The figure of Carmen has emerged as a cipher for the unfettered female artist. Dance historian and performance theorist Ninotchka Bennahum shows us Carmen as embodied historical archive, a figure thro
In August 1960, Anna Halprin taught an experimental workshop attended by Simone Forti and Yvonne Rainer (along with Trisha Brown and other soon-to-be important artists) on her dance deck on the slopes
Defining the flamenco body as a “kinetic site of ideological resistance, its embodied articulation carr[ying] the cruel burden of marginalization and nomadism,” this volume emerges out of a question:
