9 Choreographic Analysis as Dance Studies Methodology Cases, Expansions, and Critiques Harmony Bench, Rosemary Candelario, J. Lorenzo Perillo, and Cristina Fernandes Rosa Copyright © 2023. Taylor & Francis Group. All rights reserved. Introduction In their introduction to the third edition of The Routledge Dance Studies Reader, Jens Richard Giersdorf and Yutian Wong identify the emergence of dance studies as a field in the United States and Europe in the 1980s with the effort to “recast dance and choreography as a method” in which choreography and dance could “become models for accessing, organizing, and destabilizing political, structuralist, and post-colonial enquiries” (2019, 5). This approach, they argue, provided a methodology for researching gender, race, sexuality, class, and more. In this chapter, we address the formation, continued application, and pedagogy of one such approach – choreographic analysis – in which choreography simultaneously names an object, a method, and an analytic framework. A choreographic lens might interpret, direct, and foreclose possibilities for movement; choreographic analysis may also offer a way to understand and convey the multiple, contradictory, temporal, and particular power relations involved in movement, spatial distributions, or systems of relations. The stakes of choreographic analysis, both at the beginning of dance studies as a field and today, are significant. Choreographic analysis expanded dance scholarship by showing not only what dances mean but also how they produce meaning. It demonstrated the possibilities of writing complex analyses of a system of representation with verbal and non-verbal signifiers, and advanced notions of embodied knowledge production, especially in terms of writing. It also gave credibility to the field, particularly in relation to other fields also engaged in the interpretive turn. The other side of the coin of validation by the academy is being subject to its constraints and limitations in terms of scholarship, DOI: 10.4324/9781003145615-12 Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 114 Harmony Bench et al. Copyright © 2023. Taylor & Francis Group. All rights reserved. pedagogy, and curricula. Choreographic analysis isn’t neutral; it’s a framework with a history. It emerged from academic circles in the Global North, spaces historically patriarchal, colonial, and capitalist. While many dance studies texts pushed against these systems of oppression, they have also been pulled in or co-opted by these circles. At colleges and universities, texts that opened up new possibilities for dance research themselves became subject to canonization and codification in order to comply with expectations from the industry of higher education for legible, replicable methods and methodologies. Furthermore, the assumption that such methods could then be applied universally, worldwide, only reinforced colonial paternalism. To consider these issues, Rosemary invited Cristina, Harmony, and Lorenzo to dialogue about choreographic analysis. In what follows, we discuss choreographic analysis: what it is, what we see as its affordances and limitations, and how we have each employed it differently in our research and teaching. Our discussion uses as its starting point the work of Susan Leigh Foster as a foundational scholar within the development of critical dance studies in North America, its significance to dance studies in the Global North, and its international impact. And since we all earned PhDs in Culture and Performance from UCLA chaired by Foster, we also relate to our experiences learning to work with her approaches and lenses firsthand. Despite this commonality in our training, our research interests vary greatly (broadly: movement practices from Brazil, Filipino and Filipino diasporic hip hop, the diaspora of Japanese butoh, and dance in online and digital spaces), and we have been working in a variety of university departments (dance, theater, ethnic studies) in North and South America, Europe, and the Pacific. Furthermore, we don’t necessarily agree on what choreographic analysis is, how or when it can be applied, and what its limitations/affordances are. Yet, our diverse perspectives allow us to attend in our scholarship to many different dimensions of choreography, including its relationships to bodies, societies, political and cultural frameworks, as well as nonhuman situations. Given the challenges of the pandemic and our disparate locations, we came together asynchronously – via email, video recordings, WhatsApp voice messages, Zoom chats, and Google Docs – to forge a “dialogue” on the page out of our individual contributions. Throughout, we assert that choreographic analysis is a useful tool, but one that should not be fixed with a single definition or a prescribed set of steps to follow. Rather, we emphasize choreographic analysis as a productive framework that prompts us to ask questions about the event at hand. What Is Choreographic Analysis? Choreographic analysis is often linked to Foster’s 1986 book, Reading Dancing, even though she does not use that term. ROSEMARY CANDELARIO (RC): Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 115 Instead, she proposes “reading dancing” as the name for an “active and interactive interpretation of dance as a system of meaning” based on “a set of choreographic conventions that create and convey what a dance is about” (1986, xvii), including frame, modes of representation, style, vocabulary, and syntax. These codes and conventions are, Foster argues, used by “literate dance readers” (1986, 56) to interpret the dance. She builds this method of movement and semiotic analysis (via a Barthesian understanding of the text) on four paradigmatic examples: Deborah Hay, George Balanchine, Martha Graham, and Merce Cunningham. These four choreographers were all part of the 20th-century American concert dance scene, and more specifically were all active in the 1983–1984 New York season. These examples of white choreographers working in ballet, modern, and postmodern dance provided material for Foster to propose a system for analyzing not only how dances are made and what they mean, but more so how dances make meaning. This semiotic approach paves the way for the elaboration in subsequent texts of choreography as a framework of structural analysis, that exceeds methods of content or movement analysis, such as Laban Movement Analysis. To me, choreographic analysis is a form of close reading that employs movement as evidence, but I do not tie it exclusively or even primarily to dancing bodies, nor do I seek “meaning” in my use of choreographic analysis. In that way, my own use and understanding deviate from what Foster laid out in Reading Dancing, but are aligned with her overall project of elaborating choreography as a framework. Confession: Reading Dancing never resonated with me; I turn to Foster’s later essays “Choreographies of Gender” (1998) and “Choreographies of Protest” (2003) for articulations of how choreographic analysis allows me to focus on what arranged, planned, or executed movement achieves or embodies. It illuminates how power (in a Foucauldian sense) is spatialized, temporalized, and corporealized in terms of the development