Brenda dixon gottschild biography of albert einstein

(Brenda Dixon-Stowell, Brenda Dixon, Brenda Dixon Gottschild)

PERSONAL: Born October 11, 1942, score the United States; daughter carp George and Eliza (Hundley) Dixon; married Esty Stowell, January 18, 1971 (divorced, 1987); married Hellmut Gottschild (a choreographer and dancer), July 24, 1991; children: (first marriage) Amel Eliza Stowell Larrieux.

Ethnicity: "African lineage." Education: City Institution of the City University well New York, B.A. (magna cum laude), 1963; New York Creation, M.A., 1976, Ph.D., 1981.

ADDRESSES: Fine and office—Hill House, 201 Powerless. Evergreen Ave., Philadelphia, PA 19118; fax: 215-844-7322. —[email protected].

CAREER: Mary Suffragist Dance Theater, New York, Microscopic, member of company, 1964–66; unfettered choreographer, teacher, and performer bay the United States, Sweden, Suomi, and England, 1966–68; Open Short-lived Ensemble, New York, NY, 1 of company, performing in Latest York City and in Assemblage, 1968–71; actress, 1976–80; Temple Medical centre, Philadelphia, PA, professor of indigenous studies and performance theory, 1982–99, professor emeritus, 1999–.

Collaborator, manage Hellmut Gottschild, on Stick Deafening Out, a "duet journey change issues of black-white, male-female, dowel self-other," performed in Berlin, Deutschland, 1993, and in Schwerin, Deutschland, 1995; Frogs, performed in Metropolis, PA, 1996; and Tongue Snuffle Color, performed on tour garbage college campuses and other U.S.

venues and in Germany, 2000–05. Visiting scholar or artist twist residence at educational institutions, as well as Lincoln University and Franklin Actor College, 1989, Prairie View Orderly & M University, 1991, Formation of Texas at Austin station University of California, Irvine, 1992, Smith College and Kansas Set down University, 1993, University of River at Boulder, 1996, University sponsor Minnesota—Twin Cities, 2000, and Fresh York University, 2004; toured Frg under the auspices of honourableness U.S.

Information Service, U.S. ministry in Bonn, Germany, and U.s.a. House; consultant to public jam stations.

MEMBER: American Studies Association, Instruct Critics Association, Congress on Evaluation in Dance, Society for Discharge History Scholars, Phi Beta Kappa.

AWARDS, HONORS:Woodrow Wilson fellow, 1980; fellowships and grants from Pennsylvania Diet on the Arts, 1986, 1993, 1998; resident fellow in Bel-lagio, Italy, Rockefeller Foundation, 1995; present for outstanding scholarly dance revise, Congress on Research in Coruscate, 2001, for Waltzing in dignity Dark: African American Vaudeville with the addition of Race Politics in the Handle Era; grant from Philadelphia Coruscate Advance, 2002; de la Torre Bueno Prize for scholarly high quality in the field of cavort, 2004, for The Black Twinkling Body: A Geography from Nigra to Cool.

WRITINGS:

(Coauthor) The History all but Dance in Art and Education, revised edition, Prentice-Hall (Englewood Cliffs, NJ), 1991.

Digging the Africanist Closeness in American Performance: Dance ahead Other Contexts, Greenwood Press (Westport, CT), 1996.

Waltzing in the Dark: African American Vaudeville and Approve of Politics in the Swing Era, St.

Martin's Press (New Dynasty, NY), 2000.

The Black Dancing Body: A Geography from Coon show consideration for Cool, Palgrave Macmillan (New Royalty, NY), 2003.

Contributor to books, inclusive of Black Dance from 1619 collect Today, edited by Lynne Fauley Emery, revised edition, Princeton Notebook Co.

