*

Le Carnet

Ce carnet “Histoire culturelle et danse” est un outil destiné à préparer et prolonger la réflexion engagée par l’Atelier d’histoire culturelle de la danse, notamment au sein du séminaire Histoire culturelle de la danse (EHESS).

Nous souhaitons diffuser les informations pratiques et scientifiques relatives à l’activité du séminaire : présentation des axes thématiques du séminaire, comptes-rendus de séances, bibliographies. Nous souhaitons également partager de l’actualité éditoriale et scientifique comme des annonces de colloques ou de parution d’ouvrages.

En savoir plus : https://ahcdanse.hypotheses.org/

*

L’Atelier

L’atelier d’histoire culturelle de la danse rassemble depuis 2007 des chercheurs qui travaillent ensemble sur l’histoire de la danse.

*

Le séminaire Histoire culturelle de la danse

Depuis 2009, l’Atelier organise le séminaire d’Histoire culturelle de la danse qui est hébergé par le Centre de recherche sur les arts et le langage (CRAL) et L’École des hautes études en sciences sociales (EHESS). Ce séminaire destiné aux étudiants en Master et en doctorat ainsi qu’aux auditeurs libres propose d’explorer l’histoire des danses sociales et spectaculaires dans une perspective culturaliste.

*

The Seminar Cultural History of Dance

Since 2007, the members of the Paris Atelier for research in the Cultural History of Dance have been engaging collectively in a reflection on the methodologies of cultural history as applied to the study of dance. In collaboration with musicologist Esteban Buch (Director of the CRAL until February 2018) the Atelier has maintained a graduate research seminar at the EHESS since 2009. In addition to advancing our individual research projects in the cultural history of dance (see individual profile pages here), the research seminar and the Atelier at the EHESS have introduced methodologies and techniques of cultural history to Masters and doctoral students and published the results of our collective research in order to impact international dance historiography. In addition to emphasizing situated analyses of dance as a corporeal social practice, we have worked to extend dance history research to earlier periods than what is most commonly treated in the domain of anglophone Dance Studies. We are particularly sensitive to the urgent need for historical scholarship to include geographies, contexts, and perspectives that extend beyond the European and North American theatrical dance praxes that have most often been the focus of dance history. 

Over the past ten years the seminar on Histoire culturelle de la danse has studied a variety of themes including: dance and morality (cf. Marie Glon, Juan Ignacio Vallejos, eds., European Drama and Performance Studies N^o. 8: Danse et morale. Une approche généalogique, Sabine Caouche (series editor), Éd. Classiques Garnier, mai 2017); the question of authorship in dance (cf. M. Glon, V. Olivesi, J. Vallejos), « Writing (for) the Ballet in the Eighteenth Century », European Drama and Performance Studies, 2017-2, n° 9 : Ecrire pour la scène (XV^e-XVIII^e siècle), dir. Sabine Chaouche, Estelle Doudet, Olivier Spina, pp. 263-279); gender history and dance (cf. E. Claire, ed., CLIO. Femmes, genre, histoire : Danser, N^o 46/2017, 320pp.); dance in circulation, and transnationalism in dance (“Le corps ‘oriental’. Genre, gestes et regards,” International Conference, Univ. Paris 7, December 2017); and dance iconography as a source for the historical study of dance practices. We have also explored the connections between dance, botany and the environment (including the animal world), most notably in the context of a year-long collaboration with American dance historian Felicia McCarren during her research residency with our Atelier at the Institut d’études Avancées de Paris (cf. “Species & Spectacle” symposium, IEA-Paris, 2018).