Skip to main content Accessibility help

Editors' Note: Presence of Randy Martin

Published online by Cambridge University Press:  20 December 2016

Mark Franko
Editor, Dance Research Journal
Jens Richard Giersdorf
Guest Editor, Dance Research Journal


Image of the first page of this article
Editor's Note
Copyright © Congress on Research in Dance 2016 

Dance studies as an academic discipline in the Western world is now sufficiently established to have its own lore. Knowing about the destabilizing importance and political function of gossip and storytelling (Besnier Reference Besnier2009), we want to start this special issue celebrating Randy Martin's formative impact on the field with one such tale. The dancer, scholar, and social activist Randy Martin who established himself as an influential voice in our field in 1998 with the seminal publication Critical Moves: Dance Studies in Theory and Politics was never hired by a dance department. Yet, as the story goes, he did interview with one of the main Dance Studies departments in the early years and was asked during the interview if, as a dancer and sociologist, he could commit to his future work being situated in the parameters of the field of dance studies. Apparently Randy replied that he could not. At that time he was professor in the department of Social Science and Cultural Studies at the Pratt Institute, was subsequently appointed associate dean of the Tisch School of the Arts, NYU, and, in 2000, became chair of the Department of Art and Public Policy; in 2006 he founded the MA in Arts Politics. Interestingly enough, he never really left the field of dance and informed it with all his future publications, his administration, and his pedagogy.

We bring this story back to life here because it allows us to understand Randy Martin's unique contribution to dance studies and at the same time forces us to think about the parameters of the discipline. How does Randy's work inform our discourse? And what has our discipline become in relation to other fields of inquiry and as a political force?

It is also worth noting in this connection that at the start of his career Randy was a professional dancer before turning full-time to intellectual engagement. Randy began taking dance classes at UC Berkeley in the late 1970s concentrating on Graham technique with David Wood and Marnie Thomas Wood. During his Master's work at the University of Wisconsin he met Claudia Gitleman who, at a summer workshop, encouraged him to come to New York City and study with Alvin Nikolais and Murray Louis. Between 1983 and 1988 Randy danced with Claudia Gitelman, Martha Bowers, Pooh Kaye, and Nina Martin.Footnote 1 Throughout the 1980s he was presenting his work as both a choreographer and a theater director.Footnote 2 He also practiced clowning. Hence, it was the case that Randy's thinking and writing on dance were embedded in his dance and theater practices.

As a dancer, Randy had to have been affected by the economics of production during the 1980s when, under Reagan, the strategy of nonprofits was beginning to saturate the field alongside the ultimately untenable entrepreneurial idea that dance was a business.Footnote 3 In his last book, Knowledge LTD. Toward a Social Logic of the Derivative (Reference Martin2015), Randy gave detailed attention to the conundrum of philanthropy in the United States and the dilemma of the artist's survival. His experience as a dancer surely influenced his idea for the creation of an MA in Arts Politics at NYU. His analysis of arts funding in Knowledge LTD., such as it is in the United States, was far from enthusiastic. He did not express his advocacy for dance blindly. The question of how Randy's work informs our discourse today in dance studies is thus one that demands reflection across his entire corpus. (For this reason, we include a checklist of his major publications in this special issue). And, finally, the disciplinary question we raise also relates to Randy's own intellectual formation in the academy. Sociology was the discipline within which his thought was initially schooled, yet a reflection on ethnography and an interest in theater was also present at an early stage of his writing. No matter what discipline we evoke—either academically or performatively—Randy's relation to it was purposively precarious and in this way can be said to have performatively foreshadowed his interest in precarity and volatility later in his career.

Yet, Randy not only moved dance across disciplines, but early on he also broadened key concepts in our discipline. For instance, in the last chapter of Critical Moves Randy highlights the labor that choreography can achieve and initiate cross-culturally. Randy's definition of multicultural bodies as “composite, instanced by immediate and mediated associations and not amalgamations of fixed identities within stable group members” (212) is especially productive for a comprehension of dance's agency in a United States divided by race and class wars and maybe even more so globally in the shaping of societies facing a refugee crisis caused by contemporary warfare and climate change. Fully aware of the potentiality of the transformation of multiculturalism by state and economic forces into a commodification and the disciplining of difference as “a property of individual bodies,” Randy suggests that “dance can contribute to the larger political discussion … [because] both choreography and dancing remain practices that present their own amalgamation of structure and agency” (213). And “critical dance studies can develop an account of their interpenetration of structure and agency that makes palpable the radical contingency of these two analytic terms, without losing sight of the appropriation of surplus that necessitates a critique of domination” (216). Thus, dancing and also the theorization of dance and choreography move outside the Western academic context, a move reflected in the broadening of dance studies into minority, ethnic, and race studies and its establishment in universities in the Global South and Asia.

