Dance Books

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisHow do we define movement in performance? Who or what is being moved and how? And which movements are felt, observed, or studied, in theatre? Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Movement provides the first overview of relevant critical theory for students and researchers in theatre and performance studies. Exploring areas such as vitality, plasticity, gesture, effort and rhythm, it opens up the study of theatrical production, live art, and intercultural performance to socio-political conceptions of movement as both practice and concept. It covers movement training systems and considers how they have been utilized in key works of the 20th and 21st centuries. The final section traces the convergence of movement in theatre with other media and digital technologies. A wide range of in-depth case studies helps to equip readers to explore new methodologies and approaches to movement as a performance coTrade ReviewThis book convincingly demonstrates why a focus on the kinaesthetics of theatre—and theatrical embodiment more generally—is as important as the study of dramatic writing, acting, and scenography. The author writes with considerable erudition about the topic, but in a way that is almost always immediately accessible. -- Peter Dickinson, Simon Fraser University, CanadaTable of ContentsSeries Preface Acknowledgements Movement: Introduction Movement of vital beings: Aristotle Movement as bodily technique: Mauss Rhythmic movement: Lefebvre Case Study: Pina Bausch This book SECTION ONE Movement as History Movement of the chorus: Ancient Greek theatre Movement of ‘the flower’: Noh aesthetics Case Study #1: Satoshi Miyagi’s Antigone (2017) Gestural movement: Roman rhetoric Case Study #2: I Am My Own Wife (2003) Movement as style: The Natyasastra Case Study #3: Zero Degrees (2005) Processional movement Hostility to movement: The anti-theatrical prejudice Renaissance movement - from the vernacular to the cosmos Case Study #4: The Tempest (1611, 2016) Movement of the automaton Case Study #5: War Horse (2007) Conclusion SECTION TWO Movement Systems and Embodied Action Holistic Systems: Craig, Delsarte and Dalcroze Case Study #1: Operation Orfeo (1993) Movement vitality: Phenomenology Movement plasticity: Stanislavski and Ibsen Case Study #2: Hedda Gabler (2005) Movement mechanics: Meyerhold Case Study #3, part a: The Constant Prince (1915) Movement dynamics: Laban Movement arrangement: Brecht Case Study #4: Mother Courage and Her Children (1949, 2006) Movement somatics: Grotowski Case Study #3, part b: The Constant Prince (1965) Movement assemblage: Butoh Movement Sociology: Crowds Conclusion SECTION THREE Movement in Contemporary Theatre Speed: Attempts on Her Life (1997, 2007) Slowness: The Artist is Present (2010) Animation: Blackie Blackie Brown (2018) Force: World Factory (2014), Made in Bangladesh (2015) and World Factory (2016) Conclusion Notes References Further Reading Index

Read more less

Book SynopsisAn innovative examination of the ways in which dance and philosophy inform each other, Dance and Philosophy brings together authorities from a variety of disciplines to expand our understanding of dance and dance scholarship. Featuring an eclectic mix of materials from exposes to dance therapy sessions to demonstrations, Dance and Philosophy addresses centuries of scholarship, dance practice, the impacts of technological and social change, politics, cultural diversity and performance. Structured thematically to draw out the connection between different perspectives, this books covers: - Philosophy practice and how it corresponds to dance - Movement, embodiment and temporality - Philosophy and dance traditions in everyday life - The intersection between dance and technology - Critical reflections on dance Offering important contributions to our understanding of dance as well as expanding the study of philosophy, this book is key to sparking new conversations concerningTable of ContentsList of Images Contributors Acknowledgements Introductions: Rebecca Farinas and Julie C. Van Camp, “Dance and Philosophy” Jeff Friedman and Aili Bresnahan, “Engagement: A Brief Introduction to Dance Philosophy, Aesthetics, and Practice” Part 1: Philosophical practice as a dancing matter Introduction: Julie C. Van Camp, “Presenting an Engagement of Philosophy and Dance” Chapter 1: Kristopher G. Phillips, Megan Brunsvold Mercedes, “Teaching Dance and Philosophy to Non-Majors: The Integration of Movement Practices and Thought Experiments to Articulate Big Ideas” Chapter 2: Graham McFee, “Dance, Normativity and Action” Chapter 3: Julie C. Van Camp, “The Case of Mark Morris’ Choreomusicality” Chapter 4: Kristin Boyce, “Thought, Dance and Aesthetic Reason” Chapter 5: Jane Carr, “The negotiation of significance in dance performance: a model for human interaction in the context of difference” Chapter 6: Barbara Montero, “Embodied Aesthetics and Proprioception” Chapter 7: Randall E. Auxier, “From Presentational Symbol to Dynamic Form: Ritual, Dance, Image” Part II: Movement, Embodiment, and Temporality: The Distinctiveness of Dance Introduction: Edyta Kuzian, “Reflections on Practice” Chapter 8: Aili Bresnahan, “Interpretation in Dance Performance” Chapter 9: Edgar Vite, Professor and Diana Palacio, Professor, “A New Epistemology of Body and Movement in Modern and Contemporary Dance” Chapter 10: Rebecca Whitehurst, “The Phenomenology of Choreography, a Creative Embodied Encounter” Chapter 11: Richard Hall, “Discovering Collaboration in Dance” Chapter 12: Kaysie Seitz Brown, “Falling Up: An Explication of a Dance” Chapter 13: Louis A. Kavouras, “Early Floating in the Here and Now: The Radically Empirical Immediate Dance Theater of Erick Hawkins and Lucia Dlugoszewski” Chapter 14: David Leventhal, “From Patients to Dancers: a Case Study in Identity Transformation through the Arts” Part III: Philosophy, Dance Traditions, and Everyday Experience Introduction: Stephen Davies, “Cross-currents in Philosophical and Dance Traditions” Chapter 15: Rebecca L. Farinas, “A New Universality: Pragmatic Symbols in Drawing and Dance” Chapter 16: Caroline Sutton Clark, “Groovy Bodies the 1970’s Somatic Engagement in Dance” Chapter 17: Mehta Binita, “The Experience of Self-Transcendence: Traditional Hindu Perspective on Art and Dance” Chapter 18: Thomas F. DeFrantz, “Resisting the Universal: Black Dance, Aesthetics, and the Afterlives of Slavery” Chapter 19: Lakshmi Viswanathan,”The Landscape of the Arts” Chapter 20: Jeff Friedman, “Entanglement: A Multi-layered Morphology of Post-colonial African Philosophical Frameworks for Dance Aesthetics' Chapter 21: Paula J. Conlon, “Synergy and Syncretism at Creek Stomp Dance Grounds” Chapter 22: Addie Tsai, “The Mask which the Actor Wears is Apt to Become His True Face: How Jon Cryer Toes the Line Between Homage and Mimicry in Pretty in Pink’s Ultimate Lipsync” Part IV: How does dance move us via technology? Introduction: David Davies, “Extending Dance Performance” Chapter 23 Arnold Berleant, “An Aesthetics of Video Dance” Chapter 24: Daniel Conrad, “Bodies at Rest: Four Still Images” Chapter 25: Ian T Heckman, “What Do We Lose to a Video” Chapter 26: Eliot Gray Fisher and Erica Gionfriddo, "Embodying Agency in the Human-Techno Entanglement" Chapter 27: L. Archer Porter, “Dance Performance: Disability or Cyborg Utopia? Ambivalent Readings of Marie Chouinard’s “bODY rEMIX/gOLDBERG vARIATIONS” Chapter 28: Ana Baer Carrillo , “Considerations on Site-Specific Screendance Production” Part V: Critical Reflections on Dance Introduction: Julia Beauquel, “Contemporary Dance Criticism” Chapter 29: Jonelle Seitz, “Ways of Looking: Association, Presence, Radicalism” Chapter 30: Henrique Rochelle,“Meneghini Structure, Form and Function of Dance Criticism and the Ways it Relates Audiences to Works of Art” Chapter 31: Joshua Hall, “Dancing with: a Theoretical Method of Poetic Social Justice” Chapter 32: Eric Mullis, “The Power of Political Dance: Representation, Mobilization, and Context Apparatus” Chapter 33: Meghan Quinlan, “The Economic Politics of Pleasure in Gaga” Conclusion Questions for Richard Shusterman Selected Bibliography

