@article{ART001610343},
author={김주희},
title={Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -},
journal={The Korean Journal of Dance Studies},
issn={1226-900X},
year={2011},
volume={34},
number={34},
pages={61-89},
doi={10.16877/kjds.34.34.201112.61}
TY - JOUR
AU - 김주희
TI - Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -
JO - The Korean Journal of Dance Studies
PY - 2011
VL - 34
IS - 34
PB - The Korean Society for Dance Studies
SP - 61
EP - 89
SN - 1226-900X
AB - This paper aims to examine the aspects and meanings of gendered bodies in dance. For this, I analyze Bill T. Jones’s Ghostcatching (2000) in terms of body,movement, space.
Gendered bodies in the work have three characteristics in common. First, they make it possible for viewers to focus on the bodies as it really is, without sexualitybased ideological gaze. In short, the work offer an opportunity to reconstruct the traditional understanding of the bodies by representing them other than generalized social gazes on stage. The gendered bodies redefine the bodies in a dichotomic gender ideology as those in de-centered, non-linear attributes.
Second, they suggest communicable bodies. They show the intertextual bodies that can create sociopolitical discourses by displaying unbalanced fat bodies rather than well-balanced beautiful bodies. The distorted bodies become an independent body by offering an opportunity to communicate autonomously.
Third, the stage space, which is seen as an elistist space, is transformed into a democratic space. Ghostcatching arranges a democratic open space - a virtual space - in which everyone can share and participate. These spaces deconstruct the ideological thoughts, thereby making it possible for viewers to understand the essentials of human beings.
Gendered bodies in the three works don’t work as a place for politics or direct power, but the bodies are represented as strategical bodies which reveal the essence of power by deconstructing the traditional understanding of the bodies and presenting a new understanding of the body.
The gendered bodies in the works perform a gender in real stage space. They challenge to power relationships by creating cultural discourses. This research could confirm that dance itself is political. In other words, dance does not reproduce a specific political incident, but expose political aspects in gendered bodies.
·
KW - genered body;Bill. T. Jones;Ghostcatching;virtual space;deconstruction
DO - 10.16877/kjds.34.34.201112.61
ER -
김주희. (2011). Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -. The Korean Journal of Dance Studies, 34(34), 61-89.
김주희. 2011, "Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -", The Korean Journal of Dance Studies, vol.34, no.34 pp.61-89. Available from: doi:10.16877/kjds.34.34.201112.61
김주희 "Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -" The Korean Journal of Dance Studies 34.34 pp.61-89 (2011) : 61.
김주희. Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -. 2011; 34(34), 61-89. Available from: doi:10.16877/kjds.34.34.201112.61
김주희. "Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -" The Korean Journal of Dance Studies 34, no.34 (2011) : 61-89.doi: 10.16877/kjds.34.34.201112.61
김주희. Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -. The Korean Journal of Dance Studies, 34(34), 61-89. doi: 10.16877/kjds.34.34.201112.61
김주희. Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -. The Korean Journal of Dance Studies. 2011; 34(34) 61-89. doi: 10.16877/kjds.34.34.201112.61
김주희. Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -. 2011; 34(34), 61-89. Available from: doi:10.16877/kjds.34.34.201112.61
김주희. "Meanings of Gendered Body Represented in Dance Works -Bill T. Jones’s Ghostcatching -" The Korean Journal of Dance Studies 34, no.34 (2011) : 61-89.doi: 10.16877/kjds.34.34.201112.61