In all these cases, and probably more that we have not mentioned, Randy extracted acute insights that veritably, and somewhat miraculously, leapt across the seeming divide between dance and the sociopolitical sphere, capturing in visionary phrases, and sometimes against all odds, how dancing, choreography, and technique animate as if from within planes of reflection and action that otherwise would be bereft of theoretical foundation—and he accomplished this in the very sphere of practice itself. This is part of the meaning of being at one and the same time inside and outside dance “itself.” What we evoke here are thus not metaphors but structural necessities of analysis, and the supreme irony is that such structural necessities would not be articulable without dancing. Dance enabled Randy to think about movement outside social systematicity and, to a certain degree, even outside aesthetics. In place of the aesthetic his work ultimately posited the kinestheme, a relative of Foucault's episteme. That is, dance itself, in Randy's terms, is the working theory of practice where movement and the social intertwine or interweave, a practice that exists in a sphere of analysis that is shown to have been lacking its own terms all along. As Mark wrote in the Social Text’s special tribute, “Movement after Randy Martin,” curated by May Joseph (2015), “Randy has an infallible eye for the transmutability of movement into social movement. His take on the energy of movement opens upon a rich web of associations, which are those of dance itself” (Franko Reference Franko2015, 129). And as Barbara Browning wrote in the same issue, “Randy's invocation of the term ‘mobilization’ in relationship to dance practice wasn't simply a play on words—it wasn't enough to think of dance's metaphoric relationship to political movements. We need to really examine the political dimensions of movement practices and the choreographic aspects of our political engagements” (Browning Reference Browning2015, 138). Both of these comments seem to underline our point about the invisible dividing line between dance and social movement that Randy pinpointed not as metaphor but as pragmatic-theoretic reality. As hard as it is to axiomatize exactly what he accomplished with this amazing sleight of hand, we must admit that the very difficulty of its articulation points to the originality and justesse of the insights Randy put down on the page.

If we return with this assessment to our initial question about the influence of his work on broadening the discourse in our field, it is productive to look at Randy's last theoretical contribution to concepts that have been central to dance studies and that advance the field toward political commitment. At the international symposium “Dance, Politics, and Co-Immunity” in 2010 at the University of Gießen in Germany, Randy provided a glimpse into his interdisciplinary thought system that would be most prominently developed in Knowledge LTD. (2015). In this talk “Mobilizing Dance: Toward a Social Logic of the Derivative,” Randy expanded on concepts of movement, mobility, and collectivity, but also on institutionalization, ephemerality, and utopia (Martin Reference Martin, Siegmund and Hölscher2013b).

Photo 1. Randy Martin. Courtesy of Ginger Gillespie.

Spurred on by the financial crisis of 2008 and, more important, by his ongoing corpo-realized rethinking of global financial systems, Randy reorganized the concept of the derivative, which as a financial instrument provides a risk insurance or hedging against future financial speculations or market shifts by bundling disparate financial entities, such as interest rates, assets, or currencies, and which can be traded independently of the actual value of its bundled entities. Randy saw a similar bundling of seemingly disparate entities in other areas outside the economy, for instance, in the way so-called identity is a bundling of personal, cultural, and political entities; aspects of that identity can then be valued and circulated beyond the actual individual (2015, 211). Explained by a brief discourse into classical, modernist, postmodern, or contemporary dance history, Randy then theorized some dance—such as postmodern dance, hip hop, and movement originating in boarding culture—as also practicing derivative logic in their decentered, post-colonial social kinesthetic and lateral mobility:

The underlying sources of pedestrian, slave, and indigenous bodily practices are decolonized from their initial terms and settings to refigure those who by tradition would be assigned to the populations at risk into crafting corporal economies where risk counts as its own reward. A risky move is granted immediate value by the creative ensemble, it need not await final delivery precisely in the manner that a derivative affords a price on a good or service that has not yet been made or come due. (222)

Reappropriating the damaging financial instrument of the derivative as a constructive force—a “generative derivativeness” (Martin Reference Martin2012, 72)—in dance allowed Randy to powerfully demystify the “trap of ephemerality and location” that has haunted the study of dance for centuries (224). “Performances are, after all, derived from many other times, of rehearsal, of training, of touring; and they gather together movements from myriad locales, experiences, sources and recalibrate and recompose them for a given intervention. Seen from this expanded field, dance is already everywhere” (224). This omnipresence of dance speaks to a certain understanding of mobilization as a concept that returned to reassert social energies lurking within the derivative.