Read more less

Book SynopsisAnn R David is Emeritus Professor of Dance and Cultural Engagement at the University of Roehampton, UK. She specialises in dance anthropology and South Asian classical and popular dance and her dance training includes ballet, contemporary, folk dance, as well as Bharatanatyam and Kathak.Table of ContentsBeginnings: Multiple Histories and Modernities Chapter One: Gopal’s Passport Chapter Two: Siva Nataraja Chapter Three: The War Years and Beyond Chapter 4: Programmes of the Post-War Years Chapter Five: Film and Static Images Endings: The Concluding Years Bibliography Filmography Appendix 1 Appendix 2 Index

Read more less

Book SynopsisKaterina Paramana is Senior Lecturer (Associate Professor) in Theatre and Performance at Brunel University London, UK. She is co-editor of the book Art and Dance in Dialogue, author of several articles on the socio-political and ethical dimensions of contemporary performance, and co-editor of the Interdisciplinary Book Series Dance in Dialogue. Her performances have been presented internationally. Anita Gonzalez is Professor of Theatre, Chair of Dance and Associate Dean of Faculty Affairs at the University of Michigan, US. Gonzalez is co-editor of the book Black Performance Theory with Thomas DeFrantz and author of Afro-Mexico: Dancing Between Myth and Reality and Jarocho's Soul, as well as of numerous articles and book chapters.Trade ReviewAnyone encountering Paramana and Gonzalez’s volume for the first time will be thrilled to find that finally here comes a book that addresses how our bodies claim back the world by rejecting abuse and commodified relations. * Body, Movement and Dance in Psychotherapy *[Performance, Dance and Political Economy] addresses how dance and movement provide a means for our bodies to claim back the world and reject the commodified relations of capitalism ... The collection successfully illuminates the role of dance in thinking about these political questions. * Dance Chronicle *This book is a conversation. Not a record of finished discussions, it is a purposeful provocation toward the engagement of otherwise futures. Taking the form of call and response, sets of essays respond to each other and to art works, weaving an open invitation to concerted participation in collective efforts we must make toward change – change in the global political economy and change in the genre of human delimited by the lifeways of colonial-capitalism. Powerful, insightful, and brave imaginings here welcome, through the prism of performance, the “end of the world” as we have known it. Importantly, the authors in this collection also get on with the business of choreographing elsewise. The call is to rearrange ourselves at the granular level of our bodies in space, our bodies in relation to each other and to the political economies that delimit us. We are asked to extend our limbs like our abilities to theorize, and insist upon our capacities to listen, learn, heal, breathe, bend, love, fly. Kudos to Anita Gonzalez and Katerina Paramana for a book that, with an inspiring Foreword by Tavia Nyong’o and contributions by political and social theorists as well as by performance and dance studies scholars, makes so many contemporary ends into even more future beginnings. * Rebecca Schneider, Brown University, USA *The book excellently captures dance as a semio-technological structure that discursively and corporeally targets the accelerated system of necrocapitalist economic restrictions, discrimination, and expropriation to incite a genealogy of historical and future transformations – to literally dance against reinvigorated control and rapacious extractive violence. * Marina Gržinic, Academy of Fine Arts Vienna, Austria *This new interdisciplinary dialogue opens up fresh perspectives that strike a good balance between theoretical perspectives and responses to these that are grounded in the experiences of artists and others in the field. Gonzalez and Paramana have assembled a team who have a wide range of knowledge and expertise, are all well established but progressive, and offer stimulating contributions. * Ramsay Burt, De Montfort University, UK *Table of ContentsForeword: A Gesture Tavia Nyong’o Opening Thoughts and Introductions Katerina Paramana and Anita Gonzalez Provocations CHAPTER 1: Performance, Dance and Political Economy: A Provocation Katerina Paramana CHAPTER 2: Recognizing Race and Class in Dance: Gonzalez Response to Paramana Anita Gonzalez Dialogue 1: Control of Bodies CHAPTER 3: A World Beyond the Captured Body Nina Power CHAPTER 4: Choreographing Rage Marc Arthur Dialogue 2: Commodification of Bodies CHAPTER 5: Honesty and the Body Nina Power CHAPTER 6: Feeling my way through several beginnings Alexandrina Hemsley Dialogue 3: Rest, Productivity, and Survival CHAPTER 7: Sleepwalking: Toward A New Corporeality of Dance Marc Arthur CHAPTER 8: It Only Happens In Daylight Jamila Johnson-Small Dialogue 4: Communal Disruptions CHAPTER 9: Community, Coloniality and Convivencia in the Festival de Danza de Santa María la Antigua del Darién, Colombia Melissa Blanco Borelli CHAPTER 10: Changing Our Bodies’ Relationships to Reality Usva Seregina Dialogue 5: Anarchic Inversions of Neoliberal Economies CHAPTER 11: The “End,” “Lived Time” or How to Say Goodbye to Your World, A World. Melissa Blanco-Borelli CHAPTER 12: Dance, Anarchism, Mutual Aid Elena Loizidou Dialogue 6: Escaping Capitalism? CHAPTER 13: Breaking the Illusion of Reality: Exploring Reiterations of the Performance of Consumption Usva Seregina CHAPTER 14: From Exchange to Freedom and back. No guarantees. Elena Loizidou Group Conversation CHAPTER 15: In Conversation – Bodies at the End of the World: Performance, Dance and Political Economy Katerina Paramana, Anita Gonzalez, Nina Power, Marc Arthur, Melissa Blanco Borelli, Usva Seregina, Jamila Johnson-Small, Elena Loizidou, and Alexandrina Hemsley (in the order of speaking) References Index

Read more less

Book SynopsisThe Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry: Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance, Dance History, Dance and Philosophy, and Digital Dance.Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized iTrade ReviewThose intending to teach or write about dance will find this volume of particular interest; those seeking a serious introduction to dance studies will find the collection to be an effective resource … Summing Up: Highly recommended. Lower-division undergraduates through faculty and professionals. * CHOICE *Table of ContentsList of Illustrations Notes on Contributors Acknolwedgments 1. Introduction Sherril Dodds (Temple University, USA) 2. Research Methods and Problems Rachel Fensham (Melbourne University, Australia) Current Research and Issues 3. Dance Pedagogy Edward C. Warburton (University of California, Santa Cruz, USA) 4. Practice-As-Research Vida Midgelow (Middlesex University, UK) 5. Dance and Politics Juan Ignacio Vallejos (National Council for Scientific and Technical Research, Argentina.) 6. Dance and Identity Prarthana Purkayastha (Royal Holloway, University of London, UK) 7. Dance Science Emma Redding (Trinity Laban, UK) 8. Screendance Harmony Bench (The Ohio State university, USA) 9. Dance Ethnography Yvonne Daniel (Smith College, USA) 10. Popular Dance Sherril Dodds (Temple University, USA) 11. Dance History Susan Manning (Northwestern University, USA) 12. Dance and Philosophy Anna Pakes (Roehampton University, UK) 13. Digital Dance Hetty Blades (Coventry University, USA) and Sarah Whatley (Coventry University, USA) 14. New Directions Mark Franko (Temple University, USA) 15. Annotated Bibliography Elizabeth Bergman (Temple University, USA) 16. A to Z of Key Concepts in Dance Studies Lise Uytterhoeven (London Studio Centre, UK) Index