of bodily capacities and the organization of environments to shape or direct certain outcomes. In my mind, choreographic analysis connects to Maussian techniques of the body and Foucauldian anatomo- and biopolitics (inclusive of but not limited to docile bodies as Foster lays out in “Dancing Bodies” [1997]). Copyright © 2023. Taylor & Francis Group. All rights reserved. HARMONY BENCH (HB): This is how I define choreographic analysis in Perpetual Motion: Dance, Digital Cultures, and the Common: In my view, choreographic analysis foregrounds the forces through which movement is produced, maintained, constrained, accelerated, directed, and made legible. As a social analytic, choreography is concerned with issues of bodily discipline and regimes of movement. It is worth emphasizing, however, that choreography is necessarily plural. Any complex system Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 116 Harmony Bench et al. simultaneously brings together multiple contradictory forces and pressures, along with multiple structures for organizing movement. These may materialize in the form of dance, or they may materialize in the forms of gestures, postures, mobilities, constraints, pathways, and flows, among other manifestations. (2020, 13) I think choreographic analysis really emphasizes how movement is a manifestation or physical expression of underlying structures. Giving movement weight as evidence affirms how bodies are articulate – they are not merely reacting to environments and conditions as “dumb” matter, they are actively reading the scene and making choices. But at the same time, choreographic analysis demonstrates how those choices are circumscribed. In other words, choreographic analysis offers a way to hold the agential and articulate in productive tension with the nonvoluntary and coerced. How We Learned Choreographic Analysis RC: Choreographic analysis is at the heart of many dance studies texts. However, scholars using the methodology have primarily learned it inductively by reading texts that analyze choreography. My graduate school training, guided by Foster, involved reading the latest texts by dance studies scholars. In class, she would ask us the following questions about texts we read: Copyright © 2023. Taylor & Francis Group. All rights reserved. What in the dance’s action is most vividly represented in print? How does the author analyze the choreography? How does the author implement or otherwise dialogue with theories raised in cultural studies and critical theory? What does the author’s “body” look like and how is it moving? What does the author envision as the relationship between dancing and writing? How does the writing make you feel? This approach to noticing other scholars’ processes and learning to apply and adapt them, along with Foster’s frequent reminder, “the dance will tell you how to write it,” provided me with an intuitive process guided by the choreography itself, rather than any didactic list of steps, that worked for me in my own research. I learned about choreographic methods in the midaughts primarily through a series of Foster’s classes, departmental events, conferences, and one-on-one advising meetings. I don’t believe Reading Dancing was ever assigned course reading, but rather I read texts by Brenda Dixon Gottschild (1998, 2005), Thomas DeFrantz (2006), Cynthia Novack (1990), Randy Martin (1998), and many others. As a research method, choreographic analysis gave me space to see how a variety of analytical J. LORENZO PERILLO (JLP): Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 117 approaches to movement could be less about notation or capturing the dance, and rather serve particular scholarly research functions. To me, Foster was not proposing that we use her book as a cookie-cutter methodology. This is not a cake recipe. Rather, she offers a semiotic way of reading dances by prominent US-based choreographers. But her texts also reveal to us, dance scholars, her thinking behind it. That way, we could further employ these conventions and/or (re)formulate our own categories of analysis and structure them as we see fit, in a given case or context. Her goal, I think, was to demonstrate that choreography is a system of representation and, as such, could be read or decoded. Behind all that laid acts of perception and translation between what she later called moving and pen-pushing bodies (Foster 1995). She would ask me, “Cristina, tell me, what did you see?” CRISTINA FERNANDES ROSA (CFR): Copyright © 2023. Taylor & Francis Group. All rights reserved. JLP: The thing that choreographic analysis afforded me that differed from my previous training in American studies and concurrent Asian American studies training was a set of guiding questions to pay attention to in relationship to the body and social, cultural surroundings. How does the subject depict bodily reality? How does the subject conceptualize and organize movement knowledge? In American studies and critical race studies, literary and historical methods that rely on close-textual analysis are dominant; thus choreographic analysis helped legitimize what I was doing as a scholar coming from the hip hop and street dance community. Additionally, it became about the writing of research. How do I write, and how do I translate it onto the page? How will I depict my authorial body in relation to other moving bodies? So choreographic analysis as a method meant as much to me on the back end as on the front end. How do I bring these guiding questions to an interview, or bring a particular awareness to a viewing? How do I get at the internal discourse of the dance? For me, it lies in recognizing the agency of the dance, the interior elements, or the aesthetics of the practice, for example, and allowing them to inform the research process. The ongoing experimentation with writing dance in the field led me to sometimes think about the feeling that the dancer gets or the audience gets from the dance. It could mean being very mindful of the lineage of DeFrantz’s “the break” (2006) or what Foster talks about in terms of the agency of the dance, to let it come over you, or to let it take hold of you in the research process, in the reading of the research, and the delivery of the research. It wasn’t just “insert movement description here.” I think that opened a lot, it destabilized dance as an object. And so I could bring in that mixed insider-outsider feeling that I have in the community and try to replicate that, or try to give the reader of the research that feeling. Not just describe it, but try to give them that vibe, you know. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 118 Harmony Bench et al. The question of the multi-dimensional, multi-sensorial, and multi-modal is what was really interesting and generative for me and also what I couldn’t find in American studies and critical race studies. Copyright © 2023. Taylor & Francis Group. All rights reserved. How We Have Used and Adapted Choreographic Analysis CFR: When writing my book Brazilian Bodies and their Choreographies of Identification: Swing Nation (2015), I took Foster’s choreographic analysis as a foundational framework for analyzing the repertoire of Grupo Corpo, a ballet-centered company of contemporary dance that utilizes a variety of movement vocabulary materials from Afro-Brazilian aesthetics. What I liked the most about Foster’s approach in Reading Dancing, and her teaching style, was that it gave me a tangible awareness of how the constructions of categories of analysis could be productive to my examination of Grupo Corpo’s dance works Nazareth (1992) and Breu (2007). But before I could get there, I wrote five previous chapters unpacking their Africanist qualities of movement, and historicizing them, outside and beyond the conventions outlined in Reading Dancing. In the end, I developed my own way of seeing and reading those dance works, which was certainly informed by my own historical positionality. Dancing is always already complex, subjective, and circumstantial, and so is watching and trying to make sense of it. However, I was grateful to understand the notion of categories, meaning how categorizing is an artificial procedure that nevertheless supports analytical thinking. The act of recognizing patterns, drawing out particular elements, pulling them apart, and/or sorting them into cognitive boxes clarified what I was looking at. But, and here is the caveat: I was analyzing set choreographies performed on theatrical stages by a company that, despite its specificities, remained centered on a European technique. And that is exactly what afforded them international visibility and legibility. RC: I remember during graduate school sitting with performance artist and scholar Doran George on the hill next to the dance building at UCLA with our copies of Reading Dancing, and discussing whether it was something that could be applied beyond US and European concert dance to our respective fields of somatics and butoh. And even more than can it be, should it be? Foster’s specific yet narrow focus on her four paradigmatic examples – all white, US-based, modern and postmodern concert dance – does not address further possible paradigms beyond these Eurocentric examples, as Foster herself acknowledges. We ultimately decided that the method was not exhausted by Foster’s selection of material, and that we could take some of her big principles as a way to look at different forms. I Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 119 think the notion that helped us get there was of “dance as a product of the choreographer’s creative process” (1986, xix). More broadly, Foster’s articulation that, “Reflected in the organization of the dances and the preparations for them are certain fundamental assumptions about the nature of the body and also the self, or subject, of the person dancing” (1986, 43) helped us see that there was so much room to extend this beyond the event of a dance performance, as well as beyond the construction of meaning, to explore how the world of the dance relates to the world around it, what it effects in the world, and how it is affected by that world in which it is experienced. You can see this in Doran’s book, The Natural Body in Somatics Dance Training (2020),1 in which they analyze how somatics dance training both relates to larger aesthetic and political values, and produces a kind of embodied politics. In my book Flowers Cracking Concrete: Eiko & Koma’s Asian/American Choreographies, choreographic analysis helped me to articulate the pair’s profound slowness – often Orientalized by critics and audiences as “Zen” – as a persistent and insistent “adagio activism” (2016, 4–8). In this I depart from Foster’s emphasis on semiotic analysis in favor of focusing on what Eiko & Koma’s dances do in the world, what I called their “profound corporeal and affective work” (2016, 4). And then it also helped me get at the structural forces – discourses about Japan, the binds of Asian/America, multi-cultural programming policies – that have often occluded the political implications of their performances. Copyright © 2023. Taylor & Francis Group. All rights reserved. JLP: I approached choreographic analysis not as something that was set in stone or limiting, but more like a launching pad or a stepping stone to my own method that I developed. I think that was what was most useful and meaningful to me to get at my experience with the material and the subject. My experiences doing research in the Philippines opened up a world. It really pushed the limits of understanding a dance from a narrower idea of what choreographic analysis is, that it’s just breaking down a dance. For me, it was more about that expansive idea that choreography is not just something for professional dancers. Rather, the military choreographs, or the state choreographs, or there’s choreography beyond the concert stage at institutional levels. There are real kinds of dynamics that we can articulate about the body and the self, the social and cultural at that level. One example in the “Heroes and Filipino Migrations” chapter of my book Choreographing in Color: Filipinos, Hip-Hop, and the Cultural Politics of Euphemism (2020) lies in the reality that thinking about dances purely as a form of expression misses out on the dynamics by which dancers were exported by the Philippine state to provide care for the globe, for rapidly industrializing Asian countries, and for institutions like Hong Kong Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 120 Harmony Bench et al. Disney and Universal Studios Singapore. Multi-national corporations and employment agencies rely on stereotypes that naturalize Filipinos as the world’s best dancers and singers. But if we just treat that as entertainment, or as a win for the arts community, then we miss out on how racialized and gendered dancers are part of the global care chain. Now more than ever in the pandemic, we realize how much we have to think about the relationship between choreography and care. We’re creating audiences, or you’re dancing with others, or you’re teaching others to care for themselves and treat their bodies with respect and not dance when they’re sick. We’re not taught this necessarily with historical and close-textual analysis. However, I think choreographic analysis helped me get there because it revealed all the different dimensions of choreography, of the relationship between body, society, politics, and culture that I wouldn’t have seen otherwise if I just relied on interviews with dancers. That helps, of course. But also I needed to see the interlocking pieces. The frequent despedida for dancers going away. Awareness of the power dynamics behind the “going aways” or the new arrivals of people coming from the United States, those kinds of things were critical for that community to sustain its scene. HB: Just as interesting for me are the nonhuman applications of choreographic analysis to, for example, computer hardware and interface design; camera movement, including framing and editing in dance onscreen; built environments and their implications for how humans and nonhumans gather or pass through, and whether their motion is forced or blocked; and so on. Urban planning, computational surveillance, Trump’s border wall, red lining – these can all be viewed through a choreographic lens insofar as they interpret, direct, and foreclose possibilities for movement. Copyright © 2023. Taylor & Francis Group. All