And in Randy's understanding, dance could even touch utopia because dance can creatively mobilize and bundle elements out of these vastly different experiences, localities, and times—even if they had a negative impact on our bodies. “Valuing the ways in which we are linked together without being one, that we share certain sensibilities of moving together without needing to model or imitate some one opens conceptions of sovereignty as self-production that just might serve as a momentary realization of the future in the present” (225). Randy's persistent and determined investigation of the codependent relationship between the choreographic and the social thus provided a constantly evolving and affirmative model for social mobilization. What Randy opposed in sociology was systems thinking, which is why dance afforded him a relational frame within which to conceive of the interaction between dancer and spectator as a model for the theory of social movement(s).Footnote 4

One of Randy's last projects was editing the Handbook of Dance and Politics (Reference Siegmund, Kowal and Martin2017) for Oxford University Press with Gerald Siegmund and Rebekah Kowal, and when this volume appears, we will certainly gain more insight into his thinking. But he also contributed a chapter to the Handbook of Dance and Reenactment (forthcoming from Oxford University Press in 2017). This provides another example of how Randy adapted dance materials that would later appear in Knowledge LTD to the problematic of reenactment in dance. In his chapter, “Scenes of Reenactment/Logics of Derivation in Dance,” Randy addresses reenactment at a certain remove from historical reenactment in dance performance to envision it as a repurposing of movement common to several strands of dance in postmodernity. What is different from our earlier example is that here Randy makes use of a trend in contemporary dance—the reperformance of the work of a predecessor—in order to ground the theory of the derivative in/as movement in movement itself. If there were still doubts, the metaphorical role of dance is here entirely washed away. For Randy, danced reenactment is just one example of the derivative logic in dance more generally, and for this reason reenactment should be viewed from this widened perspective. In this context, historicization has nothing to do with the past and everything to do with the present and the future or, more precisely, with the present at risk to and in the future. “The triptych of classical, modern and postmodern ways of knowing would more properly be rendered as a trivium, as three ways of moving that come together” (Martin Reference Martin2012, 71). This trivium refers to “the divine verticality that orients balletic movement” (ibid.), which can be linked historically to political sovereignty, to modernism's “extraordinary dimension of depth” where Graham is the iconic example, and, finally, to the decentered social kinaesthetic associated with Trisha Brown, break dancing and boarding culture, the latter demonstrating an extreme reorientation to space as a flow through horizontality. In dance, as with financial investment, the “market” is therefore in futures. But in reenactment, fragments of the past bundled together may also have futures. Moreover, the derivative harbors a social logic, one in which what unites disparate forms of dance is the kinestheme. The “postmodern” forms “in which decolonized bodies assert other modalities of risk,” Randy specifies, “are themselves derivative forms that share not so much aesthetic influence as attributes that are features of their self-production” (Martin Reference Martin2012, 73). This self-production takes place against formidable odds in hostile social space and therefore deploys techniques that must not infrequently be contrived on the spot: they are in and of themselves volatile responses to precarity.

It is the particular privilege of dance to make a way of moving that seems to have originated in finance as volatility—a kind of compulsory movement that does not know itself—become legible as a social logic. The way that volatility as the ephemeral par excellence can become an object of knowledge—get beyond the limitations it seems to posit for knowledge—depends on how it can be captured in a “tangible corporeal animation” (Martin Reference Martin2012, 70). The reason finance is inscrutable is that “it generates no language of movement” (ibid.). But this is precisely what dance does do, and it is what dancers do know: dance is not only the site of mobilization; it grasps mobilization as a language. “Mobilization pertains to the medium-generating consequences of movement that render tangible the otherwise ephemeral entailments of time and space” (ibid.).

The legibility of the derivative that dance promises—and its own legibility as itself historically derivative—is possible only because dance does know itself, operates in full cognizance of its own history in which its technical and choreographic principles are embedded. Dance thus is able to reenact those bits and pieces of its past in ways that create intentional difference as knowledge through corporeality. The reference to the medium here is the subtle but decisive giveaway that Randy is a dance scholar, that his treatment of dance is anything but metaphorical, and that dance as knowledge is politically mobilizing. The essays collected here further expound upon and develop these points, and we hope they also indicate that there is a great deal more to glean from reflection on Randy's body of work.