Read more less

Book SynopsisAs principal dancer with Montréal-based company La La La Human Steps, Louise Lecavalier was among the most iconic dancers of her generation: strong, muscled, androgynous, punk. Moving with spectacular speed, precision and an athletic physicality, her commitment to dancing would ultimately transform the potential of what bodies within Western concert dance could do. Drawing on extensive oral history accounts and archival material, the book follows Lecavalier's impact on the evolving aesthetic of La La La Human Steps, via the development of its early repertoire, and offers the first sustained account of her 1982 solo Non, Non, Non, je ne suis pas Mary Poppins. More, it tracks diverse influences and sources for the repertoire, complicating understandings of nationalism in Québec, while marking the significance of the collective in generating new aesthetics. What emerges is a portrait of the dancer as artist, icon, labourer and mover of cultural discourse. Featuring aTrade Review[Lecavalier's] extreme dance, filled with a fiery energy, caught the imagination of a whole generation. * New York Live Arts *Table of ContentsIntroduction: Letter from a Dancer Chapter 1: Off-Axis: Expressionist Legacies, Punk Realities Chapter 2: No No No: Re/Working Labour and Aesthetics Chapter 3: Icon/Street/City: From Dancer to Discourse Chapter 4: Black Aesthetics/White Dreadlocks: Love, Hate and Rehearsals of Culture Conclusion: Letter from A Dance Fan Bibliography Index

Read more less

Book SynopsisThis study focuses on dance as an activist practice in and of itself, across geographical locations and over the course of a century, from 1920 to 2020. Through doing so, it considers how dance has been an empowering agent for political action throughout civilisation. Dance and Activism offers a glimpse of different strategies of mobilizing the human body for good and justice for all, and captures the increasing political activism epitomized by bodies moving on the streets in some of the most turbulent political situations. This has, most recently, undoubtedly been partly owing to the rise of the far-right internationally, which has marked an increase in direct action on the streets.Offering a survey of key events across the century, such as the fall of President Zuma in South Africa; pro-reproductive rights action in Poland and Argentina; and the recent women''s marches against Donald Trump''s presidency, you will see how dance has become an urgent field of sTrade ReviewMills artfully weaves together a massive array of case studies, drawing connections across the globe and throughout the century. * Dance International *Mills brings an investigative style and ethnographic approach to dig deep—within contextual layers and personal stories—to discover an interpretation that positions the dialog between the social cultural moment, the dancer, and the dance … A tightly and provocatively argued book that provides a new perspective on dance as activism. * Journal of Dance Education *Dance and Activism: A Century of Radical Dance Across the World, makes an important contribution to ongoing conversations within the field of dance studies about the political nature of dance. The book explores the mobilization of dance as a language and method for activism and radical hope, extending and refining the intimate relationship between dance and politics outlined in Mills’s previous work. * Dance Chronicle *Dance and Activism’s main strength is that it is something of a pioneer ... Dance and Activism is a welcome and necessary addition to the dance history and dance studies canon. Graduate program directors would be wise to point students toward this book not only as a resource, but as a reminder that powerful and transformative dance exists outside the concert stage. * Theatre Topics *A most intriguing, erudite book. * Sydney Arts Guide *Mills’s book provides unique case studies that draw from different forms of dance across the globe. These case studies analyse the actions of the dancers and choreographers, not choreographed works. The majority of books about dance and politics rely on analysis of dance pieces or theorize from generalized notions of dance. Mills also focuses on the actions of the dancers and choreographers whose actions are explicitly political/create direct action in the world. The site of their action is the world at large, not the theatre for a select audience. The majority of books about dance and politics discuss the political effects of events that occur in the closed environment of the theatre or dance studio. * Leah Cox, Dean of the American Dance Festival *Mills shows how dance and dancers from the stage to the streets have responded to forces of alienation and oppression, and how they have moved their bodies—and others—to imagine different worlds. It is a stirring and powerful read, and a prelude to action. * Glory Liu, Harvard University, USA *The past is constantly present as Dana Mills chronicles the extraordinary potential our expressive dancing body/mind. In an age of increasingly sedentary work, her deep analysis of “dance as activism” lays bare a far-reaching radicalism and breadth of diversity in dance forms. Dance and Activism is both timely and necessary. * Blakeley White-McGuire, Dancer, Choreographer, Educator and Activist, USA *In this groundbreaking multi-disciplinary book, Dana Mills leads dance from the wings of political activism to the centre stage of human resistance and the creative struggle for freedom and our most precious, primordial material possession – the bodies in which we live and struggle for self-possession. Mills deftly choreographs a century of global theatre of street protest and popular movements through the individual stories and collective moments and movements that create surprising uprisings and new solidarities. A brilliant political theorist, activist and dancer at the forefront of the pursuit of a new dialectics for our troubled modern age, Mills shares her cogent analysis and innovative thinking in a readable, engaging form that leaps beyond intellectual boundaries and galvanises a new genre of thought in action. Vividly describing how our restless bodies can and will reach out, rise up and protect everything that is human and beautiful in our world, Dana Mills shows, with passion and commitment, why people will never stop dancing in search of freedom. * Rachel Holmes is critically acclaimed author of, most recently, Eleanor Marx: a Life and Sylvia Pankhurst: Natural Born Rebel *This book is essential for anyone who wants dance to be part of their revolution. * New Books Network *Table of ContentsPreface and Acknowledgments If we can't dance, we don't want to be part of your revolution Alienation solidarity Method Prelude to action Martha Graham: Embodied Chronicle 2. ‘Go ahead and be a bastard’ Anna Sokolow Through dance I have experienced the wordless joy of freedom: Pearl Primus Dance as intervention, dance as action Ballet beyond borders ‘No one is born hating another person because of the color of his skin’ ‘Going around the house like a butterfly’ Ballet, home, Syria The canon must be fired! Ballet and the long arc of history There is only now: radical ballet going forward Erbil/ New York City: Break/ Dance The body in battle Those who leave and those who stay Not just for you, but for the rest of the earth Ballade of belonging At the still point of the turning world Break/ dance: echoing further: Erbil Steps in the street: Revolution DJ Dance on the march The People (dancing) united can never be defeated Dancing onwards! Dance as a home Transitions Home, exile, words, movement Arriving Storytelling Unraveling Homelessness- Devastation- Exile Spectre, haunting Bibliography Index

Read more less

Book SynopsisDarren Royston is a Dance and Movement Tutor and Choreographer at RADA, and the Artistic Director and Choreographer for Nonsuch History and Dance. He is council member of many professional organizations including The Laban Guild for Movement and Dance, The European Association of Dance Historians, DANCE UK Choreographers' Forum and the Early Dance Circle (UK) and a member of UNESCO International Council for Dance.Trade ReviewRoyston, a tutor at Rada, gives the reader a fascinating insight into the techniques used at this prestigious institution ... A lively exploration of how historical dance forms can be brought to life on stage. -- Gillian Spickernell * The Lady *Actors get so much from the practical experience of exploring historical dance ideas . . . Darren’s fantastic, thorough approach to dance for the actor can be referred to throughout the rehearsal process and helps to unite the style of the production. * Jamie Lloyd, Director, She Stoops to Conquer, National Theatre, London *This all-embracing approach gives actors a grounding in fundamental stagecraft and a vital sense of body while preparing for a role. * Andrew Normington, Director, The Lord Chamberlain’s Men & former Head of Acting, Bristol Old Vic Theatre School *Table of ContentsIntroduction Alternative Approaches: Making Dance Dramatic Chapter One Ancient Ideas: Dionysian Orchestration Chapter Two Medieval Realms: Feudal Formations Video samples: [1] French Basse Danse: La Dame; [2] Royal Estampie: La Quinte Estampie Real Chapter Three Italian Balls: Renaissance Rhythms Video samples: [3] Italian Bassadanza for 2: Alexandresca; [4] Italian Bassadanza for 3: Pellegrina; [5] Italian Ballo for 2: Rostibolly Gioioso; [6] Italian Ballo for 4: Anello Chapter Four Shaking with Shakespeare: Court and Country Video samples: [7] New Almaine; [8] La Volta; [9] Italian Balletto: Torneo Amoroso; [10] Washerwomen’s Branle; [11] Country Dance for 2 couples: Rufty Tufty; [12] Country Dance for 3 couples: Shepherds’ Holiday; [13] Country Dance for 3 couples: Picking of Sticks Chapter Five Baroque Around the Clock: Mincing by the Minuet Video Samples: [14] The Ballroom Minuet; [15] Bourrée Chapter Six Nineteenth Century Coupling: Partners Please Video samples; [16] Allemanding; [17] Mazurka; [18] Polka Chapter Seven Twentieth Century Foxtrots: Crazy Dances and Dance Crazes Video sample: [19] Charleston Conclusion Taking Leave: The Final Bow

