Title: The archival turn in dance/studies : reflections on (corporeal) archives and documents : (reprint)
Source document: Theatralia. 2022, vol. 25, iss. 2, pp. 129-147
Extent
129-147
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2022-2-7
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.77250
Type: Other
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Note
This text was originally published in Ann R. David, Michael Huxley, and Sarah Whatley (eds.), Dance Fields. Staking a Claim for Dance Studies in the Twenty-First Century (Dance Books, 2020) (DAVID et al. 2020: 249–271). -- The chapter is reprinted with minimal changes in the language and formatting in line with Theatralia standard.
References
[1] AGAMBEN, Giorgio. 2002. Remnants of Auschwitz. The Witness and the Archive. New York: Zone, 2002.
[2] ALLEN, Jennifer. 2005. 'Einmal ist keinmal'. Observations on Reenactment. In Sven Lütticken (ed.). Life. Once More. Forms of Reenactment in Contemporary Art. Rotterdam: Witte de With Center for Contemporary Art, 2005: 177–213.
[3] AUSLANDER, Philip. 2006. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art 28 (2006): 3: 1–10.
[4] BENCH, Harmony. 2017. Dancing in Digital Archives. Circulation, Pedagogy, Performance. In Maaike Bleeker (ed.). Transmission in Motion: The Technologizing of Dance. New York: Routledge, 2017: 155–167.
[5] BEXTE, Peter, Valeska BÜHRER and Stephanie Sarah LAUKE (eds.). 2016. An den Grenzen der Archive. Berlin: Kadmos, 2016.
[6] BLEEKER, Maaike. 2017. What If This Were an Archive. Abstraction, Enactment and Human Implicatedness. In Maaike Bleeker (ed.). Transmission in Motion: The Technologizing of Dance. New York: Routledge, 2017: 199–214.
[7] BRINKMANN, Stephan. 2012. Bewegung erinnern. Gedächtnisformen im Tanz. Bielefeld: transcript, 2012.
[8] COOKE, Grayson, and Amanda REICHELT-BRUSHETT. 2015. Archival Memory and Dissolution: The After Image Project. Convergence: The International Journal of Research into New Media Technologies 21 (2015): 1: 8–26.
[9] CRAMER, Franz Anton. 2014. Was vermag das Archiv? Artefakt und Bewegung [online]. MAP – Media | Archive | Performance. [accessed on 30.5.2018]. Available online at http://www.perfomap.de/map5/instabile-ordnung-en/was-vermag-das-archiv-artefakt-und-bewegung.
[10] DAVID, Ann R., Michael HUXLEY and Sarah WHATLEY (eds.). 2020. Dance Fields. Staking a Claim for Dance Studies in the Twenty-First Century. Binstead/Hampshire: Dance Books, 2020.
[11] DE CERTEAU, Michel. 2009. Der Raum des Archivs oder die Perversion der Zeit. In Knut Ebeling and Stefan Günzel (eds.). Archivologie. Theorien des Archivs in Philosophie, Medien und Künsten. Berlin: Kadmos, 2009: 113–122.
[12] DERRIDA, Jacques. 1995. Archive Fever: A Freudian Impression. Diacritics 25 (1995): 2: 9–63.
[13] DIDI-HUBERMAN, Georges. 2007. Das Archiv brennt. In Georges Didi-Huberman and Knut Ebeling (eds.). Das Archiv brennt. Berlin: Kadmos, 2007: 7–32.
[14] ERNST, Wolfgang. 2002. Das Rumoren der Archive. Ordnung aus Unordnung. Berlin: Merve, 2002.
[15] ERNST, Wolfgang. 2009. Das Archiv als Gedächtnisort. In Knut Ebeling and Stefan Günzel (eds.). Archivologie. Theorien des Archivs in Philosophie, Medien und Künsten. Berlin: Kadmos, 2009: 177–200.
[16] FOELLMER, Susanne. 2014. Reenactments und andere Wieder-Holungen. In Frédéric Döhl and Renate Wöhrer (eds.). Zitieren, Appropriieren, Sampeln. Referenzielle Verfahren in den Gegenwartskünsten. Bielefeld: transcript, 2014: 69–92.