1. In the early 1980s Randy also studied method acting and directing at the Ernie Martin studio (his interest in theater as well as dance is notable in Performance as Political Act and Socialist Ensembles). We would like to thank Ginger Gillespie for providing these specifics on Randy's performance career and for allowing us to publish most of the images in this issue. We wish to thank Kathy Engel for additional images.

2. Sometimes You Gotta Break it to See how to Fix It was produced with Ginny Wollaston at the Charas, Inc., Teatro La Terraza, in July 1983, and The Flattening of a President Charas Theater was produced in 1984.

3. See his discussion of boom and bust in Critical Moves (Reference Martin1998, 85–92).

4. “The conceit of the system metaphor is that the relation of parts to whole is known beforehand and that each retains its integrity, which fixes its position, interest and contribution” (Martin Reference Martin2013a, 90).


Besnier, Niko. 2009. Gossip and the Everyday Production of Politics. Honolulu: University of Hawai'i Press.CrossRefGoogle Scholar
Browning, Barbara. 2015. “Difficult Movement.” Social Text 124 (September): 138–39.Google Scholar
Franko, Mark. 2015. “The Kinetics of Dance Theory and the Social Movement of Desire.” Social Text 124 (September): 129–30.Google Scholar
Martin, Randy. 1998. Critical Moves: Dance Studies in Theory and Politics. Durham: Duke University Press.Google Scholar
Martin, Randy. 2012. “A Precarious Dance, a Derivative Sociality.” TDR. The Drama Review 56 (4): 6479.CrossRefGoogle Scholar
Martin, Randy. 2013a. “After Economy? Social Logics of the Derivative.” Social Text 114 (31/1): 83106.CrossRefGoogle Scholar
Martin, Randy. 2013b. “Mobilizing Dance: Toward a Social Logic of the Derivative.” In Dance, Politics & Co-Immunity, edited by Siegmund, Gerald and Hölscher, Stefan, 209–25. Zurich: Diaphanes.Google Scholar
Martin, Randy. 2015. Knowledge, LTD: Toward a Social Logic of the Derivative. Philadelphia: Temple University Press.Google Scholar
Martin, Randy. 2017. “Scenes of Reenactment/Logics of Derivation in Dance.” In Handbook of Dance and Reenactment, edited by Franko, Mark. New York: Oxford University Press.Google Scholar
Siegmund, Gerald, and Hölscher, Stefan, eds. 2013. Dance, Politics & Co-Immunity. Zürich: Diaphanes.Google Scholar
2015. Knowledge, LTD: Toward a Social Logic of the Derivative. Philadelphia: Temple University Press.Google Scholar
2011. Under New Management: Universities, Administrative Labor and the Professional Turn. Philadelphia: Temple University Press.Google Scholar
2007. An Empire of Indifference: American War and the Financial Logic of Risk Management. Durham, ND: Duke University Press, Social Text Books.Google Scholar
2002. Financialization of Daily Life. Philadelphia: Temple University Press.Google Scholar
2002. On Your Marx: Relinking Socialism and the Left. Minneapolis: University of Minnesota Press.Google Scholar
1998. Critical Moves: Dance Studies in Theory and Politics. Durham, NC: Duke University Press.Google Scholar
1994. Socialist Ensembles: Theater and State in Cuba and Nicaragua. Minneapolis: University of Minnesota Press.Google Scholar
1990. Performance as Political Act: The Embodied Self. New York: Bergin & Garvey Publishers.Google Scholar
2017. Handbook of Dance and Politics. Edited by Siegmund, Gerald, Kowal, Rebekah, and Martin, Randy. New York: Oxford University Press.Google Scholar
2016. Derivatives and the Wealth of Societies. Edited by Lee, Benjamin and Martin, Randy. Chicago: University of Chicago Press.CrossRefGoogle Scholar
2015. Routledge Companion to Art and Politics. Edited by Martin, Randy. London: Routledge.Google Scholar
2007. The Returns of Alwin Nikolais: Boundaries, Bodies and the Dance Canon. Edited by Gitelman, Claudia and Martin, Randy. Middletown, CT: Wesleyan University Press.Google Scholar
2006. Artistic Citizenship: A Public Voice for the Arts. Edited by Martin, Randy and Campbell, Mary Schmidt. London: Routledge.Google Scholar
