Dance Books

Book SynopsisAn unputdownable tale of obsession, jealousy and heartache against the backdrop of WW2Trade Review'This was such a well-written and gripping read and I was completely in awe of how Ashe kept me guessing with the story’s twists. You will not be able to put it down!' Stacey Thomas, author of The Revels 'A compelling novel with a twist that you won't see coming! It completely arrested my attention and I couldn't stop reading until I'd devoured every single page.' Awais Khan, author of No Honour'Rich with historical detail and high-stakes drama. Mesmerising.' Alice Robb, author of Don't Think, Dear'An enchanting mix of historical fiction, fairy tale, and above all, ballet novel. Ashe's ballet background shines through as her dancers come to life... Well researched, but communicated with a light touch. Recommended for anyone who ever dreamed of becoming a dancer.' Laura Shepperson, author of Sunday Times bestseller The Heroines'A wonderfully compelling, truly competent thriller... Rarely have I been so keen to uncover the truth. Simply excellent.' Historical Novel Society'Lucy Ashe has done it again - a beautiful, intriguing historical novel... Rich and compelling... This is a novel to sink into and luxuriate in.' Cailean Steed, author of Home

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Book SynopsisDance composition is an important part of dance education because it is the discipline that translates ideas into dances. Revised, redesigned and expanded, and now with a new DVD, this seminal book explores essential guidelines and thus contributes to a greater understanding of dance composition as a discipline.

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Book SynopsisThe follow-up to Kristin Casey's widely acclaimed memoir Rock Monster: My Life with Joe WalshCasey Dancer is the true story of a 39-year-old part-time stripper, full-time real estate agent, and struggling writer navigating the chaos of love and ambition. Fresh out of a tumultuous divorce and newly sober, Kristin finds herself struggling to re-enter the dating scene. When she falls for Lalo, a charming but troubled ex-coke dealer, their steamy affair leads to deep emotional conflict, testing her boundaries and stirring memories of past relationships.Through the highs of passion, the lows of financial strain, and the gritty realities of sex work, Kristin fights to reclaim her sense of self.Bold, raw, and unapologetically honest, Casey Dancer is a story of resilience, vulnerability, and self-discovery.

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Book SynopsisDon't dance for the audience. Dance for yourself.The basis for a lavish new drama series from Hamilton creator Lin-Manuel Miranda, Fosse is the definitive book on one of Broadway's and Hollywood's most complex and dynamic icons.The only person ever to win Oscar, Emmy and Tony awards in the same year, Bob Fosse revolutionised almost every facet of American entertainment. A ground-breaking dancer, choreographer, and theatre and film director, his innumerable achievements include Cabaret, All That Jazz and Chicago, one of the longest-running Broadway musicals ever. Yet his offstage life was equally dramatic, marked by deep psychological wounds and insatiable appetites.In this richly detailed and beautifully written biography, Sam Wasson draws on a wealth of unpublished material and over 300 interviews with Fosse's family, friends, enemies, lovers and collaborators, many of them speaking publicly about Fosse for the first time. Fosse is a book bursting with energy and style, pleasure and pain - much like the man himself.Trade ReviewFantastic... Wasson is the perfect biographer for Fosse. * Guardian *Wasson is a smart and savvy reporter, and his book abounds with colourful firsthand tales. * New York Times *A smart, impeccably researched biography. * Vanity Fair *One of the sharpest showbiz chronicles in years. * Chicago Tribune *

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Book Synopsis"A sensitive walk up any High Street is a Pilgrim's Progress" Phil Smith - playwright, walk-performance artist and author (Mythogeography and Counter-Tourism) - recently retraced W.G. Sebald's famous 'Rings of Saturn' walk round East Anglia. At one level On Walking describes this blistered walk from one incongruous B&B to the next, taking in places like Dunwich, Bungay, Covehithe, Orford Ness, Sutton Hoo and Rendlesham Forest - with their lost villages, Cold War testing sites, black dogs, white deer and alien trails. Phil Smith's walk soon becomes every bit as remarkable as Sebald's and he matches Sebald's erudition, originality and humour swathe for swathe. At a second level, the book sets out a unique kind of 'hyper-sensitised' walking for which the author is quietly famous. It burrows beneath the guidebook and the map, looks beyond the shopfront and Tudor facade and feels beneath the blisters and aches of the everyday. The Suffolk walk described here is an exemplary walk that goes beyond 'wandering around looking at stuff' and shows how every walk can be art, revolution and pilgrimage. At a third level, On Walking is an intellectual tour de force, encompassing Situationism, alchemy, dancing, jouissance, geology, psychogeography, 20th century cinema and old TV, architecture, grief, pilgrimage, WWII, the Cold War, Uzumaki, pub conversations, somatics and synchronicity.Table of ContentsWho me? Superstitions What I do when I walk My Sebald walk: Taken from my notebooks Walking bodies actics of sensitivity Knees Crab Man's razor Don't take your own food A skill... A few ighlights from other drifts and wanders (1) Encounters Democracy O my International Lettristes! O my Situationists! Getting started Scratching from start Mythogeography Jouissance Environmentalism Pilgrimage Dodgy Walk in the footsteps of others Being ready Leaderless Holey actics and things Deep topography Autotopography Cemetery Walk (2003) Walking in the Suburbs (2013) Doppel A few ighlights from other drifts and wanders (2) Cryptic Coincidences Note The wobbly art of memory Holey space Follow animal tracks Bluster The right to more Rhythms Psychogeography Walk to the ends of the earth Atmospheres Alchemical crossing Walking in character Undercovers Walking as an ordeal The man in the mask Women and walking Re:enactment Urfaces A few highlights from other drifts and wanders (3) A few highlights from other drifts and wanders (4) The fire doors of perception The last tactic Appendix Walking for a change: A manifesto for a new nomad References

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Book SynopsisSteven A. Beebe is Regents' and University Distinguished Professor emeritus at Texas State University. He served as Chair of the Department of Communication Studies at Texas State for 28 years and concurrently as Associate Dean for 25 years. Steve is the author or co-author of 14 widely used communication books, most of which have been through multiple editions (including Russian and Chinese editions), as well as numerous articles, book chapters, and conference presentations. He has been a Visiting Scholar at both Oxford University and Cambridge University in England. He made international headlines when conducting research at Oxford; he discovered a manuscript that was the partial opening chapter of a book that was to be co-authored with J. R. R. Tolkien and C. S. Lewis called Language and Human Nature. Steve's book, C. S. Lewis and the Craft of Communication, chronicles the discovery of and identifies Lewis's contributions to communication. SteveTable of ContentsUNIT I: PRINCIPLES OF COMMUNICATION Identifying Foundations of Human Communication Exploring Self-Awareness and Communication Understanding Verbal Messages Understanding Nonverbal Messages Listening and Responding Adapting to Others: Diversity and Communication UNIT II: INTERPERSONAL COMMUNICATION Understanding Interpersonal Communication Enhancing Relationships UNIT III: COMMUNICATING IN GROUPS AND TEAMS Understanding Group and Team Performance Enhancing Group and Team Performance UNIT IV: PUBLIC SPEAKING Developing Your Speech Organizing and Outlining Your Speech Delivering Your Speech Speaking to Inform Speaking to Persuade Appendix A. Interviewing Appendix B. Sample Speeches for Discussion and Evaluation

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Book SynopsisSerge Diaghilev was the Russian impresario who is often said to have invented the modern art form of ballet. Commissioning such legendary names as Nijinsky, Fokine, Stravinsky, and Picasso, this intriguingly complex genius produced a series of radically original art works that had a revolutionary impact throughout the western world.Off stage and in its wake came scandal and sensation, as the great artists and mercurial performers involved variously collaborated, clashed, competed while falling in and out of love with each other on a wild carousel of sexual intrigue and temperamental mayhem. The Ballets Russes not only left a matchless artistic legacy they changed style and glamour, they changed taste, and they changed social behaviour.The Ballets Russes came to an official end after many vicissitudes with Diaghilev's abrupt death in 1929. But the achievements of its heroic prime had established a paradigm that would continue to define the terms and set the standards for th

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Book SynopsisAncient Greek dance traditionally evokes images of stately choruses or lively Dionysiac revels communal acts of performance. This is the first book to look beyond the chorus to the diverse and complex representation of solo dancers in Archaic and Classical Greek literature. It argues that dancing alone signifies transgression and vulnerability in the Greek cultural imagination, as isolation from the chorus marks the separation of the individual from a range of communal social structures. It also demonstrates that the solo dancer is a powerful figure for literary exploration and experimentation, highlighting the importance of the singular dancing body in the articulation of poetic, narrative, and generic interests across Greek literature. Taking a comparative approach and engaging with current work in dance and performance studies, this book reveals the profound literary and cultural importance of the unruly solo dancer in the ancient Greek world.Table of ContentsIntroduction: Dance, Literature, and Culture; 1. The Fantastic Phaeacians: Virtuosity, Competition, and Dance in the Odyssey; 2. Io's Dance: Human Mobility and Divine Authority in Aeschylus' Prometheus Bound; 3. Dance at Work: Performance and Identity in Euripides' Ion; 4. Dance and Dissonance: The Innovative Choreography of Aristophanes' Wasps; 5. Staging Madwomen: Dance and Dramatic Form in Euripides and Aristophanes; 6. Agency, Narrative, and the Dancing Girl; 7. Dance History;Conclusion: Reading Dance with Lucian.