rights reserved. Openings for Decolonial Processes? RC: We have been talking about what choreographic analysis enables and how it may be adapted and expanded. What about its limitations? CFR: I’ve come to realize that developing our own categories of analysis is not enough. It is still, as my current students at the Federal University of Bahia in Salvador (UFBA) have argued, reproducing coloniality. Because, if in order to value dancing – not only to bring visibility and clarity to it but to value dancing otherwise – we must subscribe to conventions that have been established within Eurocentric cosmologies, that is already negating the possibility of extending what an analysis could be, its function and its productivity, in terms of understanding not only alterity but also pluriversity. In Brazil, for instance, black dance scholars have been empowered Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 121 Copyright © 2023. Taylor & Francis Group. All rights reserved. by a series of public policies that implemented affirmative action in state institutions and National Curriculum Guidelines for the Implementation of Ethnic-Racial Relations Education and the Teaching of Afro-Brazilian, African, and Indigenous History and Culture. And now, they are asking: What if, instead of clarifying – or whitewashing – our analyses, we were to black them up (enegrecer in Portuguese), through Afrocentric perspectivism (Nogueira 2011), pretagogia (neologism indicating black pedagogy, Petit 2015) or an Afro-diasporic epistemology (Rufino 2019)? In a nutshell, the extent to which seminal dance studies texts, such as but not limited to Foster’s Reading Dancing, are applicable to a wide range of works gives us the false impression that they work for everything. However, that’s not the case. And as we expand the field of dance studies to examine other kinds of artistic movement practices from distinct kinds of people circulating in different kinds of contexts, it becomes clear that what we historically know as critical dance studies up to very recently is more like an “area studies.” Historically speaking, it’s a Eurocentric discipline anchored on epistemologies of the Global North. Another problem with (the notion of) any method is that it assumes that there’s some kind of universality or neutrality about it, but there isn’t, either. Nothing about Foster’s way of thinking is natural or neutral, or somehow critical enough that it’s disembodied or not situated. Hence, it’s important to not only care for the movements, in and of themselves; to look very carefully and to describe them accurately, or productively. It’s equally important to understand the ideas that the people doing those movements have about a variety of things, starting with how they know or perceive their own bodies, both physically and metaphysically. At least, we should try to grasp the nuts and bolts of bodily movements through the eyes of those performing them, their ways of knowing, and how they function in each context. Meanwhile, we should also tend to the effects that those movements produce, here and there, whether they have emotional, cultural, or political implications or legibility. We might also need to scratch and reevaluate our own notions of beauty and correctness, in terms of what is considered to be “good” or “well done.” What are the dancers’ epistemological parameters for deciding who is doing “that thing” well, in terms of ethics and aesthetics, and so forth? Or even, what is a category or convention? What is a logical argument or is clarifying logic always the ultimate goal? Once you step outside the thinking practices of the Global North, the value of creative movement might also exceed or differ from those within Eurocentric cosmologies. At the same time, I think that any decolonial or anti-colonial exercise in dance studies must also question the coloniality of language, that is, the choices made in communicating your findings in writing, from how you structure a Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 122 Harmony Bench et al. Copyright © 2023. Taylor & Francis Group. All rights reserved. sentence or paragraph to word choice. Do you incorporate vocabulary from a native language to address local key concepts or do you translate and/or approximate them to words in the target language, often English? So, it’s a matter of both perception and translation. These two are inseparable parts of a methodology, and its production of knowledges. RC: That makes me think of one of our UCLA contemporaries, D. Sabela Grimes, who does what he calls a “mash-up” of Foster’s concept of the frame (1986), and DeFrantz (2004) and H. Sami Alim (2006) on call-andresponse and the cipher to think through Soulja Boy’s “Crank That” on YouTube, specifically, and the space and community of the digital cipher more broadly (2008). The way he uses the language, rhythms, and syntax of hip hop to both “read” and communicate his analysis feels very much like what Cristina is talking about. The way Grimes takes Foster’s argument and “makes it his own,” in writing, seeks to (and perhaps succeeds in) overcoming some of the limits outlined above. JLP: Thinking about the issues Cristina raises makes me wonder if I am imposing a Western concept into a space where I’m trying to decolonize at the same time? For example, one approach that I considered in response to the predominant positioning of white and European choreographers as paradigmatic of both 20th-century American concert dance and choreographic analysis, was to shift and recenter Filipino choreographers like Francisca Reyes-Aquino, Agnes Locsin, and Myra Beltran. At the same time, a reclamation of the individual genius of choreographers from the Philippines isn’t going to cut it. It doesn’t have a direct impact on the rules of the game. If we’re not cognizant of that definition of choreography being limited in some ways, then we’re just replicating some of those unhealthy relationships between the United States and its postcolonial territories. For these reasons, in my book I employed choreographic analysis along with indigenous, ethnographic, and archival methods to rethink the naturalization of colonial relations between indigenous, Black, and Filipino peoples. In order to adapt choreographic analysis and as an initial step toward awareness and action, I find it important to acknowledge and honor the indigenous people and stewards of the land upon which the university is located. This opens up not only the specific settler politics of terms like “choreographic” and thus choreographic analysis, but also highlights how the rise of such terms is embedded within a history of indigenous land dispossession by “land-grab” universities like the University of California, The Ohio State University, and Cornell University (Lee et al. 2020). In a different approach to decolonial choreographic analysis in my article “Embodying Modernism: A Postcolonial Intervention Across Filipino Dance” (2017), Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 123 I reveal the white settler colonial genealogies that helped give rise to the landmark Philippine Dances and Games (Reyes-Tolentino and Ramos 1927), and the debate between dance as a means of choreographing colonial