During the height of the 1980s AIDS epidemic in the United States, LGBTQ+ Jewish choreographers agitated for gay rights by using Holocaust allusions to address the AIDS crisis. Modernist practices in their work generate a long modernist midcentury that reframes established historical binaries between modernist and postmodernist concert dance modalities. This article argues that choreographers who drew upon Holocaust memory to address the AIDS crisis engendered a queer Jewish imaginary by engaging Jewishness from ethnic Ashkenazi (European) Jewish American lineages of modernist dance as social justice, Jewish cyclical temporal logics, and histories of being scapegoated for societal ills. It demonstrates how Meredith Monk's Book of Days (1988), David Dorfman's Sleep Story (1987), and Arnie Zane's The Gift/No God Logic (1987) fostered Jewish queerness in modernist artistic practices during a time that LGBTQ+ American Jews developed a queer Jewish consciousness. These choreographers’ works connect queer Jewish modernisms to varied temporalities of global modernity.

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现代主义的连续性：酷儿犹太舞蹈、大屠杀和艾滋病危机

在 1980 年代美国艾滋病流行高峰期间，LGBTQ+ 犹太编舞者通过使用大屠杀典故来解决艾滋病危机，鼓动同性恋权利。他们作品中的现代主义实践产生了一个漫长的现代主义中世纪，重新构建了现代主义和后现代主义音乐会舞蹈模式之间既定的历史二元关系。本文认为，利用大屠杀记忆来解决艾滋病危机的编舞者通过将现代主义舞蹈的德系犹太人（欧洲）犹太裔美国人血统作为社会正义、犹太周期性时间逻辑和被替罪羊的历史来参与，从而产生了一种奇怪的犹太人想象。社会弊病。它展示了 Meredith Monk 的《岁月之书》(1988)、David Dorfman 的《睡眠故事》(1987) 和 Arnie Zane' s The Gift/No God Logic (1987) 在 LGBTQ+ 美国犹太人发展出酷儿犹太意识的时期，在现代主义艺术实践中培养了犹太酷儿。这些编舞者的作品将酷儿犹太现代主义与全球现代性的不同时间性联系起来。