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Book SynopsisTable of ContentsIntroduction 1 Part 1: Getting Started with Filmmaking 5 Chapter 1: So You Want to Be a Filmmaker 7 Chapter 2: Genres in General 21 Chapter 3: Penning and Pitching a Great Story 39 Part 2: Gearing Up to Make Your Movie 55 Chapter 4: Scheduling and Budgeting Your Movie 57 Chapter 5: Financing Your Movie 77 Chapter 6: Location, Location, Location 93 Chapter 7: Crewing Up: Hiring Your Crew 109 Chapter 8: Assembling Your Cast of Characters 129 Chapter 9: Storyboarding Your Movie 145 Part 3: Ready to Roll: Starting Production on Your Movie 161 Chapter 10: Shooting through the Looking Glass 163 Chapter 11: Let There Be Lighting! 191 Chapter 12: Sound Advice: Production Sound 209 Chapter 13: Directing Your Actors: And Action! 227 Chapter 14: A Sense of Direction: Directing Your Movie 243 Part 4: Finishing Your Movie in Post 265 Chapter 15: Cut to: Editing Your Movie — Shot by Shot 267 Chapter 16: Posting Your Movie’s Soundtrack: Adding Music and Effects to the Mix 287 Chapter 17: Conjuring Up Special Effects 305 Chapter 18: Giving Credit and Titles 325 Part 5: Finding Distribution for Your Movie 337 Chapter 19: Distributing Your Movie 339 Chapter 20: Exploring and Entering Film Festivals 363 Part 6: The Part of Tens 377 Chapter 21: Ten Tips for Discovering New Talent 379 Chapter 22: Ten Ways to Get Publicity for Your Movie 385 Chapter 23: Ten Ways to Avoid Murphy’s Law 391 Chapter 24: Ten Tips for Shooting on Your Smartphone 397 Index 405

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Book SynopsisBoth a biography and a history, this book explores the significant role that Indian dancer Ram Gopal (1912-2003) played in bringing Indian dance to international audiences from the 1930s to the late 1960s. Almost single-handedly, Gopal changed the perception of Indian dance abroad, introducing a global audience to specificity of movement, classically trained dancers, live musicians and exquisitely detailed costumes, modelled from Indian iconography. In this much-needed study of an often-neglected figure, the author unearths a fascinating narrative about Ram Gopal, the individual and the dancer, drawing on interviews with his remaining family, costume-makers, friends, dance partners, fellow dancers and audience members. More broadly, we come to understand the culture of Indian dance at the time, including the politics of the nomenclature and of the nationalist and orientalist discourses, the rapid changes created by the demise of colonialism and the influence of WesteTable 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

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Book SynopsisAntony Tudor stands as one of the pillars of twentieth-century ballet choreography. An English born choreographer who found a home in the United States, Tudor gained renown as the most innovative choreographer of his day. He explored the inner contours of human emotion as he sculpted one-act short stories about ordinary men and women. Based on a series of interviews with the curators of the Tudor legacy: Sally Bliss, Trustee of the Antony Tudor Ballet Trust, and four of the RÉpÉtiteurs, the professionals tasked with restaging the Tudor ballets, this book discusses the legacy of Antony Tudor and the restaging of his ballets to preserve their unique qualities that make them Tudor ballets. The author, Christine Knoblauch-O’Neal, is Director of the Master of Fine Arts (MFA) in Dance Program in the Performing Arts Department at Washington University in St. Louis. Before beginning her academic career, Christine performed for twenty years as a dancer with companies such as the American Ballet Theater (where she worked with Antony Tudor), the National Ballet, and the Cincinnati Ballet.

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Book SynopsisDiscover the art of eurythmy with this richly illustrated step-by-step guide. Eurythmy is a compelling method of bringing balance and harmony to our body, soul and spirit through a series of rhythmic body movements. For the first time, this unique book captures these gestures visually through dynamic photographs, which clearly demonstrate the core movements of eurythmy therapy.It has long been recognised that we can direct powerful physical and mental changes within ourselves through specific movements of our bodies, as stated by advocates of yoga and tai chi.The authors of this original book are experienced eurythmists, who describe and illustrate the core speech-sound exercises: vowel exercises, consonant exercises and soul exercises, which include love, hope and sympathy.This book is not a replacement for a qualified eurythmy therapist, but is intended as guidance and orientation for patients practising on their own, perhaps after a few initial sessions with a therapist, or for more experienced eurythmists.Trade Review'If you have ever been lucky enough to have embarked on a course of Eurythmy Therapy, then you know instantly that 'An Illustrated Guide to Everyday Eurythmy' is an incredibly helpful book to own. You will know that the powerful exercises given by the therapist during your sessions unfold their true potential when you can practice them regularly and diligently. While most of the exercises are not difficult to do, the exact sequence of movements is important: Is the position of the feet correct? Does the gesture start small or wide, up or down? How does it end? These and similar questions can easily crop up in the time between sessions and uncertainties regarding them can very easily derail all the good intentions to practice. To have this illustrated guide to hand is exactly what has been missing up to now, because it is precisely this 'aide-memoir' that will help you to stay on track. It will also be invaluable when your course of sessions is finished, but you realise that it would still be helpful to continue with the exercises, or if you wish to return to them after letting them rest for a while.The way the book has been structured and laid out, the way that each description, each word, has been considered and chosen is exemplary and is imbued with the same attention and mindfulness that a good therapist will bring to his or her session. There is nothing to distract or confuse, no word is too much or too little, in fact, the careful reading and following of the instructions will recreate a therapeutic 'space' around the reader, which will lead him or her gently and easily into the mindset necessary for effective practice. It is clearly stated in the book, that it is not intended as an alternative to receiving Eurythmy Therapy, and on its own it cannot convey the exercises fully, - the book is intended as a companion to receiving live sessions, - but with this as a given, the descriptions and illustrations are clear and complete. I am very impressed with this book and its presentation - from the concept behind it, the intention, the structure and wording, its size and use of colour and illustration, the quality of the paper, to the fact that it will lie flat when opened at a certain page. This last little detail really exemplifies the kind of thought that went into every aspect of creating this resource for everyday eurythmy.'-- Sigune Brinch, Teacher at Peredur Eurythmy (MA Eurythmy Performing Arts, Alanus University, D-Alfter/Bonn 2016)'This book is clear and down to earth. It is well laid out and the photos are possible to follow or imitate. I was aware that I was meeting both the text and the illustrations with a degree of working experience as a eurythmy therapist, and having shown it to a couple of my patients they stressed that it could help remember exercises already tackled with a therapist, but no way could it replace the human interaction and process of eurythmy therapy itself. It has not set out to be a ‘self-help’ book, I think, but rather to make a courageous attempt to put Eurythmy Therapy in the ‘market place’, perhaps attracting people who are new to it and are intrigued, or re-inspiring those more familiar. I will certainly use it to illustrate and support work as a therapist, and also for myself as a helpful reminder of basic exercises. [...] I would recommend this book to other eurythmists and eurythmy therapists as a clear and attractive handbook.'-- Jane Abel, Eurythmy Therapist'The book itself has a good and clear layout and it is easy to get an overview of the exercises.[...] I have to say that as a eurythmist I find the book useful as a resource for deepening my knowledge of the sounds and I personally wouldn't mind a Volume 2 covering themes such as rhythms, spatial forms and body meditations.'-- Saraphir Qaa-Rishi, Eurythmist and Movement Teacher'An Illustrated Guide to Everyday Eurythmy is easy to follow and is to be commended on its attractive presentation [...] Having never visited a eurythmy therapist myself I could not say whether or not they hand out illustrations of the exercises as an aide memoire for their client, but if not, they might well wish to consider availing themselves of this work-book to pass on to clients as a useful follow-on after having first imparted to them a sufficient orientation in these eurythmy exercises.'-- New View'This book is a unique piece of work that can bring new insights to eurythmy therapists in practice and can also deepen the patient's connection to the exercises. Well worth the space on one's shelf for sure!'-- Perspectives‘It seemed to me the only way to fairly review would be to look at the exercises and try them out. […] I found the instructions clear and helpful, and consistent with my memory. […] I am pleased to have this book and I believe it will help people like me to practice eurythmy. I think for the purpose of giving support for people to continuing working with eurythmy it would be invaluable. I think it may help some practitioners in their work. It is clearly not the intention of the authors that people with no experience of eurythmy or no guidance from a therapist, should consider this to be a tutor. I could imagine that someone who does have an interest in eurythmy could be encouraged by this book to seek out a course or a therapist.’-- Philip Haddon, Point & Circle Magazine

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Book SynopsisDance Studies in China is a collection of articles selected from issues of the Journal of Beijing Dance Academy, translated for an English-speaking audience. Beijing Dance Academy is a full-time institution of higher learning with commitment to developing excellent professional dancers, choreographers and dance researchers. This collection includes an interview with Shen Wei, the Chinese-American choreographer, painter and director living in New York City, USA. Founded in 1954, the former Beijing Dance School was the first professional dance school ever established since the founding of People’s Republic of China. Beijing Dance Academy (BDA) officially established in 1978, it provides BA and MA degrees and has become the only institution of higher learning for professional dance education in China, as well as the largest prestigious dance school with comprehensive concentrations in the world. In recent years, BDA has committed to develop its research profile specialising in dance, the Journal of Beijing Dance Academy is one of such outcomes. The Academy is also actively engaging with international collaboration. The Intellect China Library is a series of new English translations of the latest scholarship in Chinese that have not previously been available. Subjects covered include visual arts, performing arts, popular culture, media and the broader creative industries. The series aims to foster intellectual debate and to promote closer cross-cultural knowledge exchange by introducing unique Chinese scholarship and ideas to our readers. Table of ContentsChapter 1: Dance Education in China Chapter 2: Interview with Dane Choreographer Chapter 3: Research on Dance Theories and Dance History Chapter 4: Research on Dance Culture Chapter 5: Research on Dance Creation and Dance Performance Chapter 6: Dance Science

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Book Synopsis(Music Sales America). The Wipe Clean Music Board is a handy new tool for young musicians. Students can practice writing melodies, rhythms, notes and clefs, and rub it out if they go wrong! The red side is portrait-oriented with multiple staves; the reverse blue side is landscape oriented with a larger/longer set of staves. These colorful boards are a fun way to practice notation, whether in a group lesson or in one-to-one tuition. Includes a wipe-clean music pen, with an eraser on the end.

