Editor’s Note

As 2019 draws to a close, this section dedicates a number of its pages to the Bauhaus centennial. The Bauhaus legacy has stood the test of time, not least because of its principle of inclusion; its multi-disciplinary and egalitarian values saw dance and performance integrated into its design practice.

The performance scholar Mark Franko shares historical, theoretical, and personal perspectives on the “Bauhaus Dances” and his experience with the reconstructions of the ’80s and ’90s. George Kan and I write on Performa 19’s nod to Bauhaus with looks at Kia LaBeija’s Untitled, The Black Act, Maria Hassabi and Nairy Baghramian’s Entre Deux Actes (Ménages à Quatre), and Sarah Friedland’s CROWDS.

Mike Stinavage extends the meditation of dancing at home with a review of Kristen Kosmas and Leon Finley The People’s Republic of Valerie, Living Room Edition.

Susan Yung and Doug LeCours examine depictions of dance in music and film, respectively. Yung writes on David Byrne’s idiosyncratic movement and Annie-B Parson’s choreography in American Utopia; LeCours, on the Georgian film And Then We Danced and the political context of its queer love story.