legitimacy and national subjectivity. CFR: Copyright © 2023. Taylor & Francis Group. All rights reserved. HB: I agree with Lorenzo. From a decolonial perspective, I think it’s necessary to exercise something that Walter Mignolo has called epistemic disobedience (2021). Similar to the black Brazilian authors I mentioned above, the work of other black and brown dance scholars such as Nadine GeorgeGraves, Raquel Monroe, Priya Srinivasan, Melissa Blanco Borelli, Royona Mitra, and María Regina Firmino-Castillo, to name a few, continues to draw on decolonial methodologies and pedagogies as a way of unsettling or unhinging from epistemologies of the Global North, pointing to how they have historically shaped analyses of dances and other movement practices in our field. I appreciate this discussion of how choreographic analysis isn’t neutral. It came from somewhere. But I’m not ready to call choreographic analysis any more or less colonial than other methods; the academy as a whole is a colonial institution. Just like discourse analysis, performance analysis, data analysis, etc., choreographic analysis names the thing being analyzed. So the question becomes: what is the “choreographic” in choreographic analysis? If the choreographic refers only to dances composed in a certain kind of way, that’s a big problem. There’s a very interesting slippage here where choreography simultaneously names an object of analysis (choreography as composition), a method of analysis (close reading of movement), and an analytic framework (reading “as” choreography in a kind of Schechnerian is/as performance approach). How very postmodern. How very confusing. But I’m surprised by the question of whether or not choreographic analysis can be decolonial. Without myself laying claim to a decolonial method, the question for me would not be “if” a decolonial choreographic analysis is possible, but “how” or “in what ways” is it possible? Foster showed us a feminist choreographic analysis in “The Ballerina’s Phallic Pointe” (1996) and “Choreographies of Gender” (1998), and in her “Choreographing Empathy” essay (2005) that preceded her book by the same title (2011), she shows how the project of colonial expansion is situated in the very bodies and practices of 18th-century dancers – not least through their imagination of space as abstract and empty. Foster deconstructs the operations through which worldviews take shape in movement, which seems to me an important step in decolonial critique. CFR: Indeed, Harmony. How very confusing. On the one hand, scholars such as Marta Savigliano have problematized discourses that uphold the centrality Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 124 Harmony Bench et al. of Choreography, as she puts it, “with a capital ‘C,’ to connote the privileged status given to the ability to create or read meaningful and/or effective configurations of movement such as space and time” (2009, 187), assigned to dance composition as an art form, in opposition to other kinds of “dancing happening out there in the world” (2009, 181). On the other hand, Foster’s scholarship invites us to grasp “choreography,” more broadly speaking, as any set of underlying codes or guidelines organizing moving bodies, artistically, socially, politically, ideologically, epistemologically, and so forth. In my book (2015), I use this broader understanding in order to problematize the (perceived) fixity of marked identities. In short, my analyses of various bodily arts (from concert dance to martial arts) as well as practices of daily life, such as walking, pay close attention to the ways in which marginalized bodies circulating in Brazil have negotiated agency through movement. Some articulate, as I argue, empowering “choreographies of identification,” even when they continue to be placed or viewed in positions of otherness. I would qualify my analysis as decolonial, in as much as I’m not interested in framing practices such as capoeira angola and samba circles as “choreographic works,” for instance. Rather, I deploy choreographic lenses to shed light on discourses articulated from an Afrocentric system of bodily organization and knowledge production cultivated in Brazil. Simply put, my analysis of what I call “ginga aesthetic” across distinct practices acknowledges in writing a black diasporic way of thinking about and moving across the world that differs from and exceeds the epistemologies of the Global North. Copyright © 2023. Taylor & Francis Group. All rights reserved. JLP: I think a lot of folks who came through our genealogy at UCLA advocate for choreographic analysis to gain recognition as legitimate as historical or ethnographic methods. And I think in order to do that, we do need to think along different lines. What does choreographic analysis mean in terms of self and selfhood? What does it mean in terms of interpersonal relations? What does it mean in terms of institutional dynamics, whether the institution be the state, or the educational institution, or the prison? And then, what does it mean in terms of the world, for the environment, climate change, the cosmos, and more-than-humans? CFR: In terms of my current research, titled “Movements of Sustainability,” I’m approaching the analysis of bodily arts through four categories, three of which are widely addressed in several postmodern dance practices: the care of self, the care of others, and the care for environments. I have added a fourth one: the care for ideas and ways of knowing. For me, any decolonial methodology seeking to support and sustain ways of doing and being otherwise would have to consider those four. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 125 The Ethics of Choreographic Analysis RC: This decolonial problematization we’ve been discussing also feels like an articulation of the ethics of choreographic analysis. JLP: In order to secure the rights, welfare, and dignity of human research subjects, my university has several administrative support systems and ethics review boards that provide policies, procedures, and approval necessary before any investigator can conduct research. As far as I know, the ethics review board doesn’t recognize choreographic analysis or question its ethical consequences, as it does ethnography or other methodologies. So if we want to think about it at the policy level, what would it look like if we had an ethics review board consider choreographic analysis? How would that board evaluate the selfhood part that I referred to before, that is, doing justice to the dance, and the ethical relationship specific to choreographies? Copyright © 2023. Taylor & Francis Group. All rights reserved. RC: Drawing from what Carolyn Ellis (2007) calls relational ethics, what are the ethics of relating to the dance? How do you relate to the dance’s agency? How do you engage with the dancemaker, the dancers, producers, audiences? Maybe you’re writing about something and as you’re going along you realize that it’s appropriative and now that you’re into it, there’s this problem that’s being raised. How do you address that? Do you sweep it under the rug, or grapple with it? I had a student who was writing about Maguy Marin’s Groosland (1989). Her interest in it was thinking with object-oriented