1999. Chalk Lines: The Politics of Work in the Managed University. Edited by Martin, Randy. Durham, NC: Duke University Press.Google Scholar
1999. SportCult. Edited by Martin, Randy and Miller, Toby. Minneapolis: University of Minnesota Press.Google Scholar
1993. New Studies in the Politics and Culture of U.S. Communism. Edited by Brown, Michael E., Rosengarten, Frank, Snedeker, George, and Martin, Randy. New York: Monthly Review Press.Google Scholar
2017. “Scenes of Reenactment/Logics of Derivation in Dance.” In The Oxford Handbook of Dance and Reenactment. Edited by Franko, Mark. New York: Oxford University Press.Google Scholar
Forthcoming. “Divisions and Hierarchies.” In A Companion to Critical and Cultural Theory. Edited by Szeman, Imre et al. Oxford: Blackwell.Google Scholar
2015. “What Has Become of the Professional Managerial Class?The Socialist Register.Google Scholar
2015. “Money After Decolonization.” SAQ 114(2): 377393.Google Scholar
2015. “Coming Up Short: Knowledge Limits and the (Un)Making of the Professional Managerial Class.” International Critical Thought 5(1): 95110. [First published in 2014 in Polygraph 23/24].CrossRefGoogle Scholar
2014. “Of Dance, Derivatives, Decolonization and Kinesthemes.” TkH 21: 7378.Google Scholar
2014. “What Difference Do Derivatives Make? From the Technical to the Political Conjuncture.” Culture Unbound 6(1): 189210.CrossRefGoogle Scholar
2013. “Linked Fates and Futures: Communities and Campuses as Equitable Partners?Public: Arts/Design/Humanities A Journal of Imagining America 1(1–2). [doi:]Google Scholar
2013. “Mobilizing Dance: Toward a Social Logic of the Derivative.” Dance, Politics & Co-Immunity. Edited by Siegmund, Gerald and Hölscher, Stefan, 209225. Zürich: Diaphanes.Google Scholar
2013. “After Economy: Social Logics of the Derivative.” Social Text 114/31(1): 83106.Google Scholar
2012. “A Derivative Dance, A Precarious Sociality.” The Drama Review (TDR) 56(4): 6479.Google Scholar
2012. “An Important Failure: Knowledge Limits and the Financial Crisis.” Co-authored by Dick Bryan, Randy Martin, Johnna Montgomerie, and Karel Williams. Introduction to Special Feature of Economy and Society 4(3): 299315.Google Scholar
2012. “Bailout.” In Impasses of the Post-Global: Theory in the Era of Climate Change, Vol 2. Edited by Sussman, Henry, 232250. Ann Arbor, MI: Open Humanities Press.CrossRefGoogle Scholar
2011. “Taking an Administrative Turn: Derivative Logics for a Recharged Humanities.” Representations 116: 156176.CrossRefGoogle Scholar
2011. “From the Race War to the War on Terror.” In Beyond Biopolitics: Essays on the Governance of Life and Death. Edited by Clough, Patricia and Willse, Craig, 258275. Durham, NC: Duke University Press.CrossRefGoogle Scholar
2011. “Between Intervention and Utopia: Dance Politics.” [From 2009 Tanzkongress] In Emerging Bodies: The Performance of World Making in Dance and Choreography. Edited by Klein, Gabriele and Noeth, Sandra, 2946. Bielefield: Transcript.Google Scholar
2011. “Durable Ephemeralities: Arts Agencies.” In Expanding Scenography. Edited by Brejzek, Thea, 7883. Prague: Quadrennial.Google Scholar
2010. “The Good, The Bad, and the Ugly: Economies of Parable.” Cultural Studies Volume 24(3–4): 418430.CrossRefGoogle Scholar
2010. “Politics of Association/Trajectories of AffiliationLateral: Journal of the Cultural Studies Association. June. (E Journal with no pages.)Google Scholar
2010. “Specters of Finance: Limits of Knowledge and the Politics of Crisis.” Journal of Communication Inquiry 34: 355365.CrossRefGoogle Scholar
2010. “What's in It for Us? Rethinking the Financial Crisis.” Rethinking Marxism 22(2): 187194.CrossRefGoogle Scholar
2010. “Toward a De-Centered Social Kinesthetic.” Dance Research Journal 42(1): 7780.CrossRefGoogle Scholar
2009. “Whose Crisis Is That? Thinking Finance Otherwise.” Ephemera: Theory and Politics in Organization 9(4): 344349.Google Scholar
