Projected Program:
Sacre Celebration: Revisiting, Reflecting, Revisioning

Thursday, 18 April, 2013

12:00 noon – 6:00 p.m.
Registration/Information Desk open
1:30 p.m. – 4:00 p.m.
Pre-conference workshop: How Historians Use the Press
This working group will investigate questions and problems that arise in crafting histories from newspaper and periodical sources. Scholarly writing on the reception of Le Sacre du printemps and other endeavours of its period provides telling examples of powerful theoretical and disciplinary alliances. How do we select from the press to construct the pasts that interest us?
4:15 p.m. – 4:30 p.m.
Conference Opening and Welcome
4:30 p.m. – 5:30 p.m.
Keynote Address, Lynn Garafola
The Rite of Spring at 100”
Since the premiere of The Rite of Spring in 1913, scores of choreographic works to the celebrated Stravinsky music have seen the light of day. Like Vaslav Nijinsky’s original, the vast majority have disappeared. Yet the work continues to occupy cultural space. In the introduction to her book The Archive and the Repertoire, performance scholar Diana Taylor muses: “Is performance that which disappears, or that which persists, transmitted through a nonarchival system of transfer that I…call the repertoire?” In other words is the cultural relevance of The Rite of Spring linked to what Taylor calls “the paradoxical omnipresence of the disappeared”? Or does the cycle of loss and renewal built into the very identity of the ballet—to say nothing of its original scenario—inspire its continuous reinvention? In this presentation I argue that The Rite of Spring, precisely because it is a lost ballet, comprises a body of ideas rather than a detailed choreographic script, and that this conceptual freedom allows both for the ballet's reinvention and for the persistence of ideas associated with the original. With no standard choreographic text the work ventures into realms the score alone cannot take it; it undergoes a process of reinvention that updates and transforms the work, even when the music remains untouched. A reason—perhaps, the reason—The Rite of Spring remains so popular a musical text is because it keeps remaking itself as a dance.
5:30 p.m. – 7:00 p.m.
Opening Reception

Friday, 19 April, 2013

8:00 a.m. – 6:00 p.m.
Registration/Information Desk open
9:00 a.m. – 5:30 p.m.
Panels, Papers, Round Tables, etc.
Dalcroze Workshop with Gregory Ristow
“A Eurhythmics Pathway to The Rite of Spring
This session will use movement exercises drawn from Dalcroze Eurhythmics to access some of the rhythmic complexities of Stravinsky’s score, such as subdivision, changing meter, and unequal beats. These exercises will serve as a departure point to consider the possible approaches Marie Rambert, Dalcroze's pupil who worked with the Ballets Ruses, might have taken when assisting Nijinsky and the company during the composition and rehearsals of the original choreography, as she helped them understand this rhythmically revolutionary score. While we cannot know the exact process, exercises from the Dalcroze tradition that have been handed down orally and in writings from Dalcroze, give us an idea of the methods Rambert may have used with Nijinsky and the company.
7:30 p.m.
Performance, Rite Redux (tickets included for all conference registrants).
To include music selections from the early 20th century (York Music Department) and a reworking of Sacre choreographed and performed by faculty members and students of the York Dance and Music Departments.

Saturday, 20 April, 2013

8:00 a.m. – 2:00 p.m.
Registration/Information Desk open
9:00 a.m. – 5:30 p.m.
Panels, Papers, Round Tables, etc.
Workshop and Session with Kevin “DJ Renegade” Gopie.
“Break Dance and The Rite of Spring: A 21st-Century Reinvention of the Work”
Gopie will be a presenter in two sessions during the conference. In the first, he will discuss the Ballet Boyz version of The Rite of Spring, including the motivation behind its creation, and show excerpts of the work to illustrate the movement choices made. His second session will be a movement workshop, in which some of the movements employed in the Ballet Boyz version will be taught. Local youth who have been sponsored to attend the conference will participate in the movement session; other conference registrants will have the option to participate or to observe.
5:30 p.m.
Conference ends, but the final performance of Rite Redux will take place at 7:30 pm. Conference attendees are welcome to purchase tickets and to attend the post-performance reception, celebrating the 25th anniversary of the York dance Ensemble.

Bios

Lynn Garafola is a distinguished dance historian, critic and author who has conducted extensive research on the Diaghilev Ballets Russes and the company's impact on dance, choreography, music, and the visual arts. In 2009 Dr. Garafola was the curator of "Diaghilev's Theater of Marvels: The Ballets Russes and Its Aftermath," presented at The New York Public Library for the Performing Arts.
Kevin Gopie has a long history in Hip Hop. He began as a first generation dancer in the UK — popping, breaking and locking back in 1982 — and then started scratch DJing and producing in 1987. A veteran of over 25 years of involvement in hip hop music and dance, he is known and respected as a dancer, choreographer, teacher, and DJ. He is the founder and coach of the UK national breaking champions, Soul Mavericks, and he currently is a Visiting Lecturer in Dance, Institute for Performing Arts Development, University of East London, UK.
Gregory Ristow is an Assistant Professor and Director of Choral Activities, DePauw University School of Music, Greencastle, Indiana. Dr. Ristow is in demand as a teacher of Dalcroze Eurhythmics. Since 2004, he has frequently directed the Eastman Summer Dalcroze Institute, an intensive one-week program for teachers looking to incorporate Dalcroze Eurhythmics techniques in their teaching.
SDHS publications

Studies in Dance History SDHS’s monograph series, published by University of Wisconsin Press, answers a growing demand for works that provide fresh analytical perspectives on dancing, dancers, and dances in a global context. Read more...

[cover of 2012 Conversations] Issued yearly in early spring generally, Conversations Across the Field of Dance Studies reflects the dynamic and diverse membership of SDHS. We seek to bring you themes and debates current in the field of dance studies and the profession, alongside news from the international community of scholars in dance and related disciplines. Read more...

conferences

Conference 2014: Writing Dancing/Dancing Writing
A Joint Conference of The Society of Dance History Scholars (SDHS) and The Congress on Research in Dance (CORD)
13–16 November 2014
Hosted by the University of Iowa in Iowa City, Iowa

Conference 2015 will be held in Athens, Greece. Dates and other details will be available later this Spring.

news

The SDHS Board of Directors election takes place during the final two weeks of February. All SDHS members may vote. Please log in and then click here to view candidates’ biographies. Ballots will be available beginning on Feb. 15.

SDHS announces the November 2013 awards, including de la Torre Bueno Prize® Special Citations.

Proceedings of the 2013 joint NOFOD/SDHS conference are now available.

Proceedings of the Special Topics Conference 2013: “Sacre Celebration: Revisiting, Reflecting, Revisioning” are now available.

Call for proposals for contributions to Conversations Across the Field of Dance Studies: Network of Pointes (Guest Editors: Drs. Kathrina Farrugia and Jill Nunes Jensen). Note that the deadline has been extended to May 15, 2014.

Updated 3 April: Conference announcements and calls for papers

Updated 3 April: Job postings and opportunities for students

Updated 24 February: News and announcements from SDHS members: “The American Society for Theatre Research is now seeking nominations for the Biennial Sally Banes Publication Prize....”

SDHS endorses MLA statement on learning another language

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