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Dance—Typically Feminine? (Society of Dance Research) (Bochum, Germany, 2–4 November 1990)

Conceived by sociologist, dance critic, and dance pedagogue Gabriele Klein, Dance—Typically Feminine? proceeded on a colloquial notion of the "typical" in order to locate a feministic standpoint on dance. In Germany, this is a meritorious approach, as, until now, the German dance research community has paid less attention than its AngloSaxon counterpart to the feminist debate. The feminist perspective, however, suits dance very well since women have functioned (whether as ballerinas,expressivedancers,orcontemporary figures in Tanztheater) as key figures in classical, modern, and contemporary dance production. The speakers approached the issue purely historically. In her introductory presentation, "Traces of a Staged and Repressed Femininity in Cultural History ."Gabriele Klein discussed the way in which the topic of femininity relates to women, men, and the art of dancing. Klein considers female dancers to have been the objects and victims of male concepts and strategies until the Tanztheater period. The archaeology (Klein's application of this term is retrospective and does not correspond with Foucault' s visionary use of the same term) of feminine dancing relegated to women the function of incarnating male fantasies. According to one of Klein's diverse examinations, the subjective needs of women and the objective material conditions of theireveryday existence persisted dualistically. A change occurred during the Ausdruckstanz era when, for the first time, female dancers attempted to liberate themselves from the imposed image of male wish-fulfillment and its corresponding norms. A hitherto "empty" (according to Klein) femininity began to take on substance. Since, however, the women in Ausdruckstanz invoked "naturalness" their revised value concepts did not culminate in a new definition of femininity. "Nature" had, after all, always been women's domain. With the advent of Tanztheater, women in dance began to break with the traditional mold: their heritage of self-sacrifice was used as a theme. Furthermore, masculine and feminine were treated as polar concepts not determined by gender. In contrast to Ausdruckstanz, Tanztheater no longer regarded a socio-utopian concept as a metaphor. Tanztheater conceived of the body both as an object and as a medium (Marcel Mauss); it offered femininity a chance to find acceptance as a reality.