
Contents
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Introduction Introduction
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Dancing Postmemory: An Embodied Attempt at Constructing a Past without Proof Dancing Postmemory: An Embodied Attempt at Constructing a Past without Proof
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Dancing on Smoke A Dance Action in Germany Dancing on Smoke A Dance Action in Germany
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PART 1—Notes on Fabric/Body/Air, 2018 PART 1—Notes on Fabric/Body/Air, 2018
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PART 2—Jew in the Pool, 2017 PART 2—Jew in the Pool, 2017
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PART 3—Coffee and Memory, 2019 PART 3—Coffee and Memory, 2019
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Moshe, Moishe, Moses Moshe, Moishe, Moses
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Suzanne Miller: Reflections Suzanne Miller: Reflections
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Mindy Yan Miller: Reflections Mindy Yan Miller: Reflections
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Notes Notes
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References References
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23 Three Reflections on the Holocaust
Get accessRebecca Pappas is Assistant Professor of Dance at Trinity College in Hartford, CT, and Guest Faculty in the Masters in Social Practice Art at University of Indianapolis. She choreographs dances that address the body as an archive for personal and social memory. Her work has toured nationally and internationally, and she has received residencies from Yaddo and Djerassi, and funding from the New England Foundation for the Arts, the Indiana Arts Commission, the Mellon Foundation, the Zellerbach Family Foundation, The Clorox Foundation, and Choreographers in Mentorship Exchange (CHIME).
Alexx Shilling is a performer, choreographer, and filmmaker who recently relocated to the New York area after teaching at Cal State Long Beach, Loyola Marymount University, and The Wooden Floor.
Yehuda Hyman is a dancer, choreographer, and writer based in Brooklyn, New York. He holds an MFA in dance from Sarah Lawrence College.
Suzanne Miller is the Company Director of Suzanne Miller & Allan Paivio Productions, and a choreographer, dancer, and teacher based in Montreal, Canada.
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Published:18 March 2022
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Abstract
In this chapter the choreographers Alexx Shilling, Yehuda Hyman, and Suzanne Miller describe dances that both respond to and turn away from the defining legacy of the Holocaust. Shilling narrates the creation of her performance work Absence: A History. For both Shilling and her performers, the stage became a laboratory for re-imagining and re-embodying ancestral histories—destabilizing testimony and photography as the primary means of remembering. Hyman, vacationing in Germany, discovered that a memorial fountain had been built on the unexcavated remains of a former synagogue. He writes an instruction manual on how to prepare and execute a Jewish dance action and logs the action itself as well as its repercussions over the following two years. Moshe, Moishe, Moses documents Needle and Thread, a commemorative performance that grew from a list of six hundred names of Holocaust victims collected by Yad Vashem World Holocaust Remembrance Center. Miller discusses how a rigorous choreography provides a means to bear the loss and honor the lineage of her Jewish forebears.
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