Dear African Dance & Music Community,
African-dance theorist, BRENDA DIXON GOTTSCHILD,
comes to MIT for a series of lectures and a performance.
Sponsored by: Women and Gender Studies, SLIPPAGE Admission:Open to public
For more information & directions, e-mail: heidy@mit.edu Phone: 617/253-8844
Friday February 15, 2008- 3:00pm-5:00pm
"African American Vaudeville and Race Politics in the Swing Era."
Friday February 22, 2008 - 3:00pm-5:00pm
"The Stories Pictures Tell: Dance Footprints in Selected Works of Aaron Douglas"
Friday February 29, 2008 - 3:00pm-5:00pm
"Researching Performance: The (Black) Dancing Body as a Measure of Culture"
Location: Building "32-155" MIT Campus
And here is the announcement about the performance:
Tongue, Smell, Color: Special Dance Performance
And here is the announcement about the performance:
Tongue, Smell, Color: Special Dance Performance
by Brenda Dixon Gottschild and Helmut Gottschild
Thursday , February 28, 2008 6:00p-9:00p
Thursday , February 28, 2008 6:00p-9:00p
Location: NE30-1154, Broad Institute Auditorium, MIT
Helmut and Brenda Dixon Gottschild achieve a rare success
in Tongue, a work that is highly provocative, profoundly personal, and
very smart. It is an improbable success in that it weaves together dance, music,
poetry, readings from academic texts, enactments of searing personal catharsis,
and a unique physical vocabulary created by the scholar/artists. That it is a
success explodes from the stage in every autobiographical truth the performers
utter. Without flinching, they confess the racialized points of attraction and
desire which initially divide them, but ultimately bound them together. At
times they inflect the autobiographical narrative with fragments of Brenda's
groundbreaking scholarship in Africanist performance practice or Helmut's
deeply-felt dance.
The result is a huge advance in critical scholarship and performance, of vital importance to anyone interested in cultural studies, performance studies, dance, or the nagging persistence of "race" in the way couples view the world. This performance is part of lecture series SEEN and UNSEEN: Reading "The Black Dancing Body" (Also see Feb 15 & Feb 22 & 29.) Book signing follows performance.
in Tongue, a work that is highly provocative, profoundly personal, and
very smart. It is an improbable success in that it weaves together dance, music,
poetry, readings from academic texts, enactments of searing personal catharsis,
and a unique physical vocabulary created by the scholar/artists. That it is a
success explodes from the stage in every autobiographical truth the performers
utter. Without flinching, they confess the racialized points of attraction and
desire which initially divide them, but ultimately bound them together. At
times they inflect the autobiographical narrative with fragments of Brenda's
groundbreaking scholarship in Africanist performance practice or Helmut's
deeply-felt dance.
The result is a huge advance in critical scholarship and performance, of vital importance to anyone interested in cultural studies, performance studies, dance, or the nagging persistence of "race" in the way couples view the world. This performance is part of lecture series SEEN and UNSEEN: Reading "The Black Dancing Body" (Also see Feb 15 & Feb 22 & 29.) Book signing follows performance.
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