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Book SynopsisThis book presents nine lenses through which the body is conventionally viewed. The body as object, the body as subject, the phenomenological body, the contextual body, the interdependent body, the environmental body, the cultural body and, finally, the ecological body. Designed to be a guide and stimulus for teachers, students and practitioners of dance, performance, movement, somatics and the arts therapies - and for anyone troubled by the idea of a brain on legs.Trade ReviewIn this compact and accessible book Sandra Reeve invites the reader to engage with 'the body' through nine different lenses. The ensuing thought provoking journey will be of particular value to psychotherapists, arts therapists, and those interested in new ways of being. Anna Chesner: London Centre for Psychodrama This book is a delightful, readable set of beginning points or lenses through which to constantly consider and reconsider embodied practice - I am already looking forward to the second book. Phillip Zarrilli: Artistic Director, The Llanarth Group

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Book SynopsisSince the mid-80s, Prapto's moving/dancing has delighted and inspired thousands of people in the West (as well as many more in his native Java) who have witnessed, worked with or been otherwise influenced by his Amerta Movement practice. But what is this non-stylised Amerta Movement practice? And what is it about Prapto's work that so touches the lives of therapists, artists, musicians, dancers, teachers, performers, monastics and laypeople from all walks of life? To answer these questions, this new book collects the experiences of 30 movement practitioners from Indonesia, Europe, North and South America and Australasia. All of them have trained and studied extensively with him and most are recognised by Prapto as movement teachers. Some themes and areas covered: Moving with babies Amerta Movement and Buddhism Using movement to work with autistic children Movement as a way to loosen the habit of critique and criticism Movement and film...and the law...and archaeology...and music Movement mantra Somatic costumes and movement performance Different chapters look at contemplative, vocational, daily life, therapeutic, dance and performative applications of Amerta Movement. Readership: As well as all those familiar with Prapto's work, the book will also be an inspiration and resource for: dance, movement and performance artists, teachers and trainers therapists of all sorts, especially those working with somatics, embodiment, dance and movement anyone wanting to learn more about the nature and application of Prapto's movement practice anyone interested in the value of an embodied approach to life and work - current thinking about the brain and body point to the crucial importance of nonverbal, embodied perception and communication, and Amerta Movement offers an important path toward growth in this area.Trade Review"Suprapto's work with movement is radically inventive and his dancing a revelation." Anna Halprin "Suprapto is a movement master. and his work has deeply touched my life and the lives of countless others... A joy to read for anybody interested in making the most of this creative project called living in a body on planet earth." Ya'Acov Darling Khan, author of Movement Medicine. "Dancing inside, dancing outside - this elegant book illuminates awareness of both body and place. Whether moving amid temples in Java or in your kitchen, this distinctive compendium invites the reader to engage both the grit and coherence of authentic voice. Each page cultivates the thrill of discovery." Andrea Olsen, author of The Place of Dance.Table of ContentsPresence - Beate Stuhm writes about movement from inside the experience, from moment to moment. Amerta movement and archaeology - Keith Miller looks at time, place, layers, memory and the Amerta techniques 'living measurement', 'finding position and point of view' and 'Circle, Oval and Square'. Cultural Aspects of the Movement Work - Christina Stelzer, rather than talking about her own work, highlights and explores three aspects of the Javanese culture that she sees as central to Amerta Movement: waiting, hearing the world and respect. Amerta and Tibetan Buddhism - Monika Forster describes 'hitting yourself with your mind', 'mind as an ally', 'bowing towards daily life', 'being seen', 'giving awareness without creating stagnation'... and other practices. The Eye of the Hand - Steve Hopkins explores movement practice on film through the lens of his work with 3m - meditation, movement and movie - groups in movement workshops, and working with Prapto on film. A Dog Practising 'Talking Body' - Jose Mulder van de Graaf explores the concept of a 'language of feelings', that enables us to understand and to express, even to enhance knowledge in another way. Make Less the Hoping - Sandra Reeve shows how Prapto's teaching about the mudras associated with Borobudur temple can be applied in daily life and ritual. Touching Forgotten Realities - Bettina Mainz investigates the forces of critique, freedom and reconciliation in her life as a movement teacher and dancer. The Echo of Life - Daniela Coronelli shows how Amerta Movement has helped her to develop as a Shiatsu and Seiki practitioner and teacher, utilising direct embodied experience of Resonance and Mindfulness. I Always Do Three Things - Shantam Zohar discusses the Amerta practices of flowering, channeling and semadi [meditation]. A Presencing Dial - Margit Galanter says presence is a basis, filter and medium for how we are in a situation, interacting with one another, the environment and our felt senses. Amerta Movement and Somatic Costume - Sally Dean describes how Prapto's literal, imaginal and metaphorical use of the terms 'costume' and clothing' have informed her ongoing research. Crystallization-performance - Lise Lavelle looks at the crystallizations offered in Amerta movement work. Being and Doing in the Wild Garden - Susanne Tumpel explores the themes of Oneness and Separateness, Organism and Organization in her psychotherapy work. 'Mantra Gerak' / Movement Mantra - Agus Bima Prayitna explains the practice of embodying movement and sound in oneself, art, culture, nature, society and the mystical. The Musical Portal - Tim Jones mixes storytelling with an inquiry into conversation, relationship, the nature of sound and song worlds, finishing with a 'text sound composition'. Near the Unknown - Franca Fubini explores Prapto's ideas of Dreamworld and Realityworld and her application of Amerta Movement in Social Dreaming. Family - Una Nicholson builds on Prapto's idea of the family as a dynamic generator, a source of regeneration and a place to practise the art of everyday living and being. The Infant's Language - Katya Bloom describes her interest in the residual effects of our earliest pre-verbal experiences on later development. 'Going out of the situation' and 'Stop, don't follow that, walk!' - Regula Nell presents movement strategies she practises as a movement teacher, Feldenkrais practitioner and psychomotor-therapist. Amerta Movement and Autism - Sean Williams describes how Prapto gave him a new understanding of his clients and helped him see how working with people on the spectrum is an act of collaborative communication. "Find Your Position" - Susan Bauer explores Prapto's theme of 'finding your position', a means of centering within oneself through embodied presence that opens us to the creative energies of life. Body Body - Helen Poynor explores how the dual lineage of Prapto's and Anna Halprin's approaches to movement relate to her own practice. Ever-speaking being - Michael Dick uses the lenses of 'permeability' and 'presence' as an actor trainer - which he calls developing the human instrument for performing arts. Moving in the Law - Simon Slidders investigates interconnections between Amerta movement practice and the restrictions, boundaries, traditions, flexibility, ambiguities and structures of the law. The Breathing Eye - Andrea Morein illustrates how movement practice has laid the ground for her somatic and contemplative art practice and has informed her work as a visual artist. Joy - Anita Ludke, an architect and freelance artist, writes about how she incorporates Amerta Movement into her teaching and daily life practice. Re-membering Butterfly Beach Melinda Buckwalter describes 'stopping', 're-membering', 'witnessing', 'being with', 'blossoming' and other practices from Amerta Movement. I will trace the constellation of my stars with my fingers - Ellin Krinsly looks at her framework of practice and the constellation of intercultural and ritual performances in her life. Awakening Art and Dharma Nature Time - Diane Butler describes her approach in her own workshop series and the public programs of International Foundation for Dharma Nature Time.

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Book SynopsisA new book of dances is always a delight, and this book is set to inspire the dancer, the caller and the teacher of social dances. There are new dances, well-known dances, and dances that Greig does differently in this book and thus it is an adventure of dance. The calling hints come in very handy for the inexperienced caller. The only up-to-date collection of the best in Scottish dancing.Trade ReviewThis book is set to inspire the dancer, the caller and the teacher of social dances. Pia Walker, convener of Traditional Dance Forum Scotland An essential tool for teachers, callers and dancers for whom engagement and enjoyment are the top couple. Dr Catriona Scott A riotous collection of dances from across these isles, 100 Favourite Ceilidh Dances will get everyone on their feet with straight-forward instructions for callers new and old. Dr Fiona Watson, historian and ceilidh band memberTable of ContentsAcknowledgementsIntroductionTechnical TermsA Brief History of Dance 1 Aberystwyth Castle Moderate2 Alabama Jubilee Moderate3 An Adventure at Margate Moderate4 Atlantic Hornpipe Moderate5 Balance the Star Moderate6 Ballydesmond Polka Moderate7 Billywig Jig Moderate8 Black Jack Moderate9 Blaydon Races Easy10 Bodmin Riding Easy11 Boston Tea Party Moderate12 Boston Two Step Moderate13 Bridge of Athlone Easy14 Buttered Peas Easy15 Caerphilly March Easy16 Canadian Barn Dance Easy17 Circassian Circle Easy18 Circle Waltz Easy19 Cottagers Moderate20 Cumberland Reel Easy21 Cumberland Square Eight Moderate22 Dashing White Sergeant Moderate23 Demon’s Rant Moderate24 Dixon Sixsome Moderate25 Dorset 4 Hand Reel Moderate26 Drambuie Reel Moderate27 Drops of Brandy Moderate28 Duke and Duchess of Edinburgh Difficult29 Duke of Perth Difficult30 Eightsome Reel Difficult31 Flowers of Edinburgh Difficult32 Flying Scotsman Easy33 Foula Reel Moderate34 Gay Gordons Easy35 Geud Man of Ballangigh Difficult36 Glencar Reel Moderate37 Go George, I can’t endure you Easy38 Gypsy Hill Moderate39 Hamilton House Difficult40 Haymakers Jig Moderate41 Hazels Jig Easy42 Hebridean Weevil Moderate43 Henry’s Hobby Horse Moderate44 Horned Ram Easy45 Horses Brawl Moderate46 Hullichan Jig Moderate47 Jack’s the Lad Moderate48 Jolly Roger Easy49 Jo Taylors Moderate50 Jumping Joan Moderate51 Kennet & Avon Moderate52 Kentucky Reel Moderate53 Kicking up the Sawdust Moderate54 Lannigan’s Ball Moderate55 La Russe Moderate56 Lucky 7 Easy57 Machine Without Horses Moderate58 Maggie Mixer Easy59 Man Who Broke the Bank at Monte Carlo Moderate60 Mexican Waltz Easy61 Military Two Step Moderate62 Mozart Moderate63 Ninepin Quadrille Easy64 Offas Dyke Moderate65 Orcadian Strip the Willow Moderate66 Oxo Reel Easy67 Pat-a-Cake Polka Easy68 Ploughboy Moderate69 Policeman’s Dance Easy70 Posties Jig Difficult71 Quorndon Hill Moderate72 Reel of the 51st Division Moderate73 Referendum Reel Moderate74 Rockall Reel Moderate75 Russian Ballet Easy76 Saturday Night Special Moderate77 Sibyl’s Roundabout Moderate78 Siege of Ennis Moderate79 Soldiers Joy (Devon) Moderate80 Snake Dance Moderate81 St Bernard’s Waltz Easy82 Stepping Stone Rag Moderate83 Stoke Golding Country Dance Moderate84 Strip the Willow Moderate85 Strip the Willow Square Moderate86 Suicide Square Easy87 Swedish Masquerade Easy88 The Tempest Moderate89 Timber Salvage Reel Moderate90 Triple Promenade Easy91 Twelve Meet Easy92 Virginia Reel Moderate93 Washington Quickstep Moderate94 Waves of Tory Moderate95 Weaver Jig Moderate96 Willow Tree Moderate97 Witch’s Reel Moderate98 Winkie Reel Moderate99 Wring out the Dishrag Moderate100 Yorkshire Square Eight Moderate