Read more less

Book SynopsisWhile there are books about folk dances from individual countries or regions, there isn't a single comprehensive book on folk dances across the globe. This illustrated compendium offers the student, teacher, choreographer, historian, media critic, ethnographer, and general reader an overview of the evolution and social and religious significance of folk dance.The Encyclopedia of World Folk Dance focuses on the uniqueness of kinetic performance and its contribution to the study and appreciation of rhythmic expression around the globe. Following a chronology of momentous events dating from prehistory to the present day, the entries in this volume include material on technical terms, character roles, and specific dances. The entries also summarize the historical and ethnic milieu of each style and execution, highlighting, among other elements, such features as:originspurposerituals and traditionspropsdressholidaysthemesTrade ReviewThis encyclopedia must have been a challenge for prolific compiler Snodgrass, covering as it does such an expansive topic—folk dance worldwide from all time periods. Each entry, however, offers sufficient detail to serve as an good introduction for students and more advanced researchers. One of the best features of the work is the explanation of terms used to describe individual dance practices, customs, and change over time; there is also a separate, helpful glossary of terms. An illustrative example would be the polka, also known by the Polish krakowiak. The author provides historical perspective on this dance and how it varies in different periods and parts of the world (e.g., its Scandinavian version gammeldans). Each entry has the source of the information listed, often derived from primary resources. The bibliography includes both primary works and secondary books and articles, and there is an appendix of state and national dances. The author provides a chronology covering 5000 BC to 2016—an interesting feature, but lacking sufficient detail for most research needs. The work's exhaustive index, on the other hand, is especially important for interrelating topics (e.g., under ‘Jewish dance,’ one can find the two-page main entry bolded, with multiple mentions in other entries and pointers to five unique Jewish subgroups). Summing Up: Recommended. All readership levels. * CHOICE *Snodgrass examines 'the placement of folk dances within world history' in this useful reference. Each entry cites its source(s) at the end. Some summaries place folk dance within a subject, as in 'Art, Folk Dance In' or 'Film, Folk Dance In.' Examples of dances mentioned include the czardas, the mazurka, the polonaise, the Highland fling, and the hula as well as Native American dances such as the sun dance and the ghost dance. There are general entries ('Greek Dance'; 'Jewish Dance'), along with more intriguing ones (e.g., 'Dragon Dance'; 'Parasol Dance'). Rituals—coming-of-age, nuptials—are covered as well. Shamanic dance, worship dance, and sacrificial dance give yet additional perspectives on movement as ceremony. This resource is noteworthy for its interweaving of dances with information on their respective countries/cultures and their purposes and meanings. Students doing reports will benefit from the helpful bibliography, which separates primary and secondary sources, and from the glossary and chronology. Color and black-and-white photographs provide examples. Often one has to research a country to find out more about its traditions, but this book offers an overview that is subject specific, making it a strong option for those seeking folk dance materials. Verdict: An excellent introduction for anyone looking for information on world folk dance and its terminology. * Library Journal *The Encyclopedia of World Folk Dance spans the globe to provide a comprehensive, single-source exploration of multiple aspects of folk dance. . . .Overall, the encyclopedia is a user-friendly resource. . . .A notable strength of this resource is its global perspective; folk dances from around the world are considered in terms of their relationships to each other. This informative, well-researched encyclopedia will meet the needs of students, teachers, and historians and would be a welcome addition to academic or large public libraries. * American Reference Books Annual *The encyclopaedia begins with a chronology, before 347 pages on an alphabetical series of subjects ranging from nationalities to dance form (e.g. veiled dance, clogging or branle), taking in other topics as wide-ranging as censorship and ceilidhs. A brief appendix lists national and state dances, alphabetically by dance rather than by nation. This is followed by a four-page glossary of necessary terms that might be unfamiliar to the average enquirer, such as ‘bel canto’ – a singing style – or the act of ‘reverence’ made to spectators at the end of certain dances. There is an eight-page bibliography divided into primary and secondary sources: books, journals and electronic sources; the vast majority of the secondary sources were published in the past 15 years. A very detailed index finishes off the book. Additionally, the book is well-supplied with both black and white and eye-catching colour illustrations…. The book is undoubtedly of value. * s *

Read more less

Book SynopsisAn empowerment manifesto for creatives, misfits, innovators, and disruptors from the star of So You Think You Can Dance and creator of Broadway's Finding NeverlandA Unicorn in a World of Donkeys offers a playbook for living a creative and authentic life. Using her own story as a launching spot, and creative quizzes, charts, and lists to engage the reader in an interactive journey, Mia Michaels explores the experience of the unicorn in a world of donkeys, a world where fitting in, pleasing others, following rules, and maintaining norms-no matter how messed up those norms are-is the only acceptable path. She acknowledges the struggles of the unicorn life-loneliness, ridicule, being misunderstood and undervalued-and goes on encourage readers to reframe the unicorn life the way she has, as essential to a life of brilliance.Trade ReviewOne word describes Mia Michaels . . . FEARLESS! Everything she touches goes beyond expectations. Which says a lot because the expectations on her are always high. Working with her was such a highlight of my career because I've always been such a fan. That fearlessness is perfectly translated into this book. C'mon, it's Mia, you already know that this book is going to be incredible before you even open the cover! * Matthew Morrison, TV star of Glee, actor, dancer, and singer-songwriter *Mia embodies magic in her dance. It's no wonder she now runs with unicorns. Young artists, buy this book! * Kristin Chenoweth, Tony-winning actress and singer *Mia Michaels is a brilliant choreographer and director. Now add "writer," and you have a triple threat--and we all know good things come in threes. * Harvey Weinstein *Mia is a force of nature! She has an infectious energy that inspires you want to create with her. * Heidi Klum, model, TV host, producer, fashion designer *

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisThis book explores the process of improvisation and outlines the ideal conditions for an inspirational creative state. Examining her own process as an artist and drawing on interviews with peers, the author considers how the forces of shaping (intellect-driven decisions) and letting-go (more intuitive moves) interact in improvisation.The book follows the journey of seven performing arts graduates and undergraduates, examining their experiences of improvisation and the interplay of shaping and letting-go. It reveals how the approach and methods of expressive arts can enrich an improviser's experience and spur the desire for discovery.Trade ReviewThis beautifully written book reminds us that creativity is an interpenetrating play of letting go and shaping, not only in improvisational movement and art making, but also in life itself. With her openness to learning from others as well as from her own personal experience, the author inspires us to risk diving deeply into life, to explore the interplay of control and surrender with courage and trust. -- Sally Atkins, Professor of the European Gradate School, Professor Emerita and Founder of Expressive Arts at Appalachian State UniversityMs. Belize Demircioglu offers a thorough and nuanced exploration of the internal and external forces impacting the process of improvisation as an artistic practice. Her writing is engaging, specific, and refreshingly honest. -- Seán Curran, Chair, Department of Dance, NYU/Tisch School of the Arts, Artistic Director, Seán Curran CompanyEver swam up a waterfall? Beliz Demircioglu demonstrates that the seemingly impossible can be turned around. She beautifully and willfully serves the dance called life - not because she wants it, but because she believes it. This book teaches us how to forget ourselves in order to find ourselves anew in a liberated way. -- Professor Margo Fuchs Knill, Ph.D., Dean of Division of Arts Health and Society, EGS and Professor Dr. h.c. Paolo Knill, Ph.D., Founding Rector of the European Graduate School EGSIn this revealing and well-articulated book, Beliz Demicioglu dives down to bring her subject alive. Beliz is a multi-talented dancer-researcher who moves together with her co-divers to explore and harvest the relationship between letting go and shaping in art and in life. An important contribution to the growing field of arts-based research. -- Ellen G. Levine, MSW, Ph.D., ATR-BC, RSW, Author of Play and Art in Child Psychotherapy: An Expressive Arts Therapy Approach (2015, JKP)Table of ContentsForeword by Stephen K. Levine. 1. Introduction. 2. Methodology. 3. The Divers. 4. The Passage. 5. The Journey. 6. The Essence. 7. Conclusions. 8. Limitations and Proposals for Further Research. 9. Responses. Bibliography.