2009. “Collective.” Co-authored with Edwards, Brent and McCarthy, Anna. Social Text 100: 7477.CrossRefGoogle Scholar
2009. “University.” Co-authored with Lim, Eng-Bend. Social Text 100: 251256.Google Scholar
2009. “Academic Activism.” PMLA 124(3): 838846.CrossRefGoogle Scholar
2009. “The Twin Towers of Financialization: Entanglements of Political and Cultural Economies.” Global South 3(1): 108125.CrossRefGoogle Scholar
2009. “Financialization and Marx: Giving Labor and Capital a Financial Makeover.” Co-Authored with Bryan, Dick and Rafferty, Mike. Review of Radical Political Economy. 41(4): 458472.CrossRefGoogle Scholar
2008/2009. “W(h)ither Academic Freedom? Revaluing Faculty Work.” Works and Days 26/27: 371388.Google Scholar
2008. “Financialization, Risk and Labour.” Co-authored with Bryan, Dick and Rafferty, Mike. Competition and Change 12(2): 121133.Google Scholar
2008. “Allegories of Passing in Bill T. Jones.” Dance Research Journal 40(2): 7487.CrossRefGoogle Scholar
2008. “Dance's Diversity: A U.S. Perspective” Dance: Transcending Borders. Edited by Sarkar, Urmimala. New Delhi, India: Tulika Books.Google Scholar
2007. “War, By All Means.” Social Text 91: 1322.Google Scholar
2007. “Mode of Excess: Bataille, Criminality and the War on Terror.” Co-authored with Harney, Stefano. Theory and Event 10(2).Google Scholar
2007. “Art Attacks.” Women and Performance 17(3): 283298.CrossRefGoogle Scholar
2007. “Editor's Preface.” In Returns of Alwin Nikolais: Bodies, Boundaries and the Dance Canon. Co-authored with Gitelman, Claudia. Edited by Gitelman, Claudia and Martin, Randy, viix. Middletown, CT: Wesleyan University Press.Google Scholar
2007. “Nikolais Returns.” In Returns of Alvin Nikolais: Bodies, Boundaries and the Dance Canon. Edited by Gitelman, Claudia and Martin, Randy, 125. Middletown, CT: Wesleyan University Press.Google Scholar
2007. “Organizations as Social Structures.” In Blackwell Encyclopedia of Sociology. Edited by Ritzer, George, Volume VII, 33213325. Oxford: Blackwell Publishing.CrossRefGoogle Scholar
2006. “Toward a Kinesthetics of Protest.” Social Identities 12(6): 791801.CrossRefGoogle Scholar
2006. “CityCorps.” [Editorial Introduction to special Issue of Space and Culture]. Edited by Joseph, May and Martin, Randy, 232234. Space and Culture 9(3).Google Scholar
2006. “Productive Pleasures: Episodes of a Critical Public in Cuban Dance.” Space and Culture 9(3): 254260.CrossRefGoogle Scholar
2006. “Introduction.” In Artistic Citizenship. Edited by Campbell, Mary Schmidt and Martin, Randy, 122. New York: Routledge.Google Scholar
2006. “Derivative Wars.” [Special issue of Cultural Studies on Homeland Security]. Edited by Andrejevic, Mark and Hay, James, 459476. Cultural Studies 20(4–5).Google Scholar
2006. “Where did the future go?Logos 5(1): ScholarPubMed
2005. “Staging the Political: Boal and the Horizons of Theatrical Commitment.” In The Joker Runs Wild. Edited by Cruz, Jan Cohen and Shutzman, Mady, 2332. New York: Routledge.Google Scholar
2004. “Introduction.” [Special issue entitled “Turning Pro: Professional Qualifications and the Global University”]. Edited by Harney, Stefano and Martin, Randy, 111. Social Text 79.Google Scholar
2004. “Introduction: Corruption in Corporate Culture.” Co-authored with Shohat, Ella. Edited by Martin, Randy and Shohat, Ella, 17. Social Text 77.Google Scholar
2004. “America as Risk/Securitizing the Other.” Interventions: International Journal of Postcolonial Studies 6(3): 351361.CrossRefGoogle Scholar
2004. “Foreword.” In Tenured Bosses and Disposable Teachers: Writing Instruction in the Managed University. Edited by Bousquet, Marc, Scott, Tony and Parasondola, Leo, ixxi. Carbondale, IL: Southern Illinois University Press.Google Scholar
2004. “Dance and Its Others: Theory, State, Nation, and Socialism.” In Of the Presence of the Body: Essays on Dance and Performance Theory. Edited by Lepecki, Andre, 4763. Middletown, CT: Wesleyan University Press.Google Scholar