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Book SynopsisOur growing understanding of embodied awareness is one of the less known and most extraordinary areas of contemporary research and practice. On one side (the left brain, as it were), neuroscience in all its forms is constantly shedding new light on subjects like embodied cognition, the distributed brain (brain-in-the-gut, brain-in the-heart), the workings of the left and right hemisphere of the brain (McGilchrist and others) and the processing of sensory and emotional data. On the other side (the right hemisphere, as it were) our study and awareness of the experience of being in our bodies, moving, feeling pain, dreaming, meditating, growing, becoming ill and healing, is becoming increasingly nuanced. Academic research is approaching the experience of consciousness and awareness 'from the inside' and making remarkable discoveries. The emerging field of 'body and awareness' is transdisciplinary and multifaceted - it has no subject listing in libraries and academia or in booksellers' metadata. But it is of central importance to those interested in understanding art, dance, the psychology of health, child learning and development, trauma, the psycho-ecology of extinction, loss and climate change, proprioception and enteroception, ecological awareness, meditation, and the need for societal transformation in an age of multiple convergent crises.Table of ContentsThe Actively Imagining Body ~ Helen Edwards The Alchemical Body ~ Hilary Kneale The Awakening Body ~ Anna Murray-Preece The Changing Body ~ Paula Kramer The Choreoauratic Body ~ Becca Wood The Dreamweaving Body ~ Sarah Hyde The Enfolding Body ~ Kim Sargent-Wishart The Imaginary Body ~ Alex Crowe The Instrumental Body ~ Olga Masleinnikova The Integrative Body ~ Elaine Hendry Westwick The Intuitive Body ~ Margaret Kerr The Moving Body ~ Sandra Reeve The Pain Body ~ Jamila Rodrigues The Poetic Body ~ Carran Waterfield The Proprioceptive Body ~ Laura Haughey The Psychodynamic Body ~ Sandra Kay Lauffenburger The Signing Body ~ Sheila Ryan The Transformative Body ~ Ditty Dokter The Unveiled Body ~ Celine Butte The Vegetal Body ~ Ali East

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Book SynopsisIn a single volume, Dance in Cuba is the one and only complete reference. It explores all the currents and genres of Cuban dance, from their beginnings to today: from the Ballet Nacional de Cuba to Danza Contempóranea de Cuba; from the many dance companies – such as the extraordinary Acosta Danza – to entertainment dancing. All the facets of the fascinating universe of rhythms and “born to dance” artists of the Big Island.

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Book SynopsisA fresh look at the ground-breaking artistic collaborations of the Ballets Russes, illuminated by a rich trove of visual material including music manuscripts, dance notations, stage and costume designs, and photographs of performers.

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Book SynopsisMore Dance Improvisations builds on the success of its predecessor, Dance Improvisations, and offers 78 brand-new activities that have been tested and refined by author Justine Reeve, a veteran dance instructor and choreographer. This text offers a wealth of creative ideas that instructors can use to help their dancers explore and experience movement. The 78 improvisation tasks and exercises support all portions of a dance class, from improvisation lessons, warm-ups, and games that stimulate creativity to choreographic tasks for creating movement material. These new activities will provide an invaluable source of creative ideas for all dancers, including those who are exploring their own professional practice.More Dance Improvisations offers expert instruction in planning, teaching, and assessing students’ improvisations; a choreographic toolkit and glossary of dance and choreographic terms; step-by-step instruction and teaching tips that will save instructors preparation time; and extensions of each improv to aid further exploration and development of the improvisation skills. Instructors can use the improvs for individual lessons or in developing an entire lesson plan. “The improvisation tasks and exercises will encourage dancers’ imaginative responses to a varied selection of stimuli, whether alone or in groups,” says author Justine Reeve. “These improvisations will give dancers the keys to unlock ideas that they will find useful on their choreographic journey.” After an introductory chapter that covers many important topics on conducting safe and effective practices and workshops and on how to use the book, the text moves into its first set of improvisations: warm-up games. These games develop quick thinking, group thinking, movement communication, and an awareness of the needs and movements of others. The next two chapters explore solo and duo improvisations as well as group creative tasks. Each improvisation task has a brief description, an image, numbered tasks for clarity, a teaching tip, and ideas to take the task further or develop the dance idea as appropriate. Chapter 5 explores how the physical and aural setting can lead to creating interesting and considered dance. Chapter 6 encourages dancers to use movements, phrases, and sequences created in previous tasks to develop and structure the movement material into something new. “These games, tasks, ideas, stimuli, and developments are here to give instructors and students a little push to find creative vision, explore movement, and discover how these ideas can be developed, adapted, and structured,” says Reeve. “Instructors will find new ways to help their dancers create original movements through both individual and group activities, and students will gain inspiration through using these improvisations.”More Dance Improvisations promotes creativity that leads to innovative breakthroughs for students from middle school through college. It is the perfect resource to help dancers enjoy their exploration of movement and dance as they gain greater awareness of the capabilities they possess.Table of ContentsChapter 1. Introduction and How to Use This Book This chapter explores how to use this book, warming up and safe practice, effective planning, top tips for dance improvisation, planning your workshop, inclusive practice, and finding the right music, musicality, phrases and a table of improvisations.Chapter 2. Warm-Up Games and Tasks This chapter explores the concepts of play and spontaneous movement as stimuli for warming up the body and preparing the mind for new experiences. The games and improvisations within will prepare dancers for the creative tasks ahead, improve reaction times and explore key features of movement.Chapter 3. Solo and Duo Improvisations This chapter explores the movement responses dancers can generate on their own and with partners. Through these tasks, they’ll discover spontaneous movement answers that will develop, challenge and refine their creative responses, solo or in duos.Chapter 4. Group Creative Tasks This chapter explores the movement responses dancers can generate in groups. By working with others, they can explore and discover new movement ideas. The tasks within aim to develop, challenge and refine creative responses and the feeling of working as a team that comes with making group decisions in the moment.Chapter 5. Moving Beyond the Kinaesthetic: Using Physical and Aural Improvisation Tasks This chapter explores how starting with elements of physical and aural settings can lead students to create interesting dance. It acts as a taster for being inspired by external stimuli and will hopefully inspire an abundance of future ideas.Chapter 6. Developing Improvisations This chapter encourages dancers to use the movements, phrases and sequences created in previous tasks to play with development and structuring to manipulate the movement material. They can also develop ideas using existing material and repertoire. These are only a few suggestions to inspire additional ideas on how to develop movements into dance pieces or works.

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Book SynopsisThe inside story of the one of the most successful British stand-up comedians, as told by the person best qualified to reveal all about the man behind the comic, his wife of over 20 years Pamela Stephenson.Once in a lifetime, there strides upon the stage someone who can truly be called a legend. Such a person is the inimitable, timeless genius who is Billy Connolly. His effortlessly wicked whimsy has entranced, enthralled and split the sides of thousands upon thousands of adoring audiences.And when he isn''t doing thathe''s turning in award-winning performances on film and television.He''s the man who needs no introduction, and yet he is the ultimate enigma. From a troubled and desperately poor childhood in the docklands of Glasgow he is now the intimate of household names the world over.How did this happen, who is the real Billy Connolly? Only one person can answer that question: his wife, Pamela Stephenson. Pamela's writing combines the very personal with a frank objectivity that Trade Review‘Searingly honest, it’s an engrossing story told with all the winning warmth and insight we have come to expect from clinical psychologist and former comedian, Pamela.’ Woman’s Weekly

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Book SynopsisFor those who move, be it dancers, yogis, athletes, physical actors, or aerial dancers, the demands on their health go far beyond the ordinary. This book, authored by a seasoned dance teacher and leading authority in Traditional Chinese Medicine, unlocks the keys to maintaining wellbeing through Chinese medicine for dance and movement professionals.At its core, lies the exploration of Qi energy, Yin and Yang, and the Five Elements, all demystified and applied in practical terms. This book also delves into the intricate world of meridians, offering unique ways to work with them through movement. The author draws inspiration from the rich philosophy of Tao, making this an excellent resource for dancers and other movement professionals.