Read more less

Book SynopsisA beautiful gift book packed with pictures from over twenty productions from the year 2018-19 at The Royal Ballet - a richly illustrated companion to The Royal Ballet company.Table of ContentsWelcome to the Royal Ballet: A Season in Pictures 2018/19 The 2018/19 Season at a Glance Photographs Artists and Staff at the Royal Ballet 2018/19

Read more less

Book SynopsisHelen Lewis' acclaimed memoir, A Time to Speak (Blackstaff Press, Belfast, 1997), tells the story of the first thirty years of her life in Czechoslovakia, from childhood to her professional training as a choreographer and dancer. It also contains her devastating account of Nazi persecution, of loss and suffering in the Holocaust: Helen came very close to death. Maddy Tongue now completes the story of this extraordinary woman who overcame unimaginable suffering to become a creative force in Ireland. The author's friendship with Helen lasted for more than fifty years. As a dancer she performed in many of Helen's significant works. Shadows Behind the Dance describes Helen's creative approach, her struggle to overcome an Irish indifference to modern dance, her pursuit of perfection and her unshakeable belief in humanity. In Ireland today the presence of modern dance owes much to her innovative teaching and practice. Shadows Behind the Dance is supplemented with Chris Agee's 2002 interview with Helen, "An Irish Epilogue", and a folio of Holocaust poems and drawings by Michael Longley and Sarah Longley (who was a pupil of Helen's). Helen's sons, Robin and Michael, have also written a Foreword. The book has been generously funded through subscription by family, friends, colleagues and admirers of the unforgettable Helen Lewis.

Read more less

Book SynopsisOver the last 40 years, while the musical film has faded from its historical high-point to a more isolated and quirky phenomenon, the dance film has displayed refulgent growth and surprising resilience. A phenomena of modern movie-making, the dance film has spawned profitable global enterprises (Billy Elliot), has fashioned youthful angst as sociological voice (Saturday Night Fever, Footloose and Dirty Dancing) and acted as a marker of post-modern ironic camp (Strictly Ballroom). This modern genre has influenced cinema as a whole in the ways bodies are made dimensional, in the way rhythm and energy are communicated, and in the filmic capacity to create narrative worlds without words. Emerging as a distinct (sub)genre in the 1970s, dance film has been crafting its own meta-narrative and aesthetic paradigms that, nonetheless, display extraordinary variety. Ranging from the experimental, 'you are there' sonic explorations of Robert Altman's The Company and the brutal energy of David La Chappelle's Rize to the lighter 'backstage musical' form displayed in Centre Stage and Save the Last Dance, this genre has garnered both commercial and artistic success.Meanwhile, Bollywood has become a juggernaut, creating transportable memory for diasporic Indian communities across the world. This is an entire industry based on the 'dance number', where films are pitched around the choreography, where the actors are not expected to sing, but they must dance. This series of essays investigates the relationship between movement and sound as it is revealed, manipulated and crafted in the dance film genre. It considers the role of all aspects of sound in the dance film, including the dancer generated sounds inherent in Tap, Flamenco, Irish Dance and Krumping. Drawing on significant post-War dance films from around world, Movies, Moves and Music comprehensively surveys this mainstream genre, where image and sound meet in a crucial symbiosis.Table of Contents1. The Sonic World of Dance Films Mark Evans and Mary Fogarty 2. From Choreocinema To Experimental Screendance: A Personal Archaeology Greg Faller, Towson University, USA 3. From Beat Street to Step Up 3D: The Sound of Street Dance Films Mary Fogarty 4. Space, Authenticity and Utopia in the Hip-Hop Teen Dance Film Faye Woods, University of Reading, UK 5. The School and 'The Streets': Race, Class, Sound, and Space in Step Up and Step Up 2Brian Su-Jen Chung, University of Hawaii at Manoa, and Afia Ofori-Mensa, Oberlin College, USA 6. The essence and momentum of Honey: An Interplay of Sound and Movement Diane Hughes, Macquarie University, Australia 7. Gone in a Flash(dance): The Estrangement of Diegetic Performance in the 1980s Teen Dance Film Kelly Kessler, DePaul University, USA8. 'Anything But Ballet': Individuality, Genre-Bending, and Sexual Expression in Center StageGillian Turnbull, Independent Scholar 9. Zoot Suit Mayhem: Swing Dance and the Politics of Revisionist History in Steven Spielberg's 1941Philip Hayward, University of Technology, Sydney, and Jon Fitzgerald, Southern Cross University, Australia 10. Across the Universe and Nostalgia: Re-presenting the Beatles Through Moving Images and Dancing Bodies Colleen Dunagan, California State University, Long Beach, and Roxane Fenton, Independent Scholar 11. Looking for the Past in Pastiche: Intertextuality in Bollywood Song-and-Dance Sequences Usha Iyer, University of the West Indies, St Augustine 12. The Call to RizeMegan Anne Todd, Independent Scholar 13. Resounding Neurological Ecologies: Choreographing the Body's Lost Interactions with the World Sarah-Mace Dennis, Independent Scholar

Read more less

Book SynopsisWith simple and evocative words, calligraphy, and home photos of the words in action, grandfather and granddaughter team Chungliang and Sylvia bring the spirit of Tai Ji to life.Written and conceived by Master Chungliang Al Huang, in collaboration with his granddaughter, Sylvie, it brings to life the five elements underpinning Chinese thought - Earth, Fire, Water, Wood, and Metal - and how they can be simply and instinctively expressed through the body. Making Tai Ji fun and simple, with the possibility of learning through repetition, the book offers a wonderful foundation for developing intuitive understanding and is a great way of keeping kids active, and improving their wellbeing and mindfulness.Trade ReviewThe highest approach of Daoist cultivation is FanPuGuiZhen ????, which means "back to simplicity, return to the truth". Chungliang Al Huang's Tai Ji Dancing for Kids is not just a book for kids! It offers a simple way for all of us to find the joy that resides in our true inner nature, activating the healing process and bringing many benefits to our lives. -- Master Zhongxian Wu, lifelong Daoist practitioner and author of 12 books (5 in Chinese) on Chinese wisdom traditions.PreS-Gr 1-A straightforward introduction to Tai Ji dancing for young children. The opening page provides a brief explanation of Tai Ji and the concept of the life force Qi-the energy that connects people with each other and with nature. Each spread features easy to follow prompts on the left side with an up-close picture of the author's young granddaughter performing the movement on the right side of the page. The instructions are simple yet leave room for interpretation: "Open your arms/Open your eyes/Open your flowering Heart." Back matter includes a glossary of the "Five Moving Forces" (earth, fire, water, wood, and gold), which are mentioned in the text. An author's note and a website with videos of Tai Ji dancing are also included. Overall, this is a highly accessible and well-designed book. VERDICT A joyful celebration of Tai Ji and intergenerational relationships. A worthy addition to preschool and elementary collections -- School Library JournalStraightforward and clear...it shows a way of keeping kids active, and improving their wellbeing and mindfulness. Even if you are completely new to Tai Ji, this book will give you a good understanding of what is involved. -- Parents in TouchTai Ji Dancing for Kids is a nice little book, well-produced and with a nice message. My daughter loved it and its simplicity. -- Duncan McGechie, AcubodyTable of ContentsN/A