2002. “Geography Financialized.” In Implicating Empire. Edited by Aronowitz, Stanley and Gautney, Heather, 211228. New York: Basic Books.Google Scholar
2002. “Introduction: 911: A Public Emergency?” Co-authored with Shohat, Ella, 18. Social Text 72.Google Scholar
2002. “Rallying Social Text .” Co-authored with Edwards, Brent, 19. Social Text 70.CrossRefGoogle Scholar
2001. “The Renewal of the Cultural in Sociology.” In The Blackwell Companion to Cultural Studies. Edited by Miller, Toby, 6378. Oxford: Blackwell Publishing.CrossRefGoogle Scholar
2000. “Modern Dance and the American Century.” In A Modern Mosaic: Art and Modernism in the United States. Edited by Ludington, Townsend, 203226. Chapel Hill, NC: University of North Carolina Press.Google Scholar
2000. “Dead Center? Rethinking the Middle for a Different Left.” Social Text 65: 117133.Google Scholar
2000. “Reading Capital for the Socializing Politics of Globalization.” Society and Space 18: 3751.Google Scholar
1999. “Globalization? The Dependencies of a Question.” [Introduction to special issue of Social Text on Globalization]. Edited with Prakash, Gyan, 114. Social Text 60.Google Scholar
1999. “Stat(e)ing the Obvious.” Edited by Martin, Randy, 1015. Workplace 4.Google Scholar
1999. “Courting Lesbianism.” Co-authored with Jim McKay and Toby Miller. Women & Performance 11(1): 211234.CrossRefGoogle Scholar
1999. “Beyond Privatization? The Art and Society of Labor, Citizenship, and Consumerism.” Social Text 59: 3548.Google Scholar
1999. “From the Studio to the Classroom: Critical Thinking and Pedagogical Performances.” Review of Education/Pedagogy/Cultural Studies 21(1): 114.Google Scholar
1999. “Leaping into the Dialectic: Etudes in Materializing the Social.” In Politics/Poetics—Radical Aesthetics for the Classroom. Edited by Kumar, Amitava, 191200. New York: St. Martin's Press.Google Scholar
1998/1999. “Rereading Marx: A Critique of Recent Criticisms.” Science and Society 62(4): 513536.Google Scholar
1999. “Introduction: Education as National Pedagogy.” In Chalk Lines: The Politics of Work in the Managed University. Edited by Martin, Randy, 129. Durham, NC: Duke University Press.Google Scholar
1998. “What You Don't Get When You Cross Neo-Liberalism with Performativity: A Hint from Havana.” Conjunto 109.Google Scholar
1998. “Fragmentation and Fetishism: The Postmodern in Marx.” Critical Perspectives on Accounting 9(1): 7798.CrossRefGoogle Scholar
1998. “Staging Crisis: Twin Tales in Moving Politics.” In The Ends of Performance. Edited by Lane, Jill and Phelan, Peggy, 186196. New York: New York University Press.Google Scholar
1997. “The Composite Body: Hip Hop Aerobics and the Multicultural Nation.” Journal of Sport and Social Issues 21(2): 120133.CrossRefGoogle Scholar
1997. “Academic Labor: An Introduction.” Edited by Martin, Randy, 18. Social Text 51.Google Scholar
1996. “Cuba and the Rest.” Social Text 48: 133137.Google Scholar
1996. “Autonomy versus Ensemble as Socialist Principles.” In Marxism Today: Essays on Capitalism, Socialism and Strategies for Social Change. Edited by Polychroniou, Chronis and Targ, Harry R., 143156. Westport, CT: Praeger.Google Scholar
1995. “Resurfacing Socialism: Resisting the Appeals of Tribalism and Localism.” Social Text 44: 97118.Google Scholar
1995. “Over-Reading the ‘Promised Land’: Toward a Narrative of Context in Dance.” In Corporealities. Edited by Foster, Susan Leigh, 177198. London: Routledge.Google Scholar
1995. “Agency and History: The Demands of Dance Ethnography.” In Choreographing History. Edited by Foster, Susan Leigh, 105115. Bloomington, IN: Indiana University Press.Google Scholar
1995. “Left Futures.” Co-authored with Brown, Michael E.. Socialism and Democracy 9(1): 5989.CrossRefGoogle Scholar
1993. “Socialism and Democracy—Then and Now.” Co-authored with Brown, Michael E. and Rosengarten, Frank. Socialism and Democracy. 16/17: iii–ix.Google Scholar
