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Index: Dance & Performance

· The anxieties of attending the 2011 E-Poetry Festival.

I anticipated attending E-Poetry might bring apprehension, a type of crisis to my research — that a new slew of dynamics might be unleashed, deviating beyond contexts I consider for the genre. They did not.

The Wedding: Good, old-fashioned Royal Family (production) values.

Michelene Wandor: On Friday, April 29, 2011, our couple are friends. They have lived together – as one royal biographer said, without mentioning the word ‘sex’: ‘This is a woman who knows exactly what to do.’ And yet, a guest agony aunt on TV, asked for her advice to the bride said: ‘Have a son quickly, and don’t take any lovers.’ Plus ca change?

Rio 3: Capoeira, the duel-dance, with dreadlocks and agogô.

Anthony Howell: Capoeira is a duelling dance; the contestants weaving into mutual scissors, circling each other in apparent friendliness and then ducking into attack.

New York in the ’70s: the pioneers head downtown.

Michelene Wandor: From the very beginning there is a stark contrast between materials, form and content: the process which makes art history is ironically very visible. Videos and sound, recreation, give a flavour of the original chaos and vigour, out of which a genuinely new ‘found’ and ‘made’ series of artistic experiments developed.

· Event: A week of Shakespeare in France.

Chavagnes Shakespeare Week will include a series of lectures, performances and presentations featuring Peter Bassano, the new Music Director of City of Rochester Symphony Orchestra.

· Rio 2: Grumpus at Carnival.

Anthony Howell: As with any popular mass rally there’s an infectious excitement, and a sheer childish delight in the chiaroscuro of dark and light moods and bright or sombre costume. One school merges into another in the mind. Neptunes abound. Faces fall off and disappear into stomachs and then reappear.

Rio 1: Só Danço Samba.

Anthony Howell: The body moves forward and back more in gafieira; the weight changes are exaggerated, and the partner sways with you, and I have to get the ‘step-replace step, step-replace step’ going, understanding that there is a this-side-then-that-side symmetry to the dance that again is different to the tango.

The Last Performance. Plus: How to see yellows, and other lessons from Goat Island.

We are already participating in a Goat Island workshop. Collaborating through words, sounds, touch, texture, viewing, thinking. The material is there to be received, processed, transformed.

Dancing down Bollywood boulevard.

Basic Bollywood steps rely on the relationship between the leg and hip, what often takes students the longest time to master. Once the hip movements become natural, each progressive step is much easier to learn.

A recollection of L’Adorée.

Ethel Dilke: The first time I saw her was the first night she danced here in Paris. She had arrived from Brussels, whence report heralded her, that morning. Destined for a dancer as I had always been, my mother took me to see each new star who appeared, that I might learn or take warning from her as the case might be.

Strictly watching Strictly Come Dancing.

Michelene Wandor: The twin attractions of Strictly are an uneasy couple. The drama is reassuringly there, the eroticism divisive.

December paragraphs from Rio.

Anthony Howell: Brazil is committed to cleaning up the favelas before they host the World Cup, so the tourists sit on the beach, sipping green coconut juice and getting swept up by the waves, in a town where certain pockets are more or less war zones.

Paroxysms of Rapture.

Anthony Howell: Syncope, a gap, a note removed, and another sense of something sucked away, as if air were being removed from that vast room. These hand raisings and sibilant intakes continued at sporadic, unpredictable intervals as the exit doors opened and we were shown that we were free to leave that dream-like space. Coming out into the lobby was like waking up. What a poignant dream it had been.