Read more less

Book SynopsisThis practical handbook will empower activity coordinators and carers to run safe, rewarding and health-giving dance and movement sessions with older people, including with those who are frail, who have limited mobility or who are living with dementia.The authors describe the many benefits of dance and movement for older people, and address important practical considerations such as carrying out risk assessments, safety issues, adaptations for specific health conditions and disabilities and how to select appropriate props and music. Step-by-step instructions for 20 dances and movements drawn from a wide range of eras, cultures and traditions are then provided. Ranging from Can Can and Charleston to hand jive, morris dancing, sea shanties and traditional hymns with movements, there is something to suit every mood and occasion.This is an essential resource for activity coordinators and carers working with older people in care homes and day centres.Trade ReviewThis book...will make a great contribution to activity provision. It should become the bible for anyone interested in dance and movement sessions with older people. The depth of detail and information provided takes you step-by-step through everything you would need to do along with interesting insights into the history of each type of dance. The familiar songs are well-chosen for the group of older people who are dependent on others for support. -- Sylvie Silver, Director, National Association for Providers of Activities for Older PeopleThis handbook is designed to provide activity coordinators and carers with the information, knowledge and guidance to confidently and safely organise and facilitate dance and movement sessions for older people...The handbook covers a variety of aspects relating to dance and movement sessions for older people and includes chapters on understanding the benefits of moving, how to set up and prepare for a movement session including considerations that need to be made and finishes with examples of dances styles and themes which can be utilised. The examples of songs and music within the handbook are also accompanied with movement suggestions...The layout of the handbook was clear so you could easily find specific information and the content within it was explained in an uncomplicated manner... there is a link to a website where some of the dances are demonstrated... this handbook will be able to guide you accurately and methodically and ensure that you consider the health and safety aspects at the same time as providing positive engagement and stimulation for those the session is intended for. The handbook provides you with an instant source of music and movement ideas which then both you and those attending your class can extend upon should you wish.... It contains in depth information and step by step guidance to ensure that you can confidently and safely execute dance and movement sessions... Once you get your hands on this book, you will not need to buy another dance and movement inspiration book, as for me this book contains everything that you need to know and more! -- NAPA, Living Life MagazineThis is a very important and timely book for anyone who is either thinking of initiating or is already leading dance and movement classes for older people or those living with dementia. This well researched and clearly presented volume offers a wealth of practical suggestions on all aspects of planning and delivery of sessions from health and safety considerations and logistical implications to ideas for individual dances and significant occasions on which to base themed dance events... The book includes step-by-step instructions and music suggestions for dances from a wide range of genres, cultures and time periods, as well as links to two online videos... It will provide a good introduction to anyone new to the field. -- Malcom Burgin & Gill Roberts, ALIVE! Regional Managers * Signpost *Table of ContentsIntroduction. Part I: The Benefits. 1. Why Movement is Important for Older People. 2. Moving in Old Age: How It Helps. Part II: The Dance Session. 3. Preparing Yourself. 4. Preparing Your Venue. 5. Thinking About Equipment. 6. Preparing For Your Participants. 7. Planning and Running a Session. 8. Choosing and Using Music. 9. Choosing Dances. 10. A Note About Wheelchair Dancing. Part III: The Dances. 11. Warm-Up. 12. My Bonnie Lies Over the Ocean (bath-time). 13. Dashing away with the Smoothing Iron (laundry). 14. Greek Greeting Dance. 15. Create Your Own Circle Dance. 16. Morris Dance with Sticks. 17. Morris Dance with Hankies. 18. Oats and Beans and Barley Grow. 19. Amazing Grace. 20. Step Softly on the Earth. 21. Morning Has Broken. 22. Can Can. 23. Charleston. 24. Pearly Shells (Hawaiian). 25. Oriental Eye Movements. 26. Haul Away Joe. 27. Shenandoah. 28. What Shall We Do with the Drunken Sailor? 29. Hand Jive. 30. Line Dancing. 31. The Waltz. 32. Free/Creative Dance. About the Author. Appendix I: Calendar for Themed Sessions. Appendix II: Organisations. Bibliography. Index.

Read more less

Book SynopsisThis study considers the figure of the female dancer in French literary, visual, and performing art from 1830 to 1930. It explores how manifestations of the la danseuse shape notions of Modernism and asks why dance occupies a privileged position in a variety of Modernist media.Trade ReviewAn engaging and concise chronology of modernism through dance, with the danseuse constituting the correlation between performing, visual, and literary modernisms. -- French Studies French StudiesTable of ContentsIntroduction 1. Choreographing the Coulisses: The Danseuse in Nineteenth-Century French Culture 2. Disembodying the Dancer/ Incorporating the Poem: The Symbolist Dance in Mallarmé and Valéry 3. Feministic' Aesthetics: Writing Dance and Performing Sex in Colette and Loïe Fuller 4. The Mechanical Dancer: Avant-Garde Performance and Film 5. Le Triangle Obligatoire': Dancer, Spectator, Narrator Coda

Read more less

Book SynopsisSomatics in Action describes a Pilates, yoga, and dance inspired movement system that helps movers achieve optimum strength, skeletal alignment, and body-mind engagement. The book integrates the Pilates principle of strengthening abdominal and spinal musculature to support postural stability and balance with alignment-based yoga''s principle of proper physical placement and an understanding of anatomical structure. Three additional concepts that contribute to the foundation of SIA are imagery, experiential anatomy, and body integration. This work focuses on dancers consistently engaging with their body and mind''s inner wisdom, not only in quiet moments of reflection, but also in the very active moments of moving, dancing and creating. Somatics in Action details the unique movement theory and practice developed by the author. The book blends yoga, Pilates, experiential anatomy, body integration and imagery into a comprehensive, rigorous and creative pedagogical tool for educators and dancers. The textbook outlines how dance, movement, yoga and Pilates educators can incorporate this technique into their teaching and curriculum. The book: * provides thoughtful and nuanced explanation of the technique as well as detailed lesson plans and assignments that can be implemented immediately into a university or other curriculum. * can be used in any somatic based class (yoga, Pilates, dance conditioning), in modern dance technique courses and also in creative movement curricula

Read more less

Book SynopsisThis book covers the three pathways of awareness that are built into our bodies, and that can help us to improve the beneficial aspects of our breathing. It is suitable for all body workers, yoga teachers, other movement facilitators and anyone who works with chronic pain. The scientific literature on attachment, Polyvagal Theory, interoception, autonomic feedback loops and heart rate variability, point to the crucial importance of the breath. These pathways can be characterized as 1) the Breathing Bodymap of the Fingers; 2) the Breathing Interrelationships of our Functional Diaphragms; and 3) Skin Breathing, or bringing blood to our capillary beds in precise locations throughout the body.The benefits of learning these approaches are as follows:* Accessing these pathways can greatly increase our options as we work to improve the functioning of our bodies.* These approaches also deepen our understanding of the inherent wisdom of ancient body awareness systems such as mudras, yoga and chi kung, and how these systems can have such profound affects on our physiologies.* They offer immediate solutions to inefficient and dysfunctional movement patterns and can be immediately brought into use by professional musicians and athletes as they perform.* By breathing deliberately, we can;* interrupt the upsurge of our sympathetic nervous systems; * interact with our parasympathetic nervous systems to take ourselves out of a state of "runaway mind" to relax or put ourselves to sleep; * re-route or repattern pre-existing breathing patterns and fixations in the respiratory diaphragm itself that have not served us well; * bring extra blood to areas of chronic discomfort, helping us to endure adverse circumstances.This book includes links to voice recordings of three meditations on the three pathways, as well as a video on breathing and the autonomic nervous system.Table of ContentsIntroduction: Breathing: The Bridge to EmbodimentChapter One: Breathing Bodymaps and BreathingChapter Two: Breathing Specifics for the Diaphragm,Chapter Three: Breathing and Self-RegulationChapter Four: Skin Breathing, Organ Breathing andInteroceptionChapter Five: Breathing and Self-Care