[17] FOUCAULT, Michel. 1981. Archäologie des Wissens. Transl. by Ulrich Köppen. Frankfurt am Main: Suhrkamp, 1981.
[18] FOUCAULT, Michel. 1989. The Archaeology of Knowledge. Transl. by A.M. Sheridan Smith. New York: Routledge, 1989.
[19] FRANKO, Mark. 2017. Introduction: The Power of Recall in a Post-Ephemeral Era. In Mark Franko (ed.). The Oxford Handbook of Dance and Reenactment. Oxford: Oxford University Press, 2017: 1–15.
[20] JESCHKE, Claudia. 2010. 'Updating the Updates'. Zum Problem der 'Identität' in der Geschichts-Vermittlung vom Tanz(en). In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 69–79.
[21] JUCAN, Iona B., Jussi PARIKKA and Rebecca SCHNEIDER. 2019. Remain. Chicago: University of Minnesota Press, 2019.
[22] KRUSCHKOVA, Krassimira. 2010. Tanzgeschichte(n): wieder und wider. Re-enactment, Referenz, reverence. In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 39–45.
[23] LEPECKI, André. 2010. The Body as Archive. Will to Re-enact and the Afterlives of Dances. Dance Research Journal 42 (2010): 2: 28–48.
[24] NACHBAR, Martin. 2010. Spu(e)ren/Lesen. Ein Versuch über das Tanzarchiv. In Janine Schulze (ed.). Are 100 Objects Enough to Represent the Dance? Zur Archivierbarkeit von Tanz. Munich: epodium, 2010: 122–137.
[25] NACHBAR, Martin. 2017. Tracing Sense/Reading Sensation. An Essay on Imprints and Other Matters. In Mark Franko (ed.). The Oxford Handbook of Dance and Reenactment. Oxford: Oxford University Press, 2017: 19–31.
[26] Oxford Dictionary [online]. [accessed on 24.5.2018]. Available online at https://en.oxforddictionaries.com/definition/document.
[27] ROMS, Heike and Rebecca EDWARDS. 2011. Oral History as Site-Specific Practice: Locating the History of Performance Art in Wales. In Shelley Trower (ed.). Place, Writing, and Voice in Oral History. London: Palgrave Macmillan, 2011: 171–192.
[28] SACHSENMAIER, Stefanie. 2017. Silent Transformations in Choreography-Making Over Time: Rosemary Butcher's Practice of 'Looking Back and Ahead'. In Lesley Main (ed.). Transmission in Dance. Contemporary Staging Practices. Basingstoke: Palgrave Macmillan, 2017: 163–188.
[29] SCHNEIDER, Rebecca. 2011. Performing Remains. Art and War in the Times of Theatrical Reenactment. London/New York: Routledge, 2011.
[30] SCHNEIDER, Rebecca. 2014. Document, Hand, and Hail. Gesture and the Limits of the Live [lecture]. DFG-research project 'ÜberReste. Strategien des Bleibens in den Darstellenden Künsten'. Freie Universität Berlin (8. 12. 2014).
[31] SCHULZE, Janine. 2010a. Lücken im Archiv oder Die Tanzgeschichte ein 'Garten der Fiktionen?' In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 147–153.
[32] SCHULZE, Janine. 2010b. Tanzarchive sind Perpetuum Mobiles. In Janine Schulze (ed.). Are 100 Objects Enough to Represent the Dance? Zur Archivierbarkeit von Tanz. Munich: epodium, 2010: 8–17
[33] STOLER, Ann Laura. 2002. Colonial Archives and the Arts of Governance. Archival Science 2 (2002): 1–2: 87–109.
[34] TAYLOR, Diana. 2003. The Archive and the Repertoire. Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.
[35] WEHREN, Julia. 2016. Körper als Archiv in Bewegung. Choreografie als historiografische Praxis. Bielefeld: transcript (open access), 2016.
[36] WHATLEY, Sarah. 2013. Siobhan Davies RePlay: (Re)visiting the Digital Archive. International Journal of Performance Arts and Digital Media 9 (2013): 1: 83–98.
[37] WILLEIT, Simone. 2010. Stolpern und Unzulänglichkeiten. Interferenzen in Tanz-Rekonstruktionen. In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 47–58.