1993. “Reasserting Dance in the Public Sphere: Toward a Critical View of Reconstruction.” Dance Reconstructed. Modern Dance Art Past, Present and Future.Conference Proceedings. Edited by Palfy, Barbara with Gitelman, Claudia and Mayer, Patricia, 119126. New Brunswick, NJ: Rutgers University.Google Scholar
1992. “Dance Ethnography and the Limits of Representation.” Social Text 33: 103123. [Reprinted in Meaning in Motion. 1997. Edited by Desmond, Jane, 321344. Durham, NC: Duke University Press].Google Scholar
1992. “Theater After the Revolution: Refiguring the Political in Cuba and Nicaragua.” In On Edge: Contemporary Culture in Latin America. Edited by Flores, Juan, Franco, Jean, and Yúdice, George, 115140. Minneapolis: University of Minnesota Press.Google Scholar
1992. “Introduction: Special Issue on Socialist Education.” Socialism and Democracy 8(2–3): 39.CrossRefGoogle Scholar
1991. “Rethinking the Crisis of Socialism.” Co-Authored with Brown, Michael E.. Socialism and Democracy 7(3): 956.CrossRefGoogle Scholar
1991. “Introduction: Socialism, Democracy and the New World Order.” Co-Authored with Brown, Michael E. and Rosengarten, Frank. Socialism and Democracy 12: iii–x.Google Scholar
1991. “Masquerades of Gender in a Nicaraguan Theater.” Minnesota Review 36: 89104.Google Scholar
1990. “Is The Body of Dance Sexed?Journal of Dramatic Theory and Criticism 1: 724.Google Scholar
1990. “Cuban Theater Under Rectification.” The Drama Review 34(1): 3859. (Spanish translation in CONJUNTO, Havana, Cuba.)CrossRefGoogle Scholar
1989. “Expressive Motionality: Toward a Sociology of the Body.” Journal of Learning about Learning 1/3.Google Scholar
1988. “Democratic Features of Socialism's Two Cultures.” Socialism and Democracy 4(2): 121137.CrossRefGoogle Scholar
1987. “The Professional Army and Military Labor: The Battle for Internal Control.” Sociological Spectrum 7: 367382.CrossRefGoogle Scholar
1987. “Country and City in Nicaraguan Theater.” The Drama Review 31(4): 5876.CrossRefGoogle Scholar
1987. “Nicaragua: State and Theater Without Walls.” Social Text 18: 8394.Google Scholar
1986. “Sowing the Threads of Resistance: Worker Resistance and Managerial Control in a Paint and Garment Factory.” Humanity and Society 10(3): 259275.Google Scholar
1986. “Who Went to War.” In The Vietnam Veteran Redefined: Fact and Fiction. Edited by Boulanger, G. and Kadushin, C., 1324. Hillsdale: Erlbaum.Google Scholar
1985. “Dance as a Social Movement.” Social Text 12: 5470.Google Scholar
1985. “Library Resources.” Socialism and Democracy 1(1): 3344.CrossRefGoogle Scholar

Full text views

Full text views reflects PDF downloads, PDFs sent to Google Drive, Dropbox and Kindle and HTML full text views.

Total number of HTML views: 374
Total number of PDF views: 208 *
View data table for this chart

* Views captured on Cambridge Core between 20th December 2016 - 24th January 2021. This data will be updated every 24 hours.

Hostname: page-component-76cb886bbf-tvlwp Total loading time: 1.11 Render date: 2021-01-24T10:43:03.196Z Query parameters: { "hasAccess": "1", "openAccess": "0", "isLogged": "0", "lang": "en" } Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "metricsAbstractViews": false, "figures": false, "newCiteModal": false }

Send article to Kindle

To send this article to your Kindle, first ensure is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle.

Note you can select to send to either the or variations. ‘’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Editors' Note: Presence of Randy Martin
Available formats

Send article to Dropbox

To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your <service> account. Find out more about sending content to Dropbox.

Editors' Note: Presence of Randy Martin
Available formats

Send article to Google Drive

To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your <service> account. Find out more about sending content to Google Drive.

Editors' Note: Presence of Randy Martin
Available formats

Reply to: Submit a response

Your details

Conflicting interests

Do you have any conflicting interests? *