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Book SynopsisAs seen on TikTok, from Samantha Towle, the New York Times bestselling author of Wardrobe Malfunction and Breaking Hollywood, comes the first dramatically powerful and passionate novel in the Gods series.Readers are raving about Ruin!''Samantha Towle at her best''''Wow! What a story, I can''t even begin to tell you just how much I loved . . . this mind blowing book''''I adored this story! . . . Samantha Towle really knows how to make her characters jump out of the page and into our hearts as their journey becomes our own''''I love a good second chance romance story and this one was A-M-A-Z-I-N-G''..............................................................................And the new heavyweight champion of the world is... Those are the words that Zeus Kincaid has been waiting to hear since

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Book SynopsisPraise for the first volume:'It is very valuable to have [this collection of articles] all together in one place…a rich repository of insights and experiences for all the somatic disciplines. It is a wonderful collection of articles.' - Somatics This second volume on Authentic Movement - a new discipline aiding the creative process in choreography, writing, theatre performance, dance, graphic and expressivearts, as well as spirituality - is an engaging and dynamic collection of scholarly essays, personal stories, practical suggestions and resources. It reflects cutting edge work on creative expression, meditative discipline and psychotherapeutic endeavour.Part I comprises five chapters written by the most prominent Authentic Movement practitioners and teachers and introducing the foundations and principles of Authentic Movement. In Part II, the contributors return to the source of Authentic Movement - the psychotherapeutic setting - and provide an in-depth examination of the personal processes in the therapeutic relationship and the potential of Authentic Movement to facilitate personal growth and change. Part III traces the development of Authentic Movement as a spiritual path and as interface with other spiritual practices. Part IV provides an overview of new developments in Authentic Movement, Part V offers inspiring personal accounts and Part VI provides guidelines drawn from practice as well as tools and resources. These latter chapters sow the seeds for a new understanding and directions for the developments of Authentic Movement.This authoritative text is indispensable for practitioners of Authentic Movement, students and teachers working in the field of dance therapy, art therapists, all creative arts therapists and body psychoanalysts.Trade ReviewAn Exquisite offering to Therapists, Artists and anybody with a desire to look deeply into the relationship with the self, with other, the earth and the devine. Satisfied intellectually, creatively, emotionally and spiritually I can happily recommend this book as a long term investment for Creative Art Therapists. -- JIDCATAn impressive array of historical, clinical, theoretical and educational papers by the two living pioneers... And over three dozen practitioners who have developed this form in various settings and communities throughout the world. -- Body, Movement and Dance in PsychotherapyMy experience of this collection of essays is that many of the chapters stand on their own as entirely fascinating, expanding and enriching of insights,perspectives and accounts of highly creative work being done by skilled and adaptable practitioners. -- British Psychodrama and Sociodrama JournalPatrizia Pallaro has compiled a collection of must-read works from contemporary authors and practitioners experienced in the discipline of Authentic Movement...Pallaro's book will kindle a passion for the process of Authentic Movement in all who read these excellent articles, novice and expert alike. It is particularly recommended for those advanced in the fields of psychology, dance/movement therapy, and body-based psychotherapies. -- American Journal of Dance TherapyThis book, like Authentic Movement, opens doors to the outside world as well as the inside one. -- Dance and Body Psychotherapy JournalTable of ContentsContents. Acknowledgments. Introduction, Patrizia Pallaro. Part One: The foundation. 1. From Autism to the Discipline of Authentic Movement. Janet Adler. 2. Inner-Directed Movement in Analysis: Early Beginnings. Joan Chodorow. 3. Reflections on Mary Starks Whitehouse. Susan Frieder. 4. A Dancing Spirit: Remembering Mary Starks Whitehouse. Edith Sullwold with Mary Ramsay. 5. Authentic Movement. Daphne Lowell. 6. The Road In: Elements of the Study and Practice of Authentic Movement. Tina Stromsted and Neala Haze. 7. Witnessing and the Chest of Drawers. Alton Wasson. Part Two: Psychotherapy. 8. Authentic Movement as Active Imagination. Penny Parker Lewis. 9. Moving Towards Complexity: The Myth of Echo and Narcissus. Antonella Adorisio. 10. On synchrony. Julie Joslyn Brown and Zoë Avstreih. 11. Journeying Between Will and Surrender in Authentic Movements: A Personal and Clinical Perspective. Marcia Plevin. 12. Authentic Movement in Clinical Work. Shira Musicant. 13. Authentic Movement: Clinical and Theoretical Considerations. Shira Musicant. 14. Against the Wall, Her Beating Heartt: Working with the Somatic Aspects of Transference, Countertransference and Dissociation. Barbara Holifield. 15. Merging and Differentiating. Wendy Wyman-McGinty. 16. Somatic Countertransference: The Therapist in Relationship. Patrizia Pallaro. 17. Authentic Movement: A Safe Place for Group Therapy. Anne Hebert Smith. 18. The Dancing Body in Psychotherapy: Reflections on Somatic Psychotherapy and Authentic Movement. Tina Stromsted. 19. The Body in Analysis: Authentic Movement and Witnessing in Analytic Practice. Wendy Wyman-McGinty. Part Three: Spirituality. 20. The Discipline of Authentic Movement as Mystical Practice: Evolving Moments in Janet Adler's Life and Work. Tina Stromsted. 21. From Seeing to Knowing. Janet Adler. 22. Achieving Body Permanence: Authentic Movement and the Paradox of Healing. Zoë Avstreih. 23. Calling Spirit Home: How Body Becomes Vessel for Spiritual Animation. Jeanne Castle. 24. Authentic Movement: A Theoretical Framework Based in Tibetan Buddhist thought. Carol Fields. Part Four: New horizons. 25. Authentic Movement as a Form of Dance Ritual. Daphne Lowell. 26. Being Seen, Being Moved: Authentic Movement and Performance. Andrea J. Olsen. 27. Learning to Love: How Art Therapy and Authentic Movement Transform Being. Suzanne Lovell. 28. Moving Toward Health: Authentic Movement and Breast Cancer. Sandy Dibbell-Hope. 29. The Discovery of Deep Ecology through the Body: A Practice in Authentic Movement. Cassielle Alaya Bull. 30. Oracles: Authentic Movement and the I Ching. Susan Bauer. 31. Authentic Movement: From Embryonic Curl to Creative Thrust. Ariane Goodwin. 32. The Pleasure of the Text: Embodying Classical Theatrical Language through the Practice of Authentic Movement. Judith Koltai. 33. The Movement of All Things: Authentic Movement and Quantum Physics. Marcia Plevin. 34. Moving the Outer Rim In: Authentic Movement and Nonviolence. Lisa Tsetse. Part Five: Personal stories. 35. Shadow and Other. Sandy Dibbell-Hope. 36. Dances Left in Time and Space: Passing on Lineage with Grace. Heidi Ehrenreich. 37. Unlocking, Unblocking the Temple Door. Wendy Goulston. 38. There is an Angel. Soraia Jorge. 39. The Seeker and the Seer. Bill McCully. 40. Tracing the Brace. Margareta Neuberger. 41. Riding the Wave's Edge. Jan Sandman. 42. Moving and Seeing: Manhood Come Tumbling Down. Sox Sperry. 43. Stirred to Action. David Mars. Part Six: After notes. 44. Questions: Teaching the Discipline. Janet Adler. 45. Guidelines in Practice: Authentic Movement in a Leaderless Group. Leaderless Berkeley Collective 1995. 46. Authentic Movement: Guidelines for a Providence Shared-Lead Group. Lynn Garland. 47. Resources. Contributors. Subject Index. Author Index.

