The People Have Never Stopped Dancing: Native American Modern Dance Histories


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Why family others consideration for materials modelling with older children. Find a copy in the library Finding libraries that hold this item A study of the history and evolution of modern Native American dance. Reviews User-contributed reviews Add a review and share your thoughts with other readers. Be the first. Add a review and share your thoughts with other readers. Indian dance -- United States -- History -- 20th century. Indian dance. Modern dance. United States. User lists with this item 1 Performing Arts Bibliography items by trsiii84 updated Linked Data More info about Linked Data.

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All rights reserved. Remember me on this computer. Cancel Forgot your password? Jacqueline Shea Murphy. Print book : State or province government publication : English View all editions and formats. Modern dance -- United States -- History -- 20th century. View all subjects. User lists Similar Items. MT: There is obviously a multiplicity of voices that make up the Indigenous dance world.

What are the common characteristics that these works share? JSM: Indigenous is such a troubling word. I do think that there are some shared approaches to understanding things that I have noticed in the choreographers that I follow.

Some of it has to do with enacting situations of relationship or relationality. The dance is about coming into relationship with one another.

Comanche Spring (Part 5 of 6) - Northern Traditional Dance, Fancy Dance

The idea of reciprocity is central, that you support one another and that there is an understanding of shared responsibility in meaning making. By the way, these thoughts are also not my individual ideas— they have evolved through long-term discussions and continuing exchanges with many, many others—though multiple observations, and continual dialogue. Some choreographers work in those ways, with specific stories. JSM: I think of it as an expansive and layered sense of time. What does an artist do? An artist is a visionary who brings forward a vision of the world that they see.

I feel that this understanding of time as not being quite so finite as it is usually represented in the world that we inhabit —with weeks, years, minutes, clocks- is definitely there. There are the other aspects that are choreographed as part of it: the reading, the community volunteer action, the feast. There are also all of the performances that came before, and the people who are being accumulated into it. The conversations that continue and the way the piece might affect people and reverberate out.

This way of understanding time is encapsulated within its structure, this idea that time and space are more connected and more expansive than is usually seen. Her piece notices the layers — like the sounds of colonization and trauma on her ancestral land—in the layers of her body.

The People Have Never Stopped Dancing

And then, she has talked about noticing who from her family, who has passed on, shows up at each performance. MT: There is also a sense that not only time is expansive but also space, that boundaries are flexible. JSM: I went to that exhibit. It included a number the changing maps of the Seneca reservation and memorabilia from her mother and grandmother, and then excerpts of the dance were performed there as well.


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I sensed that she was commenting — well, on a lot of things —including the shrinking political boundaries of Seneca land in relation to the U. But one more abstract thing I sensed, through the multiple maps, was the misguided faith that we seem to sometimes have in the written document as stable. Things written on paper and supposed to be archival are not actually really that stable-they mark change and power relations, not a stable historical truth or reality. In a way, the dance may be a better form or site of archival history.

I think there is some commentary about how we hold memory, about how knowledge is understood to be considered valid. I understood the exhibit and dance to be suggesting that dance holds knowledge in some ways that are perhaps more trustworthy than a written document. They are both different forms of holding histories and memories.

MT: You have mentioned that Indigenous choreographers are using contemporary dance in ways that strengthen and assert Indigenous knowledge. Would you say that this last point —accessing and validating these memories- is one example? JSM: Definitely.

The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories
The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories
The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories
The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories
The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories
The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories
The People Have Never Stopped Dancing: Native American Modern Dance Histories The People Have Never Stopped Dancing: Native American Modern Dance Histories

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