By Naomi Jackson, Toni Shapiro-Phim
Dance, Human Rights, and Social Justice: Dignity in movement offers a wide-ranging compilation of essays, spanning greater than 15 international locations. prepared in 4 components, the articles study the law and exploitation of dancers and dance job by way of govt and authoritative teams, together with abusive remedy of dancers in the dance occupation; choreography concerning human rights as a imperative subject; the engagement of dance as a method of therapeutic sufferers of human rights abuses; and nationwide and native social/political hobbies during which dance performs a strong function in aiding humans struggle oppression. those groundbreaking papers? either distinctive scholarship and riveting own money owed? surround a huge spectrum of matters, from slavery and the Holocaust to the Bosnian and Rwandan genocides to the Israeli-Palestinian clash; from First modification instances and the A.I.D.S. epidemic to discrimination as a result of age, gender, race, and incapacity. quite a number teachers, choreographers, dancers, and dance/movement therapists draw connections among refugee camp, court docket, theater, practice session studio, and collage lecture room.
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Extra info for Dance, Human Rights, and Social Justice: Dignity in Motion
The new dance was more than a breadwinning activity; it became a conviction. The modern dancers around Laban and Wigman fiercely believed in a mission, which justified using any means to carry it out. Because Laban or Wigman asserted that they represented dance as such, they could do away with all other versions of dance and their actions were now beyond criticism. Individual dancers who were in their way—in the way of the dance—had to be removed, or “eliminated,” in Nazi 12 Chapter 2 language.
It subordinates dance to formal aesthetics and those formal aesthetic rules correspond to the political constitutions drawn up at the same time. They are abstract and impersonal. The dancer is the instrument to realize form and the medium to convey the meaning expressed through form. To have freed dance of the restrictions of tradition, as the German pioneers claimed, again indicated a certain set of beliefs: first, that there was a need for liberation; and second, that the tools for this liberation provided the right method for the desired change.
3 This paragraph refers to one particular and particularly horrifying aspect of Nazism: it addresses the responsibility of the single human being, so vulnerable under certain social conditions, to ensure in its own environment that human rights are respected. After all, no system can carry out assaults on other people without some kind of assistance from its citizens. The world had been shocked by the complicity of seemingly educated and cultured people with an evil system. When the Allied armies reached the concentration camps in 1945 and the pictures of piles of dead bodies and starving inmates were shown to the public, there was not only a feeling of horror at what had taken place but some persistent questions arose: How could the German people have allowed this to happen?