Allana C Lindgren
Biographic Data
| ID | 4073185 |
|---|---|
| NAME | Allana C Lindgren |
| GIVEN NAMES | Allana C |
| FAMILY NAME | Lindgren |
| SIGNATURE | LINDGREN A C |
| ORCID | 0000-0002-1625-246X |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2013 |
| H-INDEX | 0 |
Civil Rights Strategies in the United States: Franziska Boas's Activist Use of Dance, 1933–1965
At the first National Dance Congress and Festival, which was held in New York in May 1936, Edna Ocko, the dance editor of New Theatre Magazine , told the assembled delegates, “One cannot minimize the importance of an artist's social point of view, for it is he who, bringing his ideas before vast audiences, can organize and direct social thought” (25). Noting that young, politically aware choreographers had already embraced the political potential…
The Choreographer's Trust: Negotiating Authority in Peggy Baker's Archival Project
Peggy Baker's project, The Choreographer's Trust, raises questions about the creator's authority in the preservation process. Her dual goals—documenting her choreography while allowing for interpretive latitude—create an apparent contradiction in which the choreographer's traditionally privileged position is both restricted and reinforced. Baker's example provides an opportunity for reflection on such dance preservation issues as the significance…
Rethinking Automatist Interdisciplinarity: The Relationship between Dance and Music in the Early Choreographic Works of Jeanne Renaud and Françoise Sullivan, 1948-1950
This article considers the role of music within the context of the Montréal automatists by addressing the choreographic works created by Jeanne Renaud and Françoise Sullivan during the late 1940s and early 1950s. In so doing, it becomes clear that the dance activities of these two choreographers often paralleled contemporaneous experiments in music. Renaud and Sullivan’s collaborations with Pierre Mercure were particularly successful and ultimate…
No prominent works on this page.
The Choreographer's Trust: Negotiating Authority in Peggy Baker's Archival Project
Peggy Baker's project, The Choreographer's Trust, raises questions about the creator's authority in the preservation process. Her dual goals—documenting her choreography while allowing for interpretive latitude—create an apparent contradiction in which the choreographer's traditionally privileged position is both restricted and reinforced. Baker's example provides an opportunity for reflection on such dance preservation issues as the significance…
Rethinking Automatist Interdisciplinarity: The Relationship between Dance and Music in the Early Choreographic Works of Jeanne Renaud and Françoise Sullivan, 1948-1950
This article considers the role of music within the context of the Montréal automatists by addressing the choreographic works created by Jeanne Renaud and Françoise Sullivan during the late 1940s and early 1950s. In so doing, it becomes clear that the dance activities of these two choreographers often paralleled contemporaneous experiments in music. Renaud and Sullivan’s collaborations with Pierre Mercure were particularly successful and ultimate…
Civil Rights Strategies in the United States: Franziska Boas's Activist Use of Dance, 1933–1965
At the first National Dance Congress and Festival, which was held in New York in May 1936, Edna Ocko, the dance editor of New Theatre Magazine , told the assembled delegates, “One cannot minimize the importance of an artist's social point of view, for it is he who, bringing his ideas before vast audiences, can organize and direct social thought” (25). Noting that young, politically aware choreographers had already embraced the political potential…
Art (3 works) · Dance (3 works) · Diversity and Impact of Dance (3 works) · Visual arts (3 works) · Choreography (2 works) · Sociology (2 works) · Aesthetics (1 works) · Art history (1 works) · Ballet (1 works) · Computer Science (1 works)