created - People outraged that she was dancing to a bible story - Super revealing costume, acting as a female rebel and putting her body on display, seen as a heathen - Projecting imagery of faux middle eastern exoticism, foreign, titalating and mysterious, reinforcing a sexualized idea of that culture |
|
|
Orientalism |
When the West imagines the East in a way that ultimately sexualizes, genderizes and demans the East by making the West seem like the dominant culture |
|
|
"Discipline and Punishment" |
By Michael Foucault, regarding soldiers - How to create submissive soldiers and prisoners - How, thorugh corporeality, to break them down by physically enclosing and restricting them - Controlling a daily activity - Discipline requires repetition in the practice of controlled activities
|
|
|
The Indian Act |
1876 - Assimilating indegenous people into white culture to "protect" and "help" them - By assimilating them, resistance and disputes wouldn't be a problem - The gov't was able to amend the act without the consent of indegenous people - Residential Schools used to set the act in place |
|
|
Residential Schools |
Expedited the assimilation process - 1931 was the peak of the schools - 1969 it was decided to close them - 1996 the last school was closed |
|
|
Potlatch |
Ceremony for memories, ceremony, and celebration - Were outlawed because they went against assimilation, seen as pagnaism, and appeared secretive and anti-capitalist - The wealthy would give the wealth away as an investment, how much you give away based on how much you accrue |
|
|
Sun Plains dances |
Outlawed in 1885 - Ceremony that involved a huge pole, leather straps with men on skewers and dancing - Seen as honourable and sacrificial - Government saw it as pagan/barbaric |
|
|
1951 |
The government repealed the ban on potlatches and Sun Plains dances
|
|
|
1895 |
Government banned any ceremony in which things were given away |
|
|
1910 |
The government made it illegal for native people to dance off the reserves
|
|
|
1933 |
Native people couldn't dance in "costumes" with the exception that they could dance if white people allowed/wanted it, which at times enabled them to get off the reserves and dance, perpetuating and celebrating their culture, sometimes for payment |
|
|
1908 |
Indigenous people sought legal advice, sought ways to circumvent the law |
|
|
Dance of the Kwakiutl |
- Ritual dress - Characterization of individual figures - Had a low centre of gravity - Mostly male dancers - Repetitive music - Masks |
|
|
Evelyn Geary |
Was a professional dancer when it was difficult in Canada to be a profession artist - Stoped dancing after she got married after WWII - First professional show was dancing in the grandstand show at the Canadian National Exhibition in 1922, appeared in variety shows, Christmas pantos - Had an agent by 15, by 16 could buy her own car - Joined the Uptown Theatre in 1929, became an Uptown Girl - Jack Arthur ran the company, Leon Leonidoff the choreographer - Choreographed for the Roxies, which became the Rockettes and became the ballet mistress - Became a dancer at Radio City and joined the corps de ballet - Came back to Canada with Boris Volkoff and taught at his studio and ran the office - Career was over when she got married |
|
|
Florence Clough |
- From Victoria, born 1908, started dancing at 6 - Madame Valda taught her ballet - Taught herself tap via a dance manual - Started teaching at 16, first recital at the Crystal Garden - Held rehearsals at the Royal Theatre, did this for the next 50 yrs - Her studio, The Florence Clough Dance Academy, taught tap, ballet and interpretive (early modern dance) - Married in 1934 but continued to work - Took ownership of a club called Sirocco in 1953, choreographed a new floor show for every Saturday night with her underaged students |
|
|
Dorothy Wilson |
- Born in 1892, from Victoria - Parents happy to send her to dance class, but did not want her to pursue a career in dance - Opened a studio in her living room in 1922, the Russian Ballet School of Dancing |
|
|
Wynne Shaw |
- Studied with Dorothy Wilson when she came to Canada in 1905, took over the studio and renamed it the Wynne Shaw Dance Studio - Operated until she retired in 1983 - Got involved in TV in the 50's, would take a group of dancers over to Van every week to perform variety works for CBC, performing live every week
|
|
|
Edna Malone |
- Went to the Denishawn School in LA - Was hired by the company and toured around the world - Left the company, went out on her own, got a few dancers and did the supper club circuit |
|
|
Jean Macpherson |
- Dance teacher in Toronto - Worked internationally as a professional dancer, came back to Toronto and started her own studio |
|
|
Boris Volkoff |
- Russian dancer and dance teacher - Came to Canada illegally in the 20's, snuck in when his visa expired while on tour - Taught at the Uptown Theatre, started his own school and hired Evelyn Geary - Tdot elite sent their kids to learn from him - Firey Russian, passionate, choreographed very popular recitals, very nationalistic, loved his country - The Symphony would do massive outdoor recitals and he choreographed - Approached by the head of the Canadian Olympic Association in 1935 to go to Berlin and represent Canada at the arts exhibition - Wanted to start the first professional ballet company in Canada - Fell in love with a student, Janet Baldwin had to marry her before her parents would allow her to come to Berlin - Loved native culture, thought he was being respectful and preserving their culture, but was actually appropriating it |
|
|
1936 Olympics Controversy |
- Very controversial because Hitler and the Nazis were in power - Hotly debates as to if Canada would send athletes, but no debate over sending artists to represent at the arts exhibition - Media covered the rehearsal process before going to Berlin at the same time they were debating in the sports section about if they should send athletes |
|
|
Dance Festespiel |
- Arts exhibition at the 1936 Berlin Olympics - Canada went, represented by Boris Volkoff's dancers - Fundraised their way to Berlin, performed on the ocean liner on the way there - First time Canadian dancers travelled internationally together - Had to perform 5 different pieces - Modern piece, "Ecstacy" - Classical ballet pieces - "National" dances that represented the history of the country: - Mala and Mon Ka Ta |
|
|
Mala |
- solo piece choreographed by Boris Volkoff for the Berlin arts exhibition in 1936 based on Inuit legend, man saves village from starvation by visiting the sea goddess |
|
|
Mon Ka Ta |
- group piece choreographed by Boris Volkoff for the Berlin arts exhibition in 1936 - native version of Orpheus and Euridyce |
|
|
Volkoff Canadian Ballet |
Boris Volkoff's company that he started after the success of the Canadian dancers at the Dance Festespiel at the Berlin Olympics |
|
|
Celia Franca |
- 1951 came to Canada from England and started the National Ballet of Canada
|
|
|
Franca vs. Volkoff |
- Volkoff's company swallowed by the presence of the National Ballet of Canada, started by Franca - Volkoff wrote the NBoC a cheque to start a scholarship for males in his name, but they didn't set up the scholarship |
|
|
Dédale |
By Françoise Sullivan - Dancer |
