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Sally Banes (born 1949) is a notable dance historian, writer, and critic. Sally Banes is recognized as an expert on the current dance scene and the new trends that are continually appearing in the art. She is one of the few people who, by studying the politics, theory, and techniques of dance, is able to distill and make sense of the power and force this present generation of dancers and choreographers exerts on society. – Charles Flachs, Associate Professor of Dance, Mount Holyoke College〔(【引用サイトリンク】title=Sally Banes )〕 Although she was only ten years old when the decade began, Sally Banes was a child of the 1960s. She believed in its liberatory promise and the idea that everything was possible, above all for artists who stood at the vanguard of both social and artistic change. – Lynn Garafola, ''Before Between Beyond: Three Decades of Dance Writing'' ==Life, education, and performance career== Growing up in Silver Spring, Maryland, a suburb of Washington, D.C., Banes studied dance, and particularly ballet, throughout her childhood. She attended the University of Chicago and graduated in 1972 with an interdisciplinary degree in criticism, art, and theater. While at college she worked as a lighting assistant and wardrobe mistress. She also belonged to a group known as The Collective. Joining in 1970, Banes became one of several actors who met several times a week to collaborate on work. These collectively written theater pieces were performed in workshops as well as public performances. After graduating college, Banes continued to live and work in Chicago. In 1974 she founded the Community Discount Players which was a loosely organized company of actors, dancers, filmmakers and visual artists. Like The Collective, the Community Discount Players focused on collaboration to produce work and performances. She also founded MoMing, which was a collectively owned theater where actors and dancers could come to teach one another class. It also provided an environment for further collaborative efforts and the performance of these partnerships. This is where she first performed for Kenneth King. She also performed in ‘’Paris/Chacon’’, a dance-theater collaboration by Meredith Monk and Ping Chong. In 1976 Banes moved to New York City. She continued exploring the post-modern world and attended workshops with members of Judson Dance. She also performed for Simone Forti, Kenneth King, and Meredith Monk. As she grew older, Banes continued to take dance classes in both Chicago and New York City. She studied ballet with Ed Parish and Peter Saul. She also studied modern with Jim Self, Maggie Kast, and Shirley Mordine as well as taking class at both the Martha Graham and Merce Cunningham studios. At one point she raised $70,000 for an alternative multicultural bicentennial celebration. While in New York she continued her education by enrolling in NYU’s Department of Graduate Drama. She earned her PhD with a dissertation on Judson Dance Theater. This dissertation was later published as ‘’Democracy’s Body: Judson Dance Theater, 1962–1964’’. While doing her doctorate work she studied from and with some of the biggest names in dance research. Her doctoral advisor was Michael Kirby and she also learned from Deborah Jowitt, John Mueller, Dale Harris, Gretchen Schneider, David Vaughan, and Selma Jeanne Cohen. Some of her classmates were Sally Sommer, Barbara Barker, Brenda Dixon-Gottschild and Joan Acocella. Banes is married to fellow art and film philosopher Noël Carroll. In May 2002 Banes suffered a massive stroke, from which she never recovered. She remains cognitively and physically severely handicapped. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sally Banes」の詳細全文を読む スポンサード リンク
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