Read more less

Book Synopsis‘It’s a wonderful institution and the training is amazing.’ SAM HEUGHAN ‘I can honestly say, no word of a lie, that the Royal Conservatoire of Scotland changed my life.’ JACKIE KAY For 175 years, a Glasgow institution has been teaching the performing arts to students who have become some of the world’s most distinguished artists. This celebratory history raises the curtain on the inner life of the Royal Conservatoire of Scotland. Peek into the bustling backstage world of Scotland’s national conservatoire, feast your eyes on never-before-seen archival material and bask in dazzling production photography that captures the creative effervescence of its students. Ncuti Gatwa, Richard Madden, Karen Cargill, Alan Cumming, Maggie Kinloch and many other alumni take to the spotlight to share what the Royal Conservatoire of Scotland has meant to them. Raising the Curtain reveals the past, illuminates the present and invites you to look to the future of this world-class performing arts institution.

Read more less

Book SynopsisAs the founding father of the radical dance form that he called Butoh, Tatsumi Hijikata (1928-1986) is a legendary figure in the history of art and contemporary dance. Though influenced by Western artists and writersthe expressionist dance of Mary Wigman, the writings of Artaud, de Sade, Bataille, and Genet, and the drawings and paintings of Goya, Picasso, Toyen, Beardsley, and othershe was dedicated to the particular experience of the marginalized, Japanese suffering body after World War II. In the mid-1970s, Hijikata became concerned with developing notation for his Butoh, and some of these Butoh-fu notations remain, largely in the form of notebooks transcribed by his disciples. Costume en Face is the first publication of one of Hijikata's notebook notations in either English or Japanese. In it we can see, for the first time, the profound interconnectedness of language and body in Hijikata's process of composition.

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book Synopsis

Read more less

Book SynopsisIllustrated by Lotte Goslar herself, this extraordinary book provides, through her vivid sketch-like texts, a moving and humorous account of her life during a traumatic period in world history. Her acute observations of daily human foibles and vanities are interspersed with her interactions with major figures (Palucca, Voskovec and Werich, Brecht, Charles Laughton and Elsa Lanchester, Hans Sahl, and Marilyn Monroe), revealing to the reader the world of a great artist in movement and mime.What's So Funny? includes texts by Horst Koegler, Voskovec and Werich, Joel Schechter, and Bertolt Brecht.Trade Review"Her name is Goslar, but she was born in Dresden. She wanted to become a dancer and studied with Palucca, but she became a mime and a clown and created for herself her own form that she called 'Pantomime Circus'. Clive Barnes, until recently the all-powerful critic of The New York Times, took the easy way out and called her simply 'divine'." -- Horst KoeglerTable of ContentsChapter 1 How Sweet It Is; Chapter 2 First Memories; Chapter 3 Palucca; Chapter 4 So Much Luck (I); Chapter 5 The Disgruntled; Chapter 6 Up and Out; Chapter 7 The Peppermill Theater; Chapter 8 The Liberated Theater; Chapter 9 The Dancing Clown, Voskovec, Werich; Chapter 10 The Fortune Teller; Chapter 11 Off to America; Chapter 12 A Propos Aging; Chapter 13 So Much Luck (II); Chapter 14 On Tour: Road Signs; Chapter 15 To The Rescue; Chapter 16 A New World; Chapter 17 The Turnabout Theater; Chapter 18 My Film Career; Chapter 19 Cats I’ve Met; Chapter 20 The Dancing Hausfrau; Chapter 21 Lotte Goslar’s Circus Scene, Joel Schechter; Chapter 22 TV; Chapter 23 Magic; Chapter 24 Not So Magic; Chapter 25 A New Experience; Chapter 26 Marilyn; Chapter 27 A Large Landscape; Chapter 28 What’s So Funny?;

Read more less

Book Synopsis“Ballet inspires me. Human beings have the capacity to express themselves through many art forms, but when it comes to dance – and especially classical modern ballet – I am always amazed by that unbelievably elevated form of expression. It’s so precise and so incredibly skilled; I admire that enormously.” — Photographer and filmmaker Erwin Olaf “The fact that the photographer is looking through the camera lens means they have a different perspective from looking directly at the figure. That is voyeuristic. The camera can do something that the audience member can’t: zooming in for a close-up.” — Choreographer Hans van Manen The grand master of Dutch dance, Hans van Manen, celebrates his 90th birthday this year. That has given rise to international celebrations by leading ballet companies with the Hans van Manen festival from 8 to 29 June 2022, the exclusive publication Dance in Close-Up and the exhibition of the same name in Galerie Ron Mandos in Amsterdam from 19 June to 17 July 2022. From the 1970s to the 1990s, Hans van Manen was not only one of the world’s leading choreographers, but also an internationally acclaimed photographer. It was during this period that the then very young photographer Erwin Olaf met the famed artist, who immediately took him under his wing and introduced him to the world of the visual arts and studio photography. This book celebrates their 40 years of friendship, with a photo series in which Van Manen directs moments from his choreographic career, recorded with the utmost precision by Erwin Olaf. With text contributions from the authors Nina Siegal and Michael James Gardner.

Read more less

Book SynopsisSituates dance within a larger Chicago landscape of segregated social practices. Focusing on new forms of appropriation in an era of multiculturalism, the author underscores the institutionalization of racial disparities and offers insights into the intersection of race and culture in America.Trade Review"In American Allegory, Black Hawk Hancock has written a rich and intricately detailed ethnography of the distinct worlds of lindy hop and steppin'. Here, readers are offered a guide to the ways in which cultural expressions have come to occupy separate racial and spatial realms and how this apparent segregation of race, culture, and identity is practiced in the United States today." (Andrew Deener, author of Venice: A Contested Bohemia in Los Angeles)"

Read more less

Book SynopsisIn this book, Dunham reveals how her anthropological research, her work in dance, and her fascination for the people and cults of Haiti worked their spell, catapulting her into experiences that she was often lucky to survive.

Read more less

Book SynopsisTreating issues of language, aesthetics, semiotics, and cognition, this book offers an evaluation and an original theory of the ways our cultural values have informed the metaphors we use to address music.Trade Review"Spitzer has written an informative and thought-provoking work, leaving us to question not only our methods of music analysis but our very choice of words in speaking and writing about music." (Notes)

Read more less

Book Synopsis

Read more less

Book SynopsisResponding to international interest in Yoruba culture, practitioners of bata performance have presented themselves as an emblem of traditional Nigeria. Locally, however, the market for bata has been declining. This work explores this disjunction, revealing the world of bata artists and the global culture market that helps to sustain their art.