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Book SynopsisThe topic of sport psychology is hardly new—but Essentials of Dance Psychology applies it to dance in a way that sets it apart from all other sport psychology texts available to dance students, instructors, and professionals.Through Essentials of Dance Psychology, readers will come to understand why dancers think and behave as they do and how to design healthy, creative dance environments that lead to both well-being and optimal performance.The book is built on a foundation of evidence from dance and sport psychology research, with applied experiences used as examples throughout. Where appropriate, evidence from other areas of psychology—for example, cognitive behavioral therapy—is used. A thorough coverage of topics relevant to dancers, teachers, and others working to support dancers is included, making the book suitable for one slightly longer course or two short courses in introductory dance psychology.The book is organized into four parts. Part I delves into dancers’ individual differences, examining how personality, perfectionism, self-esteem, self-confidence, and anxiety factor into performance and well-being. Part II explores topics related to dance-specific characteristics such as motivation, attentional focus, and creativity. In part III, readers learn about a range of psychological skills, including mindfulness, goal setting, self-regulation, and imagery. Part IV examines topics related to dance environments and challenges, zeroing in on the social aspects of teaching and learning dance, the challenges of talent identification and development, injuries, body image, and disordered eating.Student-friendly textbook features in each chapter include the following: Relevant definitions A case study that shows how the chapter’s topics can be expressed or experienced in practice One or more Get Practical exercises, which prompt readers to apply or reflect on the chapter’s concepts (These exercises come with either downloadable worksheets or audio, delivered through HKPropel Access.) A roundup of further research needed in each content area, which can inspire research projects for students and professionals alike Key points to reinforce the learning, with particular emphasis on applications Materials available through HKPropel Access include downloadable worksheets, three audio files with guided exercises, vocabulary study aids, lettering art, and two goal-setting templates. In addition, an instructor pack provides chapter summaries, a course outline, a test bank, and a PowerPoint presentation package.Essentials of Dance Psychology offers readers the opportunity to understand sport psychology from the vantage point of a dancer. The text will help develop dance teachers who are able to inspire and sustain high levels of performance and psychological health among dancers. It will also help other professionals who work with dancers to implement evidence-based practices that enhance and sustain dancers’ lives and careers.Note: A code for accessing HKPropel is included with all new print books.Table of ContentsIntroduction to Dance PsychologyWhat Is Dance Psychology?Cognitive Behavioral Therapy in Dance PsychologyPart I. Individual DifferencesChapter 1. PersonalityWhat Is Personality?Structure of PersonalityOrigins of PersonalityConsequences of PersonalityNarrow Identity: Are Dancers at Risk?Chapter 2. PerfectionismWhat Is Perfectionism?Origins of Perfectionism in DanceConsequences of PerfectionismHow Can Perfectionism Be Managed?Chapter 3. Self-Esteem and Self-ConfidenceWhat Are Self-Esteem and Self-Confidence?Origins of Self-EsteemConsequences of Self-EsteemOrigins of Self-ConfidenceConsequences of Self-ConfidenceHow Can Self-Esteem and Self-Confidence Be Strengthened?Chapter 4. AnxietyWhat Is Anxiety?Sources of AnxietyConsequences of AnxietyHow Can Anxiety Be Managed?Part II. Dance-Specific Characteristics and DispositionsChapter 5. MotivationWhat Is Motivation?Achievement Goal Theory Perspective on MotivationSelf-Determination Theory Perspective on MotivationHow Can Healthy Motivation Be Nurtured? An Intrapersonal PerspectiveChapter 6. Attentional FocusWhat Is Attentional Focus?Performance-Related Consequences of Different Attentional FociAttentional Focus Research in DanceWhy Attentional Focus Has an ImpactHow Can Optimal Attentional Focus Be Nurtured?Chapter 7. CreativityWhat Is Creativity?Sources of CreativityCorrelates of CreativityHow Can Creativity Be Nurtured?Part III. Psychological SkillsChapter 8. MindfulnessWhat Is Mindfulness?Origins of MindfulnessConsequences of MindfulnessMindfulness Research in DanceWhy Mindfulness Has an ImpactHow Can Mindfulness Be Nurtured?Chapter 9. Goal Setting and Self-RegulationWhat Is Goal Setting?Sources of Goals: Assigned Goals Versus Personal ValuesConsequences of Goal SettingWhy Goal Setting Has an ImpactWhat Is Self-Regulation?How Can Goal Setting and Self-Regulation Be Optimized?Chapter 10. ImageryWhat Is Imagery?Revised Applied Model of Deliberate Imagery UseSources of ImageryConsequences of ImageryWhy Imagery Has an ImpactHow Can Imagery Be Optimized?Part IV. Dance Environments and ChallengesChapter 11. Motivational ClimatesWhat Is a Motivational Climate?Achievement Goal Theory (AGT) Perspective: Task- and Ego-Involving ClimatesSelf-Determination Theory Perspective: Need-Supportive Versus Controlling LeadershipOrigins of Motivational Climates: What Makes Teachers Support or Thwart Healthy Motivation?Consequences of Motivational ClimatesHow Are Healthy Motivational Climates Created?Chapter 12. TalentWhat Is Talent?Sources of TalentConsequences of Talent Beliefs and of Talent IdentificationHow Can Talent Identification and Development Be Optimized?Chapter 13. InjuryWhat Are the Key Psychological Aspects of Injury in Dance?Psychological Risk Factors for Acute Injury: Stress-Injury ModelBeyond the Stress-Injury Model: Other Psychological Risk Factors for Dance InjuryDancers’ Experiences of Becoming and of Being InjuredPsychological Aspects of Injury RehabilitationUsing Psychology to Reduce Injury Risk and Optimize RehabilitationChapter 14. Body Image and Disordered EatingWhat Is Body Image?Eating Disorders Versus Disordered EatingOrigins of Negative Body Image and Disordered Eating in DanceConsequences of Body Image and Disordered EatingHow Can Healthy Body Image Be Nurtured?How Can Disordered Eating Be Prevented, Identified, and Managed?

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Book SynopsisDuring the ’30s and ’40s, Hollywood produced a genre of madcap comedies that emphasized reuniting the central couple after divorce or separation. Here, Cavell examines seven of those classic movies for their cinematic techniques, and for such varied themes as feminism, liberty and interdependence.Trade ReviewThe great achievement of…Pursuits of Happiness is that it finally provides a solid framework for the serious discussion of the great dialogue comedies of the thirties and forties, perhaps the most revived and loved movies of Hollywood’s golden period. -- Al LaValley * American Film *This just must be, in its close readings and its stunning associations, one of the most compelling accounts of its kind. The fact is, it just is its kind. -- Geoffrey Hawthorn * London Review of Books *This is a voice like no other in philosophy, today or ever. -- Arthur C. Danto * October *No book about the art of Hollywood I have ever read can make its readers stop and think more effectively than this one. -- S. S. Prawer * Times Literary Supplement *Stanley Cavell’s book succeeds brilliantly… The individual ‘readings’ of the films and the general conceptual plan in which they are embedded are both so rich and rewarding that…‘brilliant’…seems an understatement. -- Gerald Mast * Journal of Aesthetic Education *Table of ContentsIntroduction: Words for a Conversation 1. Cons and Pros The Lady Eve 2. Knowledge as Transgression It Happened One Night 3. Leopards in Connecticut Bringing up Baby 4. The Importance of Importance The Philadelphia Story 5. Counterfeiting Happiness His Girl Friday 6. The Courting of Marriage Adam's Rib 7. The Same and Different The Awful Truth Appendix: Film in the University Acknowledgments Index

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Book SynopsisThis comprehensive book will serve as a step-by-step guide to Laban/Bartenieff Movement Analysis, updating and expanding concepts and practices. Following extensive research on the method developed by Rudolf von Laban and his disciples, this book explains movement principles, exercises, and motif symbols in detail. Organized according to the four categories of Laban/Bartenieff Movement Analysis (Body-Effort-Shape-Space), additional chapters present the different developments of the theory in relation to performing arts and movement therapy. The author draws on Laban/Bartenieff Movement Analysis as a dynamic and connective approach, traveling from classroom and studio to everyday life, stage performance, and film acting. The Laban perspective serves as a multimedia artistic viewpoint, intertwining theory, learning, and imagery.This unique approach to this internationally used method is essential reading for educators and students of dance and other performing arts and movement-related professions.Trade ReviewFernandes' book is as comprehensive an overview of Laban Movement Analysis as any book thus far. It is detailed, specific, and full of clear definitions, examples, and stories about the work. A must-have for all students and professional movement analysts! -- Karen Bradley, Director of Graduate Studies in Dance, University of MarylandThis is an extensive and intensive body of research. A new text book for Laban practitioners and scholars, a first-class resource for all in pursuit of articulation of the grammar and semantics of Movement and its field of application. A real highlight is the scopic yet detailed exposition of Bartenieff Fundamentals™. This should be "shared among all of us who have the passion drive for movement and the action drive for research". -- Anna Carlisle, MA MBE, President of the Laban GuildTable of ContentsForeword. Regina Miranda. Preface to the English edition. 1. The Development of Rudolf Von Laban's Movement Theories. 1.1 The process of movement: An expanded outline of the application of Laban theory to movement. Jackie Hand, Laban/Bartenieff Institute of Movement Studies, USA. 1.2. Voicing the practice: Laban's embodied immigration to Brazil. Melina Scialom. 1.3. Choreology and Choreological Studies. Júlio Mota, Pontifical Catholic University of Paraná. 1.4 How to move things and words: Laban's Moving Analysis as Somatic-Performative Research. 1.5. Autistic or Artistic? Laban's theories applied to child disability as somatic performative integration. 2. Laban/Bartenieff Movement Analysis: Interartistic Practice, Creativity, and Dynamic Writing. 2.1. Dance theater and Laban/Bartenieff Movement Analysis. 2.2. Infinite dance: Dynamic bodies and concepts. 2.3. Laban/Bartenieff Movement Analysis and Labanotation. 2.4. The 'Mastery of Movement': The categories of Body-Effort-Shape-Space. 2.5. The dialogue among the arts in total body expression. 3. Among Rocks, Reptiles and Connective Wind Currents: The Body. 3.1. Bartenieff Principles. 3.1.1. Breath Support and Kinetic Chains. 3.1.2. Core Support. 3.1.3. Dynamic Alignment. 3.1.4. Body Organizations and Developmental Movement Patterns. 3.1.5. Bony Connections. 3.1.6. Weight Shift for Locomotion. 3.1.7. Initiation and Sequencing. 3.1.8. Gradated Rotation. 3.1.9. Effort Life for Body Connectivity. 3.1.10. Spatial Intent. 3.2. Bartenieff Fundamentals. 3.2.1. Preparatory Exercises. 3.2.2. The Basic Six. 3.3. Posture/Gesture Merger. 3.4. Gesture and Posture according to Laban and Lamb. Júlio Mota. 3.4.1. The Legacy of Rudolf von Laban. 3.5. Other Concepts and Symbols of Body. 3.5.1. Body Parts. 3.5.2. Upper and Lower Limbs. 3.5.3. Bodily Actions. 4. Effort or Eukinetics: Pitches and Colors of a Poetic Body. 4.1. The Flow Factor. 4.1.1. Free flow. 4.1.2. Bound flow. 4.2. The space factor. 4.2.1. Indirect space. 4.2.2. Direct space. 4.3. The weight factor. 4.3.1. Light weight. 4.3.2. Strong weight. 4.4. The time factor. 4.2.1. Sustained time. 4.2.2. Quick time. 4.5. The Effort Factors and Quaternary Correspondences. 4.6. Pre-Effort. 4.6.1. Space Pre-Effort. 4.6.2. Weight Pre-Effort. 4.6.3. Time Pre-Effort. 4.7. The Combination of Factors. 4.7.1. Effort States. 4.7.2. Effort Drives. 4.8. Effort Phrases and Phrasing. 4.8.1. Effort Phrases. 4.8.2. Effort Phrasing. 5. Putting the Body Relationships in Shape. 5.1. Shape Flow. 5.1.1. Growing/opening/unfolding. 5.1.2. Shrinking/closing/folding. 5.1.3. Growing and Shrinking Alternately. 5.2. Spoke-Like and Arc-Like Directional. 5.3. Shaping. 5.4. Specific Shapes Created by the Body. 5.5. Relationships. 6. The Architecture of Moving Spaces. 6.1. Space Harmony. Susanne Schlicher, Professor/Dramaturg, Theaterakademie Hamburg/Hochschule für Musik und Theater (Hamburg University of Music and Theatre. 6.1.1. Space Harmony and Bartenieff Fundamentals. 6.2. Kinesphere. 6.3. Reach Space. 6.3.1. Small Kinesphere- Near Reach. 6.3.2. Medium Kinesphere- Mid Reach. 6.3.3. Large Kinesphere- Far Reach. 6.4. Crosses of Axes. 6.4.1. Standard Cross of Axes. 6.4.2. Body Cross of Axes. 6.4.3. Constant Cross of Axes. 6.5. Crystalline Forms. 6.5.1. The Tetrahedron. 6.5.2. The Octahedron and its Three Dimensions. 6.5.3. The Cube and its Four Diagonals. 6.5.4. The Icosahedron and its Three Planes. 6.5.5. The Dodecahedron and its Three Planes. 6.6. Spatial Pathway. 6.6.1. Central Pathway. 6.6.2. Transverse Pathway. 6.6.3. Peripheral Pathway. 6.7. Spatial Tension. 6.7.1. Central Tension. 6.7.2. Transverse Tension. 6.7.3. Peripheral Tension. 6.8. Other concepts and symbols of Space. 7. Associating Body-Effort-Shape-Space. 7.1. Choreutics: Tuning and turning compositions. 7.1.1. Affinities in the Octahedron Dimensions. 7.1.2. Affinities in the Cube Diagonals. 7.1.3. Affinities in the Isocahedron Planes. 7.1.4. From points in Space to movement composition: The Personal Scale. 7.1.5. From Shape Flow to movement composition: Authentic Movement. 7.2. Body Attitude. 7.2.1. Body. 7.2.2. Effort Stress. 7.2.3. Shape Stress. 7.2.4. Space Stress. 7.3. Themes of Continuous Dynamics and Change. 7.3.1. Inner/Outer. 7.3.2. Exertion/Recuperation. 7.3.3. Function/Expression. 7.3.4. Mobility/Stability. 8. Mapping Bodily Histories: Drawing the Moving Body-Text. 8.1. The observation of human movement for description. 8.2. The description of human movement. 8.2.1. The Effort-Shape Horizontal Motif. 8.2.2. The Discursive Description and the Vertical Motif Description. 8.2.3. The Detailed Description. 8.3. Simplified Movement Analysis. 8.3.1. LMA Simplified Coding Sheet. 8.3.2. Filling Out the Simplified Coding Sheet- An Example. 8.3.3. Applying the Simplified Coding Sheet to dance movement analysis: Bahian urban environment and daily life in the moves of 'Hidden Agenda' by Tran Chan Dance Company. 8.4. Detailed Movement Analysis. 8.4.1. LMA Detailed Coding Sheet. 8.4.2. Filling out the Detailed Coding Sheet- An Example. 8.4.3. Applying the Detailed Coding Sheet to character movement analysis: Carmen Maura in the Pedro Almodóvar's film 'Women on the Verge of a Nervous Breakdown.' Ciane Fernandes. Susanne Schlicher. Rosel Grassmann, Artist and Director at Wilderness BodyPainting, Independent Concept and Photo Artist of Movement Studies. Works Cited.

