Читать книгу Flowers Cracking Concrete - Rosemary Candelario - Страница 7

ACKNOWLEDGMENTS

In the summer of 2006 I was packing up my life in Boston to move diagonally cross-country to attend graduate school at UCLA when I received an e-mail from David Gere, then chair of the World Arts and Cultures Department, announcing that Eiko & Koma would be in residence for the fall quarter. At the time I could not have predicted how that simple message would put me on a ten-year path that eventually led to this book. During my first class with Eiko & Koma, Eiko said they do not choose students, students choose them. That day, I definitely chose them. Over the course of the quarter I got to know Eiko in particular, acting as scribe for the movement class, compiling notes on each of our sessions that in retrospect represent my first attempts to put the full force of their movement into words. After the quarter ended I stayed in touch with Eiko, showing up at performances whenever possible and helping out as needed. When, at the encouragement of Susan Leigh Foster, I decided to write my dissertation about Eiko & Koma, I asked Eiko’s permission. It was clear to me my research would not be possible without the full participation of the dancers. Eiko thought I was crazy to write a dissertation about Eiko & Koma, something she never failed to tell me each time we met. But she didn’t stop me. And as time went on, she began introducing me to their friends, colleagues, collaborators, and family. Over the past ten years Eiko & Koma have been unfailingly generous with me, and this book simply could not exist without their participation.

Beyond Eiko & Koma, there are many people whose contributions and assistance have helped make this book a reality. Foremost among them are Angela Ahlgren and Hannah Kosstrin, who patiently read and re-read these words and gave the most generous and challenging feedback possible. This book is all the better for their input. Texas Woman’s University research librarian Andy Tucker provided research assistance for chapter 2. Andrea Harris cheerfully tracked down video documentation of a 1994 panel discussion entitled “Dancing Identity: What Does It Mean to Be Asian American?,” which happened as part of the yearlong Festival of Asian/Asian American Dance at the University of Wisconsin–Madison. She kindly facilitated the digitization of the video so that I could view it from afar. The always inspiring Prumsodun Ok gave me thoughtful comments on chapter 7. Rebecca Rossen kindly invited me to present an expanded version of the conclusion at the University of Texas at Austin. Sara Wolf encouraged me to be more fierce. Lydia Bell, Eiko & Koma’s Retrospective Project coordinator, was a joy to work with and was unerringly helpful. Arlene Yu and numerous other librarians at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts provided invaluable research assistance, as did archivists Kirsten Tanaka at the San Francisco Museum of Performing Arts + Design and Jill Vucetich of the Walker Art Center. Debra Cash kindly shared her published reviews with me. Libby Smigel of the Dance Heritage Coalition gave me the opportunity to work in Eiko & Koma’s archives. Patsy Gay taught me the ins and outs of archiving and happily tracked down stray images and bits of information for me when I could not get to New York to do it myself. Annelize Machado provided thorough and prompt assistance with citations and the bibliography. Yayoi Takeuchi introduced me to Kiko Kawamura, who proofread Japanese names and words for me. Brent Hirak provided expert assistance producing video stills. Finally, many thanks go to my anonymous readers, whose insights and guidance were invaluable.

I am particularly grateful to everyone I interviewed over the years. Whether or not their words appear directly in the book, their kindness and knowledge suffuse it. Thank-you Jeremy Alliger, Philip Bither, Donna Faye Burchfield, Caitlin Coker, Paula Lawrence, Sam Miller, Robert Mirabal, Takashi Morishita, Yoshito Ohno, Irene and Paul Oppenheim, Charles Reinhart, members of the Reyum Painting Collective, and Marcia B. Siegel. I am particularly thankful that I got the chance to meet and interview Beate Sirota Gordon (1923–2012), who produced Eiko & Koma’s first official performance in the United States in 1976.

I had the opportunity to work through parts of the book at numerous conferences and with the support of various seminars and working groups. Members of the International Federation for Theatre Research Choreography and Corporeality Working Group commented on an early version of the introduction; Ramsay Burt in particular provided gentle yet sharp (and needed) critique. William Marotti generously enabled my ongoing participation in the Japan Arts and Globalization (JAG) group. I am especially grateful to have participated in the 2014 JAG works in progress retreat, where chapter 1 received a thorough reading by JAG members. I was honored to participate in the Association for Asian American Studies conference panel “Subjects in Motion: Bridging Asian American Studies and Dance Studies” with Lorenzo Perillo, Angeline Shaka, and Yutian Wong. Their camaraderie and insight on chapter 3 were invaluable. The inaugural Mellon Dance Studies Seminar, convened by Susan Manning, Janice Ross, and Rebecca Schneider, provided me with an expansive community of peers who read and commented on an early version of chapter 4. Core members of the Butoh’s Corporeal Acts Working Group, formed initially for the joint conference of the Congress on Research in Dance and the American Society for Theatre Research, have been an ongoing source of information and inspiration: thank-you Tanya Calamoneri, Zack Fuller, Katherine Mezur, Megan Nicely, and Michael Sakamoto. I thank Bruce Baird in particular for his unfailing enthusiasm and collegiality.

Excerpts of chapter 4 are reprinted with permission from “Bodies, Camera, Screen: Eiko & Koma’s Immersive Media Dances,” International Journal of Screendance 4 (2014): 80–92.

I continue to be indebted to my UCLA dissertation committee, whose guidance during graduate school provided me with a firm foundation from which to write this book. Susan Leigh Foster remains a generous mentor. Her influence, along with that of Lucy Mae San Pablo Burns, Janet O’Shea, and Carol Sorgenfrei, suffuses this book.

Texas Woman’s University supported this book with a Small Grant, multiple School of the Arts Faculty Scholarship Enhancement Grants, and course releases. Parts of chapters 4 and 6 were presented as part of the Faculty Spotlight Series and as a research briefing for the Department of Women’s Studies. In addition, I thank Mary Williford-Shade for being the most understanding chair an assistant professor could ask for.

Ever since I took my first dance class at age four, I wanted to be a dancer. And ever since my father first showed me his bound dissertation when I was eight years old, I knew that I wanted my own name to appear on the spine of a book. What a delight it is to have those two childhood dreams come together in this book. Much of the credit goes to my mother, who drove me to all those dance classes, prioritized my education, and trusted me to make good decisions. Finally, the biggest thanks go to Karl Gossot, whose quiet support has sustained me through this book and so much more.