Read more less

Book SynopsisIn Guinea's capital city of Conakry, dance is everywhere. Most neighborhoods boast at least one dance troupe, and members of those troupes animate the city's major rites of passage and social events. In Infinite Repertoire, Adrienne Cohen shows how dance became such a prominenteven infrastructuralfeature of city life in Guinea, and tells a surprising story of the rise of creative practice under a political regime known for its authoritarianism and violent excesses. Guinea's socialist state, which was in power from 1958 to 1984, used staged African dance or ballet strategically as a political tool, in part by tapping into indigenous conceptualizations of artisans as powerful figures capable of transforming the social fabric through their manipulation of vital energy. Far from dying with the socialist revolution, Guinean ballet continued to thrive in Conakry after economic liberalization in the 1980s, with its connection to transformative power retrofitted for a market economy and a rapiTrade Review"[Infinite Repertoire] is a nuanced and meticulously researched account of the historical and the contemporary significance of the Guinean 'ballet'... Cohen advances a solid argument about the significance of the performative arts and the need to study political history in the ways in which it inscribes itself, and is transformed through bodily practices beyond the spoken and written word." * Anthropos *“Infinite Repertoire is a brilliant historical and ethnographic exploration of how aesthetics shape power and how politics are embodied. Ultimately a meditation on time, it argues that the contingencies of performances allow artists to recall the past while creating new narratives for potential futures. This book lyrically examines the interplay among creative improvisation, affective remembering, and material-semiotic order. Cohen shows how performers take account of their changing contexts to constantly remake meaningful and powerful signs.” -- Jesse Weaver Shipley, Dartmouth College “Cohen examines the many informal dance troupes scattered across the urban landscape in Guinea today. In lively prose, Cohen shows how dance in Guinea is a mode of economic advancement as well as cultural performance, a political commentary on the state of things, and, finally, a way of making the world.” -- Brian Larkin, Barnard College, Columbia University“Guinea’s renown for spearheading ‘African ballet’ produced legions of dancers who today artfully combine semiotic resources from both the socialist past and neoliberal present. Infinite Repertoire offers a viscerally kinetic ethnography of the transformative power of dance to mobilize affect and imbue citizen-state relations with a vitality it would otherwise lack. Drawing on her extensive engagement with and participation in Conakry’s dance scene, Cohen crafts a brilliant analysis of postsocialist performativity that sets a new bar for parsing the relationship between aesthetics and politics.” -- Kelly M. Askew, University of MichiganTable of ContentsNotes on Orthography and Transcription Preface: Name-Finding Invitation: City of DancePart I: Aesthetic Politics, Magical Resources 1. Why Authority Needs Magic 2. Privatizing Ballet 3. The Discipline of Becoming: Ballet’s PedagogyPart II: Delicious Inventions 4. Female Strong Men and the Future of Resemblance 5. Core Steps and Passport Moves: How to Inherit a Repertoire 6. When Big Is Not Big Enough: On Excess in Guinean Sabar Epilogue: Embodied Infrastructure and Generative Imperfection Acknowledgments Addendum: Artists in the Diaspora Notes References Index

Read more less

Book SynopsisTrade Review"[Infinite Repertoire] is a nuanced and meticulously researched account of the historical and the contemporary significance of the Guinean 'ballet'... Cohen advances a solid argument about the significance of the performative arts and the need to study political history in the ways in which it inscribes itself, and is transformed through bodily practices beyond the spoken and written word." * Anthropos *“Infinite Repertoire is a brilliant historical and ethnographic exploration of how aesthetics shape power and how politics are embodied. Ultimately a meditation on time, it argues that the contingencies of performances allow artists to recall the past while creating new narratives for potential futures. This book lyrically examines the interplay among creative improvisation, affective remembering, and material-semiotic order. Cohen shows how performers take account of their changing contexts to constantly remake meaningful and powerful signs.” -- Jesse Weaver Shipley, Dartmouth College “Cohen examines the many informal dance troupes scattered across the urban landscape in Guinea today. In lively prose, Cohen shows how dance in Guinea is a mode of economic advancement as well as cultural performance, a political commentary on the state of things, and, finally, a way of making the world.” -- Brian Larkin, Barnard College, Columbia University“Guinea’s renown for spearheading ‘African ballet’ produced legions of dancers who today artfully combine semiotic resources from both the socialist past and neoliberal present. Infinite Repertoire offers a viscerally kinetic ethnography of the transformative power of dance to mobilize affect and imbue citizen-state relations with a vitality it would otherwise lack. Drawing on her extensive engagement with and participation in Conakry’s dance scene, Cohen crafts a brilliant analysis of postsocialist performativity that sets a new bar for parsing the relationship between aesthetics and politics.” -- Kelly M. Askew, University of MichiganTable of ContentsNotes on Orthography and Transcription Preface: Name-Finding Invitation: City of DancePart I: Aesthetic Politics, Magical Resources 1. Why Authority Needs Magic 2. Privatizing Ballet 3. The Discipline of Becoming: Ballet’s PedagogyPart II: Delicious Inventions 4. Female Strong Men and the Future of Resemblance 5. Core Steps and Passport Moves: How to Inherit a Repertoire 6. When Big Is Not Big Enough: On Excess in Guinean Sabar Epilogue: Embodied Infrastructure and Generative Imperfection Acknowledgments Addendum: Artists in the Diaspora Notes References Index

Read more less

a huge range and FREE tracked UK delivery on ALL orders.

Read more less

Book SynopsisThis work investigates the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual of honouring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge and performance.

Read more less

Book SynopsisThis work investigates the power behind classical music and dance in Bangkok, the capital and sacred center of Buddhist Thailand. Focusing on the ritual of honouring teachers of music and dance, Deborah Wong reveals a complex network of connections among kings, teachers, knowledge and performance.

Read more less

Book SynopsisDiscusses the development of dance from 1949 to 1984 and examines the work of dancers and choreographers.

Read more less

Book Synopsis

Read more less

Book SynopsisThis innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures.Trade ReviewA significant contribution to knowledge about methods of recording and presenting visual culture of non-Western peoples in the late 19th and early 20th centuries. Choice With fascinating examples and illustrations culled from a number of international archives,Wondrous Difference is an invaluable resource for cinema historians, anthropologists, archivists, and museum professionals... Griffiths is working within a new tradition of scholars approaching visuality with a historically integrated and culturally critical perspective... The masterful way in which Griffiths navigates and reveals the complexity of these relationships sets a standard for others to follow. -- Amy J. Staples Film Quarterly Wondrous Difference will make an excellent... textbook for advanced undergraduate or graduate courses in both visual anthropology and the history of anthropology. -- Deborah Poole Current AnthropologyTable of ContentsPart I: Precinema and Ethnographic Representation 1. Life Groups and the Modern Museum Spectator 2. Science and Spectacle: Visualizing the Other at the World's Fair 3. Knowledge and Visuality in Nineteenth-Century Anthropology Part II: Early Ethnographic Film in Science and Popular Culture 4. The Ethnographic Cinema of Alfred Cort Haddon and Walter Baldwin Spencer 5. "The World Within Your Reach": Popular Cinema and Ethnographic Representation Part III: First Steps: The Museum and Early Filmmakers 6. Early Ethnographic Film at the American Museum of Natural History 7. Finding a Home for Cinema in Ethnography: The First Generation of Anthropologist-Filmmakers in America 8. Conclusion: The Legacy of Early Ethnographic Film

Read more less

Book SynopsisA collection of interdisciplinary essays that examine how the internet has affected conceptions of community and public life.Table of ContentsIntroduction. The Reality of Virtuality Part 1. Users and the Structure of Technology The Net Effect: The Public's Fear and the Public Sphere, by Gilbert B. Rodman The Internet, Community Definition, and the Social Meaning of Legal Jurisdiction, by Paul Schiff Berman Architectural Design for Online Environments, by Anna Cicognani Community, Affect, and the Virtual: The Politics of Cyberspace, by J. Macgregor Wise Securing Trust Online: Wisdom or Oxymoron?, by Helen Nissenbaum Part 2. Technology and the Structure of Communities TV Predicts Its Future: On Convergence and Cybertelevision, by Tara McPherson Women Making Multimedia: Possibilities for Feminist Activism, by Mary E. Hocks and Anne Balsamo Is It Art, in Fact?, by Mitch Geller Making the Virtual Real: University-Community Partnerships, by Alison Regan and John Zuern Where Do You Want to Learn Tomorrow? The Paradox of the Virtual University, by Collin Gifford Brooke Community-Based Software, Participatory Theater: Models for Inviting Participation in Learning and Artistic Production, by Susan Claire Warshauer Communication, Community, Consumption: An Ethnographic Exploration of an Online City, by David Silver Can Technology Transform? Experimenting with Wired Communities, by Mark A. Jones

Read more less