I prefer“real” locations because they bring an essence to the dance that can never be duplicated on stage

vann E. Siebens

Historically, the devaluation of musical theater dance revealsracial and gender biases as well as an ideahzation of artisticindependence from audience desire or market forces thatfails upon inspection in concert dance, in which choreogra-phen collaborate, compromise, and contend with capitahsm,albeit not quite as exphcidy as in the for-profit world ofBroadway

cholars critique those whopractice without learning the history of the form's roots inAfrican American culture or show a commitment to Blackhberation in the present

hip-hop (popping, locking, etc.) with musical theater'sballet/tap/theatrical jazz tiifecta and contemporary commercial dance

In the next breath, however, he stated thathe wished he had the funds for trap doors for his own company - pointing to the fact that Broadway constraints can alsobe opportunities to expand creativity (Mattingly 1998)

high art

An uncomfortable part of musical theater dance's history is how the AIDSepidemic, which decimated the Broadway community byclaiming thousands of gay men's lives in the 1980s and 1990s,resulted in an opening for women choreographers and directors.

here's the Beat?" dancers portray a thinly veiled and mocking take on the Nicholas Brothen, portraying them as havinglost the Africanist core of tap's waist-down rhythms by adopting an acrobatic, ftdl-bodied "jazz tap"

Black, but "masculine," a departure from the Hne oftap-dancing chorus girls in the musicals of yor

Dancecritics scomed what they saw as theatrical jazz's amalgamation of influences, for them synonymous with inauthenticityand lack of originafity.

Dance critics andother tastemakers long viewed the Broadway stage as an artistically inferior space, even though the boundary line betweenthe "art" of concert dance and the "entertainment" of musical theater dance has always been blurry.

Audiovisual and choreographic means are used to create rhythm, express a story and convey emotion, thus creating a linear continuum of time experienced in visual media, in which actions and movement expression play a significant role.

The unvarnished Negro,whose ancestors patterned their eroticcustoms after those observedin the animal kingdom, seesnothing controversialin the sexualact, either heterosexualor homosexua

Sorry. I do have a boyfriend.But when he saw you, you being a brother and all,he just freakedout. I could never be with a black man, you know.But every once inawhile I need a little taste. You know what I'm talking about. A taste. Why don't)'OU keep my nwnberi Be my taste. Keepthe numbe

AUL: Don't. Cliffi I lo,-eyou. Cliff.I love you. ·cupp: Love?You can't fall in love with a guy.Get away from me. Go awayf Justleave me alone!

But you, Cliff.Youare such a disappointment to me. They can takeyou out of Shantyt?wn, but they can't take Shantytown out of you. Trying tocorrup_ta good ~hlte boy like Paul with your perverted ways. I thought youwere ~fferent, Cbff. I ~on't see ~ow I could recommend you for the Booker T.W~hmgton Scholarsh_1pafter this. It will break my heart to tell your mother.

The project acknowledges that documen-tary travels beyond the nation-state and that its global impacts are undeniable, butthe local, grounded, and specific ways participatory media cultures coalesce arounddocumentary within the borders of the nation-state are the primary focus.

ortraying African American history in an entirestate, the topic was distilled to “personal stories of the desegrega-tion of one town’s high school.

ys in which media texts, the strategies used todistribute them and their communication strat-egies connect local grassroots groups workingtowards social justice

focused on the documentary history of the United States, attemptsto create a more solid foundation for discussions of documentary and social changeby paying close attention to the kind of small-scale organizing that often gets lostin studies focused on global documentary.

certain non-gay cultural forms,such as the musical, or grand opera, or pop music, or women’s day-time TV, provide a liberation far more complete than gay politics canoffer, since the latter aspires only to improve the world and does notalter your situation in it or your subjection to it

It is better able tocapture the kaleidoscopic range and breadth of gay subjectivity

ndrew Sullivan is quite right, in a sense: public culture haschanged, and homo sex u al ity now is much more fully integrated intoit. That certainly makes a big difference, and it makes traditional gaymale culture at least look a lot less relevan

which in-voked the righteous ness of love, equality, and community but withoutreference to any specific group, were massively popular in gay discos

ersonal queerness into total,global queerness

Mr. Taberski takes listeners on a drive up to Mr. Simmons’s gated home for what he half-seriouslycalls a “stakeout.” “I don’t want him to feel like I’m invading his privacy,” Mr. Taberski says. “On the other hand, I’mRichard’s friend

He takes a moment to note that Mr. Simmons’s gender identity is nobody’s business but his own,then forges right ahead.

ike the suggestion that his physical decline has made Mr.Simmons depressed, or that he’s grieving the deaths of his dogs

is laced with a certain crueltythat, like the antiwoman and antigay humor, gives one occasional pauseamid the chuckles

etic mode: emphasizes visual associations, tonal or rhythmicqualities, descriptive passages, and formal organization. Thismode bears a close proximity to experimental, personal, andavant-garde filmmaking.

Expository mode: emphasizes voice over commentary, a problem/solution structure, an argumentative logic, and evidentiaryediting. This is the mode that most people associate withdocumentary in general

articipatory mode: emphasizes the interaction betweenfilmmaker and subject. Filming takes place by means ofinterviews or other forms of even more direct involvement, suchas conversations or provocations. This mode is often coupledwith archival footage to examine historical issues

omatic Symptom

Other dances were entirely social, for pleasure,amusement and humour.

“primitive”

Hopi cosmologyand to human artistic endeavor generally: a search fororder in the natural world, the relationship of art andritual, and the linkage of individual creative acts to be-liefs about primal acts of creation.

As Susan Sontag argues, “meaning isnever monogamous.”

“an awareness of other cultures’ bound-aries and contexts” as one way of respecting “the sym-bols, acts or materials sacred to others.

Will appropriation andneoprimitivism necessarily continue to naturalize theentrenched self/other dichotomy? Yes, many scholarsargue, if the discussion is framed in terms of Euro-American needs and values.

exoticism

The first eight days of thenine-day ceremonial were traditionally private, reflect-ing the widespread Pueblo ambivalence towardsstrangers in cosmic or tribal space and the possible in-troduction of evil accompanying their presence.

Anthropologist J. WalterFewkes described the Snake Dance as “an elaborateprayer for rain, in which the reptiles are gathered fromthe fields, intrusted with the prayers of the people, andthen given their liberty to bear these petitions to thedivinities who can bring the blessing of copious rainsto the parched and arid farms of the Hopi.