[38] WOOKEY, Sara. 2017. Transmitting Trio A (1966): The Relations and Sociality of an Unspectacular Dance. In Lesley Main (ed.). Transmission in Dance. Contemporary Staging Practices. Basingstoke: Palgrave Macmillan: 2017: 143–161.
[2] ALLEN, Jennifer. 2005. 'Einmal ist keinmal'. Observations on Reenactment. In Sven Lütticken (ed.). Life. Once More. Forms of Reenactment in Contemporary Art. Rotterdam: Witte de With Center for Contemporary Art, 2005: 177–213.
[3] AUSLANDER, Philip. 2006. The Performativity of Performance Documentation. PAJ: A Journal of Performance and Art 28 (2006): 3: 1–10.
[4] BENCH, Harmony. 2017. Dancing in Digital Archives. Circulation, Pedagogy, Performance. In Maaike Bleeker (ed.). Transmission in Motion: The Technologizing of Dance. New York: Routledge, 2017: 155–167.
[5] BEXTE, Peter, Valeska BÜHRER and Stephanie Sarah LAUKE (eds.). 2016. An den Grenzen der Archive. Berlin: Kadmos, 2016.
[6] BLEEKER, Maaike. 2017. What If This Were an Archive. Abstraction, Enactment and Human Implicatedness. In Maaike Bleeker (ed.). Transmission in Motion: The Technologizing of Dance. New York: Routledge, 2017: 199–214.
[7] BRINKMANN, Stephan. 2012. Bewegung erinnern. Gedächtnisformen im Tanz. Bielefeld: transcript, 2012.
[8] COOKE, Grayson, and Amanda REICHELT-BRUSHETT. 2015. Archival Memory and Dissolution: The After Image Project. Convergence: The International Journal of Research into New Media Technologies 21 (2015): 1: 8–26.
[9] CRAMER, Franz Anton. 2014. Was vermag das Archiv? Artefakt und Bewegung [online]. MAP – Media | Archive | Performance. [accessed on 30.5.2018]. Available online at http://www.perfomap.de/map5/instabile-ordnung-en/was-vermag-das-archiv-artefakt-und-bewegung.
[10] DAVID, Ann R., Michael HUXLEY and Sarah WHATLEY (eds.). 2020. Dance Fields. Staking a Claim for Dance Studies in the Twenty-First Century. Binstead/Hampshire: Dance Books, 2020.
[11] DE CERTEAU, Michel. 2009. Der Raum des Archivs oder die Perversion der Zeit. In Knut Ebeling and Stefan Günzel (eds.). Archivologie. Theorien des Archivs in Philosophie, Medien und Künsten. Berlin: Kadmos, 2009: 113–122.
[12] DERRIDA, Jacques. 1995. Archive Fever: A Freudian Impression. Diacritics 25 (1995): 2: 9–63.
[13] DIDI-HUBERMAN, Georges. 2007. Das Archiv brennt. In Georges Didi-Huberman and Knut Ebeling (eds.). Das Archiv brennt. Berlin: Kadmos, 2007: 7–32.
[14] ERNST, Wolfgang. 2002. Das Rumoren der Archive. Ordnung aus Unordnung. Berlin: Merve, 2002.
[15] ERNST, Wolfgang. 2009. Das Archiv als Gedächtnisort. In Knut Ebeling and Stefan Günzel (eds.). Archivologie. Theorien des Archivs in Philosophie, Medien und Künsten. Berlin: Kadmos, 2009: 177–200.
[16] FOELLMER, Susanne. 2014. Reenactments und andere Wieder-Holungen. In Frédéric Döhl and Renate Wöhrer (eds.). Zitieren, Appropriieren, Sampeln. Referenzielle Verfahren in den Gegenwartskünsten. Bielefeld: transcript, 2014: 69–92.
[17] FOUCAULT, Michel. 1981. Archäologie des Wissens. Transl. by Ulrich Köppen. Frankfurt am Main: Suhrkamp, 1981.
[18] FOUCAULT, Michel. 1989. The Archaeology of Knowledge. Transl. by A.M. Sheridan Smith. New York: Routledge, 1989.