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Book SynopsisThe historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts.The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the

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Book SynopsisThis book focuses on Somatic Movement Dance Therapy and the importance of self-regulation and co-regulation. The chapters attend to self-regulating different tissues through movement, breath, sound and the imagination. Throughout the book the author shares processes and practices that support participants to balance their living tissues, moving from sympathetic arousal into parasympathetic ease and release. The study of the autonomic nervous system and how to innervate the parasympathetic through breath awareness, heart-sensing and intero-ception is the central through-line in the book. Uniquely, Williamson attends to the anatomical and physiological complexity underlying the apparent simplicity of somatic movement dance practice. How to sense-perceive and move with attuned awareness of specific body tissues, such the skeletal-muscular and craniosacral system invites the reader into a deep anatomical and physiological excavation of self-regulation. The interconnectivity of fascia, and the importance of cardio-ception, breath awareness and gravity lie at the heart of this book. Sensory-perceptual awareness of the heart is foregrounded as the most important ingredient in the efficacy of practice, as well as gravi-ception, soft-tissue-rolling and fascial unwinding. Includes a collective foreword from Sarah Whatley, Daniel Deslauriers, Celeste Snowber and Karin Rugman This is a must-read practice-as-research book, for under- and postgraduate students, researchers and educators and especially important for practitioners who feel the weight and condescension of the mechanistic paradigm.Trade ReviewDr. Amanda Williamson is a master teacher and opens up a deeply pedagogical space for understanding on multiple levels, with the sensitivity of an open heart and a poetic eye. This book will be a companion for me and for chiropractors, dancers, somatic therapists, doctors, philosophers, educators, body workers, musicians, therapists and all those who want to nurture the body, mind and soul will find this a magnificent resource. -- Professor Celeste Snowber * Simon Fraser University, Canada *An exceptional artist and compassionate teacher, Amanda Williamson brings a rigorously researched knowledge of the body to this book. The wisdom she has gained through her many years of practice infuses her writing: she shares her insights with generosity and sensitivity. It will be a primary source for all those interested in how to tune the body’s sensory-perceptual pathways to support a profoundly holistic approach to health and well-being. -- Professor Sarah Whatley * Chair in Dance and Director: Centre for Dance Research (C-DaRE) *'Amanda Williamson’s Somatic Movement Dance Therapy: The Healing Art of Self-regulation and Co-regulation is an informative text that illuminates the author’s practice and key influences that inform it. She brings her years of experience to create her work—somatic movement dance therapy—based on improvisation, self-regulation, and co-regulation. This book will be of relevance for anyone interested in a therapeutic application of somatic movement and dance, as well as those interested in deepening their understanding of their body through movement, anatomy, physiology, and a non-western lens that moves away from the “[reduction of] mental health to mechanistic approaches” (186). This text is a welcome addition to courses in somatics—a clear example of a therapeutic practice inviting discourse on the application of somatic practices with strong connections to research in science, psychology, and the mind-body-psyche relationship.' -- Hetty King, Journal of Dance EducationTable of ContentsForeword: Transatlantic Reflections Sarah Whatley, Daniel Deslauriers, Celeste Snowber and Karin Rugman Introduction: The Seabed, Waves and Ripples in this Book Autogenic Self-Regulatory Movement Sympathetic Holding and Parasympathetic Release: Vagal Tone and Social Engagement Fulcrums of Support and Soft Tissue Reorganization Co-regulation, Cardio-ception and the Transpersonal Witness Co-regulatory Touch and Somatic Unwinding Sense-Perceiving the Craniosacral System Soft-Tissue-Rolling and Fascial Health Bibliography

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Book SynopsisKaren Clippinger’s first two editions of Dance Anatomy and Kinesiology were hailed as the standard in the field. This third edition builds on that success by retaining its scientific perspective while making the material even more accessible to students and teachers and by bringing in a significant amount of new material.What’s New? In an effort to further enhance learning, Dance Anatomy and Kinesiology offers a wealth of new material and tools to make this edition the best yet: Nearly 300 anatomical illustrations—now in full color to clearly show muscle movements and technique considerations, setting the book apart from others in its field A new introductory chapter to cover basic terminology all in one place A new recurring Understanding Check element that helps students demonstrate their grasp of the material before moving on An updated suite of online instructor and student ancillaries to support the text New interactive lab activities delivered online through HKPropel More diverse dance styles addressed throughout the book and represented in photographs The instructor guide features a sample syllabus and course outline, chapter outlines, lab assignments, and sample tests. A presentation package provides expanded chapter slides with more in-depth texts and additional graphics, now in color, that reinforce each chapter’s key points. Through HKPropel, students have access to interactive Understanding Check activities, flash cards, practice quizzes, and 19 video clips that demonstrate technique and offer correction guidance. The final chapter is revised to provide a summary and applications, including more practical content in the form of summary figures or tables for bones, joints, muscle actions, and alignment evaluation, as well as sample mat exercises for dance conditioning. And throughout the book, Clippinger has updated content to simplify, add more practical material, and share best practices for injury prevention and rehabilitation.Primary Focus While much is new in this third edition, the book retains its emphasis on presenting the anatomical and kinesiological material that is essential for dancers to understand. The text includes descriptions of joint structure, key muscles, movement analysis, sample strength and flexibility exercises, common alignment problems, select joint mechanics, and special considerations for dance for each region of the body. The new edition still features the Concept Demonstration and Dance Cues special elements. The former provides movement experiences for dancers to better understand potentially difficult concepts, while the latter helps the dancer reflect on the anatomical basis of commonly used cues used in teaching dance technique.Empowers Instructors and Dancers This new edition of Dance Anatomy and Kinesiology will give teachers a clearer picture of the anatomical and kinesiological factors that aid in generating technique cues and identifying technique problems, and it will help them become more effective and empower dancers to realize their potential and artistic vision. Note: A code for accessing HKPropel is included with this ebook.Table of ContentsChapter 1. Fundamental Anatomical Terms for Understanding Movement Positional and Directional Terms Rotary Motion, Anatomical Planes, and Axes Joint Movement Terms SummaryChapter 2. The Skeletal System and Its Movements Bone Composition and Structure The Human Skeleton Classification and Structure of Joints Joint Mechanics in Functional Movement SummaryChapter 3. The Muscular System and Its Movements Skeletal Muscle Properties Microscopic Structure of a Muscle Fiber and Muscle Contraction Muscle Architecture Muscle Attachments to Bone Contribution of Connective Tissue to Muscle Behavior Muscles, Levers, and Rotary Motion Types of Muscle Contraction and Torque Muscular Considerations in Functional Movement Muscles and Movement Analysis SummaryChapter 4. The Spine Bones and Bony Landmarks of the Spine Joint Structure and Movements of the Vertebral Column Description and Functions of Individual Muscles of the Spine Muscular Analysis of Spinal Movements Ideal Spinal Alignment and Common Deviations Spinal Mechanics Special Considerations for the Spine in Dance Spine Injuries in Dancers SummaryChapter 5. The Pelvic Girdle and Hip Joint Bones and Bony Landmarks of the Hip Region Joint Structure and Movements of the Pelvic Girdle Joint Structure and Movements of the Hip Description and Functions of Individual Hip Muscles Muscular Analysis of Hip Movements Alignment and Common Deviations of the Hip Region Pelvic and Hip Mechanics Special Considerations for the Hip Region in Dance Hip Injuries in Dancers SummaryChapter 6. The Knee and Patellofemoral Joints Bones and Bony Landmarks of the Knee Region Joint Structure and Movements of the Knee Description and Functions of Individual Knee Muscles Muscular Analysis of Knee Movements Alignment and Common Deviations of the Knee Knee Mechanics Structure and Movements of the Patellofemoral Joint Patellofemoral Alignment and the Q Angle Patellofemoral Mechanics and Compression Forces Special Considerations for the Knee Region in Dance Knee Injuries in Dancers SummaryChapter 7. The Ankle and Foot Bones and Bony Landmarks of the Ankle and Foot Joint Structure and Movements of the Ankle and Foot Description and Functions of Individual Ankle–Foot Muscles Muscular Analysis of Ankle–Foot Movements Alignment and Common Deviations of the Ankle–Foot Ankle–Foot Mechanics Special Considerations for the Ankle and Foot in Dance Ankle and Foot Injuries in Dancers SummaryChapter 8. The Upper Extremity Bones and Bony Landmarks of the Shoulder Complex Joint Structure and Movements of the Shoulder Girdle Joint Structure and Movements of the Shoulder Description and Functions of Individual Muscles of the Shoulder Complex Muscular Analysis of Movements of the Shoulder Complex Alignment and Common Deviations of the Shoulder Complex Mechanics of the Shoulder Complex Bones, Joint Structure, and Movements of the Elbow Joint Description and Functions of Selected Individual Elbow Muscles Muscular Analysis of Elbow Movements Alignment and Common Deviations of the Elbow Bones, Joint Structure, Movements, and Muscles of Selected Other Upper Extremity Joints Special Considerations for the Upper Extremity in Dance Upper Extremity Injuries in Dancers SummaryChapter 9. Summary and Applications Structure, Alignment, and Mechanics of Key Joints Key Muscles and Their Movements Sample Conditioning Exercises Observation and Corrective Measures for Key Alignment and Technique Problems Anatomical Movement Analysis Schema for Whole-Body Movements Sample Anatomical Movement Analysis with Research Supplements Dance Movement Cues Summary