ontology – a field of philosophy that rejects anthropocentrism and considers objects to exist independent of human perception – about the relationship of the dancers’ bodies to the fatsuits they wore. But I kept urging her to not ignore the element of fat phobia in the performance. What is the choreographic representation saying about abled-bodyism and particular kinds of bodies? On the one hand, the dance is doing these really interesting things with objects, but on the other hand, it’s being kind of crappy about people. I pushed her to not let the dance off the hook. The student went into the dance thinking about the analysis one way and as she got into it, she realized that she had to develop how to relate to other aspects of the dance and take that seriously and acknowledge that in the analysis. The resulting article, “Intra-acting fat suits, tutu flesh, and sweaty skins: material-semiotic clashes in Maguy Marin’s Ballet Groosland” (Mandradjieff 2021), is an example of developing the relational ethics of choreographic analysis. By focusing on the costumes as agential matter that nonetheless function within particular cultural frameworks, Mandradjieff showed how the choreography could reify fat phobia even as it opened up questions about the divide between human and nonhuman. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 126 Harmony Bench et al. HB: I find this to be an interesting and complicated space of navigation with my students, who sometimes want to offset the evaluative weight of dance criticism (e.g. newspaper reviews) by being so overly generous and deferential that their scholarship reads like they’ve been hired as part of a public relations campaign for the artists they analyze. On the flipside, however, sometimes I read scholarship that is little more than a pugilistic take-down, and the author hasn’t backed up their assertions with any movement evidence, which again, is central to my understanding of choreographic analysis. I think one aspect of the ethical relation comes through in taking responsibility for our own roles as scholars and writers, and to historicize, contextualize, and interpret – even to offer strong criticism when appropriate – while also recognizing the position of the author in relation to who or what they are writing about, and the power that the written word continues to hold vis à vis embodied practices. JLP: Beyond the relationship of self to the choreography, the interpersonal relationship would address how you share the dance with others, in the educational realm or in the media realm, like posting on social media, or commodifying your own labor. How do you make peace with those kinds of relationships? The interpersonal leads to questions such as: what are my communication skills and patterns, or how do I care for others? And then, how do I inhabit that role as a teacher? CFR: I have a quote by Brazilian choreographer Lia Rodrigues, originally posted on Copyright © 2023. Taylor & Francis Group. All rights reserved. her old website, which I wrote down on a piece of paper and I carry around with me wherever I go. It always comes to mind when I think of the ethics of relating to artworks and making sense of them. My translation of her quote is: “How can we relate to that which is different from us? How do you meet the other, in their habitat? And what can you gain, as much as you give, through these experiments and exchanges? Learn to learn from one another?” My current post-graduate students at the UFBA (a state institution that has implemented a series of successful affirmative action policies) are basically demanding three points. Firstly, when they enter the university, they want to feel included, which might mean different things to different people. But they want to feel acknowledged and embraced by the system. Secondly, they problematize or question notions of representativity in the curricula. Similar to Rodrigues’ point mentioned above, I often hear students expressing something like “I don’t see myself in this text,” or “I don’t recognize myself in what this author is saying,” in terms of the place from which one speaks or locus of enunciation (“lugar de fala,” in Portuguese, see Ribeiro 2019). Finally, in addition to reading authors that are speaking from their historical positionalities, students have expressed the Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Copyright © 2023. Taylor & Francis Group. All rights reserved. Choreographic Analysis as Dance Studies Methodology 127 need or desire to engage in topics pertinent to their interest, their sociohistorical backgrounds, and ethno-cultural heritages. They want to be in a program that speaks to, about, and for them, their positionalities, their ancestralities, their systems of beliefs and meaning-making, etc. And, when I assigned Foster’s Reading Dancing and the recording of one of her performative lectures in my methodology class, they didn’t see themselves in it. Several students reacted by canceling her and her ideas, at first sight. In the case of the performative lecture, I presumed that the whiteness of her skin, the foreignness of her accent, her academic rhetoric and voice intonation, and the bodily traces of her ballet training, all obfuscated any cutting-edge thought or problematizing argument her enactment was meant to achieve. After the initial shock – and the embarrassment of showing up thinking that I could fit that North American critique into a discussion useful to decolonial scholarship in Brazil, yet my decolonial approach wasn’t deep enough – I was actually pleased with the students’ ability to read her work against the grain and point out some things that for me had become invisible. In retrospect, my naiveness lay on my assumption that her long-lived contributions to the Global North dispensed any critical contextualization of their applicability to dance studies in Brazil. Instead, I should have contextualised these readings/viewings with a discussion of how her scholarship has historically pushed against systems of oppression (patriarchy, coloniality, capitalism), but were equally pulled in by them, as it was co-opted into a codified “standardization” of choreographic analysis as a fixed method. I’m teaching this methodology class once again and this time we will begin by looking at works that are currently being published or performed in Brazil, and then we’re going to deconstruct that through various decolonial approaches, and in relation to what is being valued abroad, in the Global North. I’m going to ask students to bring examples from their research topics, many of which are rooted in epistemologies of the Global South, and use them to problematize the limits of methodological approaches codified in dance studies, such as choreographic analysis, ethnography, and so forth. That way, I hope to practice, as Vázquez proposes, the task of listening “as an ethical orientation, towards knowledge as relationality” (2012, 247). Pedagogy of Choreographic Analysis RC: Choreographic analysis then raises pedagogical questions in addition to ethical ones: how can you teach an approach that has this ability that we’ve been discussing here to really let the movement teach us about how to work with it and how to