[19] FRANKO, Mark. 2017. Introduction: The Power of Recall in a Post-Ephemeral Era. In Mark Franko (ed.). The Oxford Handbook of Dance and Reenactment. Oxford: Oxford University Press, 2017: 1–15.
[20] JESCHKE, Claudia. 2010. 'Updating the Updates'. Zum Problem der 'Identität' in der Geschichts-Vermittlung vom Tanz(en). In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 69–79.
[21] JUCAN, Iona B., Jussi PARIKKA and Rebecca SCHNEIDER. 2019. Remain. Chicago: University of Minnesota Press, 2019.
[22] KRUSCHKOVA, Krassimira. 2010. Tanzgeschichte(n): wieder und wider. Re-enactment, Referenz, reverence. In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 39–45.
[23] LEPECKI, André. 2010. The Body as Archive. Will to Re-enact and the Afterlives of Dances. Dance Research Journal 42 (2010): 2: 28–48.
[24] NACHBAR, Martin. 2010. Spu(e)ren/Lesen. Ein Versuch über das Tanzarchiv. In Janine Schulze (ed.). Are 100 Objects Enough to Represent the Dance? Zur Archivierbarkeit von Tanz. Munich: epodium, 2010: 122–137.
[25] NACHBAR, Martin. 2017. Tracing Sense/Reading Sensation. An Essay on Imprints and Other Matters. In Mark Franko (ed.). The Oxford Handbook of Dance and Reenactment. Oxford: Oxford University Press, 2017: 19–31.
[26] Oxford Dictionary [online]. [accessed on 24.5.2018]. Available online at https://en.oxforddictionaries.com/definition/document.
[27] ROMS, Heike and Rebecca EDWARDS. 2011. Oral History as Site-Specific Practice: Locating the History of Performance Art in Wales. In Shelley Trower (ed.). Place, Writing, and Voice in Oral History. London: Palgrave Macmillan, 2011: 171–192.
[28] SACHSENMAIER, Stefanie. 2017. Silent Transformations in Choreography-Making Over Time: Rosemary Butcher's Practice of 'Looking Back and Ahead'. In Lesley Main (ed.). Transmission in Dance. Contemporary Staging Practices. Basingstoke: Palgrave Macmillan, 2017: 163–188.
[29] SCHNEIDER, Rebecca. 2011. Performing Remains. Art and War in the Times of Theatrical Reenactment. London/New York: Routledge, 2011.
[30] SCHNEIDER, Rebecca. 2014. Document, Hand, and Hail. Gesture and the Limits of the Live [lecture]. DFG-research project 'ÜberReste. Strategien des Bleibens in den Darstellenden Künsten'. Freie Universität Berlin (8. 12. 2014).
[31] SCHULZE, Janine. 2010a. Lücken im Archiv oder Die Tanzgeschichte ein 'Garten der Fiktionen?' In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 147–153.
[32] SCHULZE, Janine. 2010b. Tanzarchive sind Perpetuum Mobiles. In Janine Schulze (ed.). Are 100 Objects Enough to Represent the Dance? Zur Archivierbarkeit von Tanz. Munich: epodium, 2010: 8–17
[33] STOLER, Ann Laura. 2002. Colonial Archives and the Arts of Governance. Archival Science 2 (2002): 1–2: 87–109.
[34] TAYLOR, Diana. 2003. The Archive and the Repertoire. Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.
[35] WEHREN, Julia. 2016. Körper als Archiv in Bewegung. Choreografie als historiografische Praxis. Bielefeld: transcript (open access), 2016.
[36] WHATLEY, Sarah. 2013. Siobhan Davies RePlay: (Re)visiting the Digital Archive. International Journal of Performance Arts and Digital Media 9 (2013): 1: 83–98.
[37] WILLEIT, Simone. 2010. Stolpern und Unzulänglichkeiten. Interferenzen in Tanz-Rekonstruktionen. In Christina Thurner and Julia Wehren (eds.). Original und Revival. Geschichts-Schreibung im Tanz. Zurich: Chronos, 2010: 47–58.
[38] WOOKEY, Sara. 2017. Transmitting Trio A (1966): The Relations and Sociality of an Unspectacular Dance. In Lesley Main (ed.). Transmission in Dance. Contemporary Staging Practices. Basingstoke: Palgrave Macmillan: 2017: 143–161.