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"David Gere, who came of age as a dance critic at the height of the AIDS epidemic, offers the first book to examine in depth the interplay of AIDS and choreography in the United States, specifically in relation to gay men. The time he writes about is one of extremes. A life-threatening medical syndrome is spreading, its transmission linked to sex. Blame is settling on gay men. What is possible in such a highly charged moment, when art and politics coincide? Gere expands the definition of choreography to analyze not only theatrical dances but also the protests conceived by ACT-UP and the NAMES Project AIDS quilt. These exist on a continuum in which dance, protest, and wrenching emotional expression have become essentially indistinguishable. Gere offers a portrait of gay male choreographers struggling to cope with AIDS and its meanings.--Publisher description."@en
"A discussion of the activist function of dance in the AIDS era is the main project of Chapter Three, "Monuments and Insurgencies." Building on the theoretical writings of Bertolt Brecht, Douglas Crimp, and David Roman, I argue that all dances have their politics as well as their aesthetics, and that each category is best read through the other. Chapter Four, "Corpses and Ghosts," reveals what are perhaps the key tactics utilized by gay male choreographers in the AIDS era, each of which grows out of a long tradition of gay practices in the twentieth-century United States: silent resistance, Gothic horror, and Camp."@en
"This dissertation is presented in four chapters, each of which includes theoretical and historical material in a deeply intertwined format. Chapter One, "Blood and Sweat," focuses on the forceful stigmatization of homosexuality and of AIDS that--especially in the early years of the epidemic--manifested in inordinate fears of the gay man's bodily fluids. Dancing, by virtue of its association with homosexuality and its reliance on the fluid systems of the body, came to share and, in some cases, amplify that stigmatization. "Melancholia and Fetishes," Chapter Two, offers a treatment of the inextricable connection between desire and mourning, and the particular exigencies of mourning as demonstrated by the gay male community in the time of AIDS. My analysis follows upon Michael Moon's proposition that gay male mourning practices are meaningfully centered on the erotic fetish."@en
"As part of a lineage of texts concerned with gay men in the United States during the time of AIDS, this dissertation treats a broad range of choreographic activity performed in the face of sexual stigma and the fear of death. It is a work of AIDS cultural analysis, a consideration of the bodies of those gay men who have planned and participated in public AIDS protests, memorial services, funerals, benefits, and theatrical choreographies, from 1981 through the present day. The dissertation also belongs to that new genre of dance studies concerned specifically with corporeality, investigating the bodies of gay men in the time of AIDS as complex cultural constructions as well as biological entities. These bodies, including the bodies of those visibly ill with HIV disease, have much to tell us about living under the weight of homophobic and AIDS-phobic oppression."@en

genre

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"Llibres electrònics"
"History"@en
"Electronic books"@en
"Electronic books"
"Dissertations, Academic"@en
"Livres électroniques"

name

http://schema.org/name

"How to make dances in an epidemic tracking choreography in the age of AIDS"@en
"How to make dances in an epidemic tracking choreography in the age of AIDS"
"How to make dances in an epidemic : tracking choreography in the age of AIDS"
"How to make dances in an epidemic : tracking choreography in the age of AIDS"@en
"How to make dances in an epidemic"@en

workExample

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