analyze it, without replicating colonial structures? In my experience, once I began teaching in a PhD program with Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 128 Harmony Bench et al. Copyright © 2023. Taylor & Francis Group. All rights reserved. colleagues trained in qualitative social science research methods, I began to have to articulate the what and how of choreographic analysis in order to prove its validity as a scholarly method. I was, however, reluctant to say definitively “this is what it is,” because it necessarily adapts to the event/ performance/practice at hand. JLP: It might be the case that for most methods in higher education, we are taught how to “do” the method rather than how to teach the method. Perhaps this is why our reflections on instructional experiences have been so illuminating. For me, I talk to my students about the opening up of the term “choreography,” rather than just the common or popular usage of the term. Within hip hop or street dance communities, it still has limited use. But, it could be about looking at that polyvalent or polysemous nature of choreography – to see it as informing or agentive to your writing, taking control of your authorial body, you know, or to think about those ethical relationships. Or to think about how it can inform your historical approach, it can inform your ethnographic approach, it kind of cuts across all those other methods in a way that’s really mischievous. And it points at the disembodiment of historical approaches, and it points at the overemphasis of the interpersonal in ethnography. CFR: I have developed a few strategies for teaching how to analyze and contextualize movement, extrapolating from what scholars from the Global North have offered, and what their way of reading might have missed. When I was teaching in the United States, I might begin with African American choreographers and ask what is at stake for them, then compare and contrast those with works elsewhere in the African Diaspora. Similarly, in the United Kingdom or in Brazil, I might evoke Akram Khan or Grupo Corpo to ask questions regarding the form and function of hybrid ways of dancing or the effects they produce on global stages, in contrast to process-oriented practices such as capoeira’s or hip hop’s participatory improvisations in local communities. But, like Foster, I continue to ask my students: “what did you see?” In writing classes, I have drawn attention to etymology, the construction of new concepts between languages, and other translation issues. JLP: We’re saying choreographic analysis is a tool, but we can’t just take it and say, “Oh, this is how you do it and it’s a formula and it’s going to work every time.” We have to think about “What does this community need from this tool and then how can we use it best?” So in my Asian and Asian American dance theory class, I asked the students what they are interested in, in terms of Asian dance and performance theories, and how we can look at the field together. I don’t want to replicate a canon approach, so I set Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 129 it up that we had a conversation at the beginning of the class wherein we took a poll and ranked a cross-section of existing literature, that they might or might not know, in order of their existing interests. From that I created clusters of conversations. For example, one week we read the intro to Dancing East Asia (Mezur and Wilcox 2020) with my “Heroes and Filipino Migrations” chapter (2020) and “Towards a Chinese Hip-Hop Feminism and a Feminist Reassessment of Hip-Hop with Breakdance: B-Girling in Hong Kong, Taiwan and China” (Chew and Mo 2019). I think the class conversation went in different and more meaningful directions than if I had used a canon kind of approach. Then a few students wanted to explore Asian-Latinx intersections. And I was like, yeah, I want to look at that, too! So, this will open up a space to explore Latinx dance in Asia and Asian diasporas in the Caribbean and then perhaps we will come up with new lessons on choreographic analysis. Copyright © 2023. Taylor & Francis Group. All rights reserved. Possibilities and Responsibilities RC: As we continue to apply and teach choreographic analysis ourselves, and as our field grapples with how to decolonize dance studies and to value – in the sense that Cristina mentioned earlier – the Global South, I wonder what possibilities and responsibilities we see for choreographic analysis? JLP: My critical race studies training keeps nudging me to return to the question of the institution and the possible structural dynamics of “choreographic analysis”: How could choreographic analysis work in/as policy? If policy can drive the culture and the culture is not there yet, policy can help people. Of course, you have to implement policy, and people have to abide by it, or be compliant. But what would that look like, choreographic analysis as policy? Right now, it appears in the title of things, potentially that’s a doorway. With the UCLA World Arts and Cultures/Dance Department’s MFA degree in “choreographic inquiry,” rather than “choreography” for example, the front end and research questions appear to be emphasized over the product. Perhaps this relieves pressures of producing “professional dancers.” Perhaps this enables more attention to, as Harmony mentioned earlier, the nonhuman applications of choreographic analysis. One might imagine, for example, an American studies scholar researching demilitarization in the Pacific, and they might adopt choreographic analysis as part of their methodology. CFR: I’m asking myself: what does it really mean when we advocate for the equality, diversity, and inclusion of other ways of knowing in the classroom Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 130 Harmony Bench et al. Copyright © 2023. Taylor & Francis Group. All rights reserved. or the diverse and inclusive ways of approaching movement analysis or dance methodology as a whole? What does it mean to make the effort of incorporating particular writing styles or languages, taking into consideration that both native and target languages are always already creative media? Languages are contextual and have been practiced by certain groups of people differently. So, how can we empower diverse groups of students to create tactics and strategies with which to look at, think, and write about other ways of dancing? In the end, we have to remember that dance is not only an object of study. Dance is also a field of knowledge composed of various ways of thinking and doing things. RC: What if we extend choreographic analysis beyond the department and the university to the field, for example, to the Dance Studies Association? How is the field being choreographed? I think we’re in a really interesting moment of the possibility of structures shifting, priorities shifting, and policies shifting, as a result of that kind of analysis. HB: To a hammer, everything looks like a nail. Choreographic analysis enables some kinds of considerations and not others – but it’s just one tool in the toolbox. I think if you look at any of our scholarship and teaching, you’ll see that choreographic analysis is one approach among many, that most projects employ multiple methods simultaneously and are further oriented in terms of political and intellectual investments. I think scholarship is at its most exciting and creative when different approaches are combined to produce a unique analysis that really only that author could thread together from their specific expertise and experiences. JLP: I’m optimistic that we can use choreographic analysis to change the world. But I’m realistic that there are different circumstances and obstacles in the way, I can have self-doubt, people can be impediments, and institutions can be disciplining, and so understanding these levels is to me part of our job as educators and as scholars. Note 1 Following Doran George’s death, Foster posthumously edited their dissertation and saw it through to publication. Works Cited Alim, H. Samy. 2006. Roc the Mic Right: The Language of Hip Hop Culture. London: Routledge. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 131 Bench, Harmony. 2020. Perpetual Motion: Dance, Digital Cultures, and the Common. Minneapolis: University of Minnesota Press. Candelario, Rosemary. 2016. Flowers Cracking Concrete: Eiko & Koma’s Asian/American Choreographies. Middletown, CT: Wesleyan University Press. Chew, Matthew Ming-tak, and Sophie Pui Sim Mo. 2019. “Towards a Chinese Hip-Hop Feminism and a Feminist Reassessment of Hip-Hop with Breakdance: B-Girling in Hong Kong, Taiwan and China.” Asian Studies Review 43, no. 3: 455–474. DeFrantz, Thomas F. 2004. “The Black Beat Made Visible: Hip Hop Dance and Body Power.” In Of the Presence of the Body: Essays on Dance and Performance Theory, edited by André Lepecki, 64-81. Middletown, CT: Wesleyan University Press. ———. 2006. Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture. New York: Oxford University Press. Ellis, Carolyn. 2007. “Telling Secrets, Revealing Lives: Relational Ethics in Research With Intimate Others.” Qualitative Inquiry 13, no. 1 (January): 3–29. https://doi. org/10.1177/1077800406294947. Foster, Susan Leigh. 1986. Reading Dancing: Bodies and Subjects in Contemporary American Dance. Berkeley: University of California Press. ———. 1995. Choreographing History. Bloomington: Indiana University Press. ———. 1996. “The Ballerina’s Phallic Pointe.” In Corporealities: Dancing Knowledge, Culture and Power, edited by Susan Leigh Foster, 1–24. London: Routledge. ———. 1997. “Dancing Bodies.” In Meaning in Motion: New Cultural Studies of Dance, edited by Jane C. Desmond, 235–257. Durham, NC: Duke University Press. ———. 1998. “Choreographies of Gender.” Signs 24, no. 1: 1–33. Copyright © 2023. Taylor & Francis Group. All rights reserved. ———. 2003. “Choreographies of Protest.” Theatre Journal 55, no. 3 (October): 395–412. ———. 2005. “Choreographing Empathy.” Topoi 24, no. 1: 81–91. https://doi.org/ 10.1007/s11245-004-4163–9. ———. 2011. Choreographing Empathy: Kinesthesia in Performance. London: Routledge. ———. 2016. “Choreography.” In In Terms of Performance, edited by Shannon Jackson and Paula Marincola. http://intermsofperformance.site/keywords/choreography/susan-leigh-foster. Accessed February 15, 2022. George, Doran. 2020. The Natural Body in Somatics Dance Training, ed. Susan Leigh Foster. New York: Oxford University Press. Giersdorf, Jens and Yutian Wong, eds. 2019. The Routledge Dance Studies Reader, 3rd edition. London: Routledge. Gottschild, Brenda Dixon. 1998. Digging the Africanist Presence in American Performance: Dance and Other Contexts. Westport, CT: Praeger. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. 132 Harmony Bench et al. ———. 2005. The Black Dancing Body: A Geography from Coon to Cool. New York: Palgrave Macmillan. Grimes, D. Sabela. 2008. “Street Scholar Sampler.” Social|*Dance*| Media: Old Shuffles in a New Paradigm website. http://socialdancemedia.blogspot.com/2008/08/street-scholar-sampler.html. Accessed February 25, 2022. Lee, Robert, Tristan Ahtone, Margaret Pearce, Kalen Goodluck, Geoff McGhee, Cody Leff, Katherine Lanpher, and Taryn Salinas. 2020. “Land-Grab Universities: How the United States Funded Land-Grant Universities with Expropriated Indigenous Land.” High Country News. https://www.landgrabu.org/. Accessed August 21, 2022. Mandradjieff, Mara. 2021. “Intra-Acting Fat Suits, Tutu Flesh, and Sweaty Skins: Material-Semiotic Clashes in Maguy Marin’s Ballet Groosland.” Women & Performance: A Journal of Feminist Theory. 31, no. 1: 43–58. Martin, Randy. 1998. Critical Moves: Dance Studies in Theory and Politics. Durham, NC: Duke University Press. Mezur, Katherine and Emily Wilcox, eds. 2020. Corporeal Politics: Dancing East Asia. Ann Arbor: University of Michigan Press. Mignolo, Walter. 2021. “Decolonial Research Methods: A Planetary Conversation beyond the North Atlantic (the Global East and the Global South).” Part 4 of the Decolonial Research Methods: Resisting Coloniality in Academic Knowledge Production webinar series sponsored by the National Centre for Research Methods. https:// www.youtube.com/watch?v=BZfXSs8FioE&list=WL&index=57&t=16s. Accessed February 15, 2022. Nogueira, Renato. 2011. “Denegrindo a Filosofia: O Pensamento como Coreografia de Conceitos Afroperspectivistas.” Griot – Revista de Filosofia 4, no. 2 (dezembro): 1–19. Copyright © 2023. Taylor & Francis Group. All rights reserved. Novack, Cynthia. 1990. Sharing the Dance: Contact Improvisation and American Culture. Madison: University of Wisconsin Press. Perillo, J. Lorenzo. 2017. “Embodying Modernism: A Postcolonial Intervention across Filipino Dance.” Amerasia Journal 43, no. 2: 122–140. ———. 2020. Choreographing in Color: Filipinos, Hip-Hop, and the Cultural Politics of Euphemism. New York: Oxford University Press. Petit, Sandra Haydée. 2015. Pretagogia: Pertencimento, Corpo-Dança Afroancestral e Tradição Oral – Contribuições do Legado Africano para a Implementação da Lei no. 10.639/03. Fortaleza: EdUECE Reyes-Tolentino, Francisca S. and Petrona Ramos. 1927/1935. Philippine Folk Dances and Games. New York: Silver, Burdett and Company. Ribeiro, Djamila. 2019. Lugar de Fala. São Paulo: Editora Jandaíra. Rosa, Cristina Fernandes. 2015. Brazilian Bodies and Their Choreographies of Identification: Swing Nation. New York: Palgrave Macmillan. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. Created from uhm on 2023-04-13 03:04:59. Choreographic Analysis as Dance Studies Methodology 133 Rufino, Luiz. 2019. Pedagogia das Encruzilhadas. Rio de Janeiro: Mórula Editorial. Savigliano, Marta. 2009. “Worlding Dance and Dancing out There in the World.” In Worlding Dance, edited by Susan Leigh Foster, 163–189. Basingstoke: Palgrave Macmillan. Copyright © 2023. Taylor & Francis Group. All rights reserved. Vázquez, Rolando. 2012. “Towards a Decolonial Critique of Modernity: Buen Vivir, Relationality and the Task of Listening.” In Capital, Poverty, Development (Denktraditionen im Dialog: Studien zur Befreiung und interkulturalität, no. 33), edited by Raúl Fornet-Betancourt, 241–252. Aachen: Wissenschaftsverlag Mainz. Dance Research Methodologies : Ethics, Orientations, and Practices, edited by Rosemary Candelario, and Matthew Henley, Taylor & Francis Group, 2023. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/uhm/detail.action?docID=7209547. 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