Danielle Goldman
Biographic Data
| ID | 3990779 |
|---|---|
| NAME | Danielle Goldman |
| GIVEN NAMES | Danielle |
| FAMILY NAME | Goldman |
| SIGNATURE | GOLDMAN D |
| AFFILIATIONS | Danielle Goldman is Assistant Professor of Dance at the New School in New York City. She earned her PhD from the Department of Performance Studies at Tisch School of the Arts/NYU, and she received the 2005 Gertrude Lippincott Award and the 2006 Deena Burton Memorial Award for Outstanding Dissertation Research. She is currently writing a book on improvisation. Having performed for six years with Troika Ranch, she is now dancing in the works of Anna Sperber and DD Dorvillier. |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 1 |
A Radically Unfinished Dance
Nancy Stark Smith passed away due to ovarian cancer on 1 May 2020. Her dedication to contact improvisation for nearly half a century—as a dancer, teacher, writer, and editor—contributed to its development and will continue to inform its ongoing vitality. But much remains uncertain for the future of contact improvisation. Complicated by the challenges of Covid-19, what sort of bodies will result from the practice going forward, and how might the f…
Breaking at the Edges
During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19)
Conference Panel to Honor Mark Franko's Editorship of DRJ
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Turning toward Trisha Brown
In January 2013, the Trisha Brown Dance Company performed the final two works of Trisha Brown’s career. The following year, Beth Gill presented New Work for the Desert, an unsanctioned yet affectively nuanced study of Brown’s Newark (Niweweorce) (1987)
Deborah Hay's O, O
This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldma…
Bodies on the Line
On the morning of May 4, 1961, a brave and motley group of travelers—seven black males, three white males, and three white females, varying in age and professional standing but all trained in nonviolence—embarked on what they called the “Freedom Ride.” Designed by the Congress of Racial Equality (CORE), the bus ride was meant to commemorate and further the organization's 1947 Journey of Reconciliation, a non-violent test of desegregation on inter…
Sound Gestures
Dancing Machines
This DOI is not currently attached to any metadata records. DOIs can’t actually ever be deleted (they’re persistent), but sometimes our members create DOIs in error. We do have a process to approximate deletion which we follow only in rare cases where the DOI has been genuinely created in error, and most crucially, if the DOI has never been published anywhere online or in print and never otherwise distributed to or communicated with anyone (autho…
Steve Paxton and Trisha Brown
Steve Paxton and Trisha Brown
In the fall of 1950, Hans Namuth filmedJackson Pollock painting on a sheet of glass. Filming from below this transparent 'canvas', Namuth captures Pollock moving back and forth above the glass, throwing paint, cigarette in mouth, in the artist's famous manner. According to Barbara Rose, 'Pollock's repeated rhythmic steps as he worked his way around the four sides of his canvas were interpreted as a kind of ritual dance; as a result, the word chor…
Ghostcatching
For the past few years, critics, fans, and even Bill T. Jones himself have been talking about the artist's move from explicitly political, identity-based works to an investigation of aesthetics and pure movement. They talk about the more conventional makeup of Jones's current ensemble—the fact that Lawrence Goldhuber and Alexandra Beller are no longer in the company, dancers described in the New York Times as “imperfect” because “chubbier than th…
Bodies on the Line
On the morning of May 4, 1961, a brave and motley group of travelers—seven black males, three white males, and three white females, varying in age and professional standing but all trained in nonviolence—embarked on what they called the “Freedom Ride.” Designed by the Congress of Racial Equality (CORE), the bus ride was meant to commemorate and further the organization's 1947 Journey of Reconciliation, a non-violent test of desegregation on inter…
Sound Gestures
Ghostcatching
For the past few years, critics, fans, and even Bill T. Jones himself have been talking about the artist's move from explicitly political, identity-based works to an investigation of aesthetics and pure movement. They talk about the more conventional makeup of Jones's current ensemble—the fact that Lawrence Goldhuber and Alexandra Beller are no longer in the company, dancers described in the New York Times as “imperfect” because “chubbier than th…
Steve Paxton and Trisha Brown
Steve Paxton and Trisha Brown
In the fall of 1950, Hans Namuth filmedJackson Pollock painting on a sheet of glass. Filming from below this transparent 'canvas', Namuth captures Pollock moving back and forth above the glass, throwing paint, cigarette in mouth, in the artist's famous manner. According to Barbara Rose, 'Pollock's repeated rhythmic steps as he worked his way around the four sides of his canvas were interpreted as a kind of ritual dance; as a result, the word chor…
Ghostcatching
For the past few years, critics, fans, and even Bill T. Jones himself have been talking about the artist's move from explicitly political, identity-based works to an investigation of aesthetics and pure movement. They talk about the more conventional makeup of Jones's current ensemble—the fact that Lawrence Goldhuber and Alexandra Beller are no longer in the company, dancers described in the New York Times as “imperfect” because “chubbier than th…
Dancing Machines
This DOI is not currently attached to any metadata records. DOIs can’t actually ever be deleted (they’re persistent), but sometimes our members create DOIs in error. We do have a process to approximate deletion which we follow only in rare cases where the DOI has been genuinely created in error, and most crucially, if the DOI has never been published anywhere online or in print and never otherwise distributed to or communicated with anyone (autho…
Deborah Hay's O, O
This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldma…
Bodies on the Line
On the morning of May 4, 1961, a brave and motley group of travelers—seven black males, three white males, and three white females, varying in age and professional standing but all trained in nonviolence—embarked on what they called the “Freedom Ride.” Designed by the Congress of Racial Equality (CORE), the bus ride was meant to commemorate and further the organization's 1947 Journey of Reconciliation, a non-violent test of desegregation on inter…
Sound Gestures
Turning toward Trisha Brown
In January 2013, the Trisha Brown Dance Company performed the final two works of Trisha Brown’s career. The following year, Beth Gill presented New Work for the Desert, an unsanctioned yet affectively nuanced study of Brown’s Newark (Niweweorce) (1987)
Conference Panel to Honor Mark Franko's Editorship of DRJ
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
A Radically Unfinished Dance
Nancy Stark Smith passed away due to ovarian cancer on 1 May 2020. Her dedication to contact improvisation for nearly half a century—as a dancer, teacher, writer, and editor—contributed to its development and will continue to inform its ongoing vitality. But much remains uncertain for the future of contact improvisation. Complicated by the challenges of Covid-19, what sort of bodies will result from the practice going forward, and how might the f…
Breaking at the Edges
During the late 1950s and early 1960s, Carolee Schneemann primarily identified as a painter. But she was a keen and cutting observer of dance. This article considers Schneemann's audacious performance work for the Judson Dance Theater and reflects on its ongoing importance both at the time of her death and in a world forced apart by the novel coronavirus (COVID-19)
Art (9 works) · Art history (7 works) · Diversity and Impact of Dance (6 works) · Aesthetics (5 works) · Dance (5 works) · Visual arts (5 works) · Sociology (4 works) · History (3 works) · Law (3 works) · Music History and Culture (3 works)