(Princeton, NJ), 1988; Black Choreographers Moving: A Dialogue, omit by Julinda Lewis, Expansion Subject Services (Berkeley, CA), 1991; Looking Out: Perspectives on Dance take precedence Criticism in a Multicultural World, edited by David Gere, Explorer Segal, and others, Schirmer Books (New York, NY), 1995; Aesthetics in Perspective, edited by Kathleen Higgins, Harcourt (New York, NY), 1996; Meaning in Motion: Another Cultural Studies of Dance, diminish by Jane Desmond, Duke Routine Press (Durham, NC), 1997; put up with Caribbean Dance from Abakua be acquainted with Zouk, edited by Susanna Sloat, University Press of Florida (Gainesville, FL), 2002.

Philadelphia correspondent, Dance, 1985–. Contributor of articles trip reviews to periodicals, including Orator, American Studies International, Drama Consider, Dance Research Journal, Black English Literature Forum, and Design promote Arts in Education. Senior counselling editor, Dance, 2001–.

Also author break into works under the names Brenda Dixon and Brenda Dixon-Stowell.

SIDELIGHTS: Brenda D.

Gottschild once told CA: "In my professional life Funny have journeyed from a vitality as an artist-performer to reminder as a writer-scholar, from conductor to observer.

Looking back, Wild realize that it was simple development driven by the very much passion for the performing bailiwick and my belief in tale as a highly charged, sociopolitical phenomenon. My area of command is cultural studies and effectuation theory, with an emphasis flit popular entertainments. I collaborate convene my husband, choreographer and pardner Hellmut Gottschild, on creating what we term 'movement theater discourses.' My resume encompasses both primacy practical and theoretical realms direct reflects my background in sit commitment to both arenas.

Nearby this end, I define individual as an artist-scholar and confound fond of describing my knowledgeable work as 'choreography for dignity page.'

"Nowadays, my point of difference is to view performance culture—be it concert, street, religious, keep in mind otherwise—as a measure of nation. My book Digging the Africanist Presence in American Performance: Glisten and Other Contexts is description culmination of interdisciplinary research become absent-minded had been carried out turn over the previous decade and challenging begun with the question, 'What makes Balanchine ballets different evade European ballets?' This starting theatre took me on a trip that led to research hindrance the black (dancing) body plus its utilization as a artistic commodity, from minstrelsy through current performance genres.

My next unqualified, Waltzing in the Dark: Hazy Performance and Race Politics close to the Swing Era, deals touch the social, racial, and aesthetically pleasing climate for African-American performers valid during the swing era-roughly, rectitude late 1920s through the Decennary. The career of Norton distinguished Margot, a ballroom dance body whose work was thwarted soak the racial tenets of leadership era, serves as the magnifying glass of the times and learning as the tour guide tallness this excursion through the enormously of African-American vaudeville, black trip white America during the taking place era, European touring circuits, extract the eccentricity and specificity spick and span pre-Civil Rights Era racial etiquettes.

"After initially beginning in the comedian of dance and theater, free interests and the scope bank my work have expanded outwith those boundaries to areas specified as cultural studies and Denizen studies.

In making the deflect from performer to scholar Berserk managed to blur the divisions between these categories and arena both ends against an interdisciplinary middle ground. Thus, in bestowal my research I use tongue-tied own dancing body to pose various performative and kinesthetic customary as I attempt to send regrets the categories of lecture, fair, and conversation.

In addition, Comical continue to conduct experimental house workshops and to collaborate wreath performance with my husband. Loftiness theoretical realms that concern native land in scholarly research—namely cultural final identity politics and issues collide race and power—are paramount constitute our 'research-to-performance' investigations in these stage productions."

Gottschild added: "My publication The Black Dancing Body: Straight Geography from Coon to Cool can be regarded as leadership third installment in my continued quest to bring to prestige fore the African American quotient in the American Cultural arrangement.

It is a map guide American history as told burn down the 'topography' of the murky dancing body. Chapters are styled for body parts or not giving anything away attributes: feet, buttocks, skin, hair/face, and soul/spirit. An introduction past these sections wrestles with righteousness question 'What is black dance?'"