VOLUME 38.2 WINTER 2020
DANCE
RESEARCH
Edinburgh University Press
Dance and Archives: Special Issue
Archives of the Dance (26)
DANCE RESEARCH
The Journal of the Society for Dance Research
Dance Research, the journal of the Society for Dance Research, is a bi-annual internationally peer-reviewed journal. It welcomes high-quality original research articles on dance worldwide both historical and contemporary. The journal aims to engage with current debates on dance and across cognate disciplines with dance at the centre of inquiry. In addition, the journal publishes book reviews, notes on archives dedicated to dance, and selected translations into English of key material on dance. Editor Richard Ralph Assistant Editor Margaret M. McGowan Associate Editor Clement Crisp Editorial Consultant Theresa Buckland
Reviews Editor Alexandra Kolb
Please send books for review to Professor Alexandra Kolb, Dance Department, Howard Building, Roehampton Lane, University of Roehampton, London, SW15 5PH.
Associate Board
Jeremy Barlow Melissa Blanco Borelli Susan Jones Stephanie Jordan Alexandra Kolb Jane Pritchard
Lise Uytterhoeven
Advisory Board
Egil Bakka David Davies Lynn Garafola Marion Kant
Julie Malnig Patrizia Veroli
Roland John Wiley Sarah Whatley
Website Manager
Jo Morgan
Members of the Society for Dance Research receive a complimentary copy of the journal; for subscription rates see the inside back cover.
Please email your typescripts (double-spaced, with a generous margin) to the Editor, Richard Ralph, at wea@nildram.co.uk
Articles submitted to Dance Research are subject to blind refereeing procedures. Reviews are approved by the board, and circulated externally only if they are in the form of review articles. ISSN 0264-2875
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© Society for Dance Research, 2020
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DANCE RESEARCH
The Journal of the Society for Dance Research
Volume XXXVIII Number 2 (Winter 2020)
Editor: Richard Ralph
Published by Edinburgh University Press
Dance and Archives: Special Issue
Archives of the Dance (26)
Contents
Introduction
133
Sarah Whatley
Performance History Revealed: The Performance Databases of
Rambert and the Royal Ballet
138
Chris Jones
Dance Overview of the Australian Performing Arts Collection
149
Margot Anderson
The Batsheva Dance Company Archive Project
168
Iris Lana
TanzArchiv
Leipzig – Disappearing Content and Traces of Past Events
187
Erica Charalambous
Dance Archives in Brazil: A Brief Introduction
199
Rafael Guarato
Expanding Dance Archives: Access, Legibility, and
Archival Participation
206
Timmy De Laet
Orality at Work in the Body-Archive. A Case Study with Tanztheater
Wuppertal Pina Bausch’s Italian Dancers
230
Gaia Clotilde Chernetich
The Oral Archive as a Form of Dance Archive
242
Renate Bräuninger
Popular Dance as Archive: Re-imagining Keeps the Fosse
Aesthetic Preserved
255
Dara Milovanovi´c
Dance and the (Digital) Archive: A Survey of the Field
271
ii
C o n t e n t sDance History and Digital Humanities Meet at the Archives:
An Interim Project Report on Dunham’s Data
289
Harmony Bench and Kate Elswit
The Limitations of the Archive: Lost Ballet Histories and
the Case of Madame Mariquita
296
Sarah Gutsche-Miller
Alberto Spadolini’s Box: Dance, Silence and the Archive
311
Rosella Simonari
Cover photograph by Jim McFarlane of Justine Summers in
Divergence,
The
Australian Ballet, 1994. Gift of The Australian Ballet, 2015. Australian
Performing Arts Collection, Arts Centre Melbourne.
Jim McFarlane writes: ‘As I recall we took the photograph in 1993 or 1994. The
shot was taken at our studio “Decent Exposure” in a space that was designed
for photographing cars. The background was specially painted by an air-brush
artist, and was overpainted afterwards so it could not be used again. Justine,
whom I had photographed many times in Australia and on the Asian tour in
1993, was doing some warm-ups when I noticed some visually-appealing moves
that not only showed great shapes but displayed her tutu most elegantly. We
photographers never let these moments of spontaneity go. Justine, a great talent,
was always a delight to work with, a willing and enthusiastic collaborator. I later
learned that the fabric used for the tutu was made of air-conditioning filter
material.’
[Editorial note: Because of the closure of the V&A Museum it has been necessary
to defer to a later volume the two cover images chosen by Sir Robert Cohan from
the dance photographs of Anthony Crickmay.]
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