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Book SynopsisModeling a disability culture perspective on performance practice toward socially just futures In Eco Soma, Petra Kuppers asks readers to be alert to their own embodied responses to art practice and to pay attention to themselves as active participants in a shared sociocultural world. Reading contemporary performance encounters and artful engagements, this book models a disability culture sensitivity to living in a shared world, oriented toward more socially just futures.Eco soma methods mix and merge realities on the edges of lived experience and site-specific performance. Kuppers invites us to become moths, sprout gills, listen to our heart’s drum, and take starships into crip time. And fantasy is central to these engagements: feeling/sensing monsters, catastrophes, golden lines, heartbeats, injured sharks, dotted salamanders, kissing mammoths, and more. Kuppers illuminates ecopoetic disability culture perspectives, contending that disabled people and their co-conspirators make art to live in a changing world, in contact with feminist, queer, trans, racialized, and Indigenous art projects. By offering new ways to think, frame, and feel “environments,” Kuppers focuses on art-based methods of envisioning change and argues that disability can offer imaginative ways toward living well and with agency in change, unrest, and challenge.Traditional somatics teach us how to fine-tune our introspective senses and to open up the world of our own bodies, while eco soma methods extend that attention toward the creative possibilities of the reach between self, others, and the land. Eco Soma proposes an art/life method of sensory tuning to the inside and the outside simultaneously, a method that allows for a wider opening toward ethical cohabitation with human and more-than-human others.Trade Review "Petra Kuppers breathes us through connections between embodiment and the earth, weaving queer studies and disability studies into self-guided explorations. Her imagistic text evokes dancing—the pull of gravity and the shifting perspectives of bodies in flow. She moves, she writes, we respond to her autobiographical narratives of environmental spaces and social places."—Anita Gonzalez, Georgetown University (cofounder of Georgetown University’s Racial Justice Institute) "There is absolutely nothing like Eco Soma in any field. Petra Kuppers provides a much-needed model for what interdisciplinary arts-based research can be, and her work is always put into the context of the lived reality of minoritized communities. She shows us how to write about bodies as she does—unflinchingly, while maintaining respect and dignity."—Carrie Sandahl, director, Program on Disability Art, Culture, and Humanities, University of Illinois at Chicago "Petra Kuppers’s grounded and reflective investigation encourages generative dialogue within and beyond disability performance studies. Sharing many vivid examples drawn from diverse community scales and sites, her eco soma method both illuminates and prompts creative reimaginings of relations between self, land, other humans, and more-than-humans. Answering the urgent call for multidisciplinary work to address climate catastrophe, she reveals the profound power of art-based methods to engage the body, forge connection, and enact change."—Kirsty Johnston, University of British Columbia (located on the traditional, ancestral, and unceded territories of the Musqueam (xʷməθkʷəy̓əm) people) "Kuppers's spectral disability approach makes this book an ideal companion for revising older canons and theories, through embodied encounters with activist community performance... The labour of reading this layered and performative text generates new research trajectories through realms of sense, affect, and relation."—Research in Drama Education "Kuppers animates the concepts of disability culture with unexplored ways of witnessing performances through uncertain being and identifying. The fundamental questions Kuppers gently invites the readers to explore about their own encounters and identifications with the human, nonhuman and fantastic worlds are especially important for a world grappling with the continued realities of a global pandemic, of reassessing one’s place and purpose, privileges and uncertainties."—Synapsis "Engaging with the intersection of the self and the environment in the wide array of well-chosen performances it analyses, Petra Kuppers’s Eco Soma substantially invites a rethinking of material enmeshments embodied in the self that is marked by various agencies—be they geographical, historical, or cultural."—Ecocene "Relevant and grounding."—Wordgathering "The text models a form of inquiry, inviting the reader to take a journey through the author’s collection of embodied performance witnessing and become aware of how one encounters the world through the discovery of involved witnessing."—Synapsis Journal "Eco Soma reads like a historical recipe for imagined futures, one that invites you to add a pinch of your favorite spice to make it smell of home and taste like possibility."—Research in Arts and Education "Kuppers’s book puts forward appropriate ways for diverse bodyminds to access the spaciousness as well as the peacefulness of being with nature, subsequently offering revolutionary ways of thinking about complex embodiment and issues of belonging and accessibility in cultural work."—Journal of Literary & Cultural Disability Studies "Petra Kuppers moves in a refreshing worldscape of academic writing. In the introduction to Eco Soma, I am invited into her private space, her own study, her nest on the ground. From here, she takes me by the hand and guides me through stories and reflections from her personal and artistic life and practice as an academic, mover, facilitator and performance witness."—Journal of Dance and Somatic Practices Table of ContentsContentsPreface: From Ecosomatics to Eco Soma1. Social Somatics: Tentacular Methods on the Horizon2. Edges of Water and Land: Indigenous/Settler Eco Soma Collaborations3. Un/Bounding: Writing Water Worlds4. Crip Time, Rhythms, and Slow Rays: Speculative EmbodimentCoda: OraclesAcknowledgmentsBibliographyIndex

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Book SynopsisThis book explores the therapeutic use of touch, focusing on an in-depth case study of work in an NHS setting with a client with learning disabilities, and situating this within a wide theoretical context. This is a unique and influential study illustrating the impact of touch in dance movement psychotherapy and laying the ground for a theory on the use of touch in Dance Movement Psychotherapy (DMP). The case study illustrates the impact of touch upon the therapeutic relationship with the use of video transcription and descriptive reflexive accounts of the session content. The case analysis sections establish the ground for a paradigm shift, and for emergent theory and methods in support of the use of touch in Dance Movement Psychotherapy and other contexts. The role touch takes is beyond its affect, which expands our understanding of its potency as an intervention. The writing is embedded in many years of practice-led-research in the field of dance and somatic practices, in particular Body-Mind Centering® and Contact Improvisation, in which touching and being touched is met with curiosity as a place of insight and revelation, beyond the bounds of taboo and social diktat. The study considers the philosophical landscape of both touch and non-touch. This book explores and reflects upon the use of touch, considering the wider context and socially imposed perceptions that would prevent touch from taking place – including philosophical and social discourses. Through telling the story of a client case, the book offers a wealth of thought-provoking content to inspire continued dialogue. Key strengths of this book are the depth, warmth and perceptiveness of the case history, and the way in which this is successfully linked with theory. Particular attention is paid to embodied cognition and exosystemic theory, the two leading developments of current thinking. With the ethical, practical and philosophical content, the book will be of interest to psychotherapists, health and social care practitioners, as well as arts in health practitioners and beneficiaries in educational programs and settings. Primary readership will be among DMP psychotherapists, body psychotherapists, drama therapists, Body Mind Centering® practitioners, arts in health practitioners, people working with clients with learning disabilities and any practitioner and researcher interested in understanding the role touch may play in the psychotherapeutic encounter.Table of ContentsList of figures Preface and chapter summary Acknowledgements Abbreviations Chapter 1. Introduction 1.1 Background: Touch a natural language 1.2 A 'touch revolution' in a dance–sport called contact improvisation 1.3 The sensory and sexual differentiation of touch, co-operation and responsibility 1.4 Touch - a way of 'seeing' or a mutual place of being? 1.5 The psychotherapist becomes researcher Chapter 2. The personal and professional quests 2.1 The sensory acuity of touch – contemplating a pathway of change 2.2 Literature on touch; the absent body - the 'touch or no-touch' debate 2.3 The pro-touch discourse explored and explained 2.4 Relational aspects; the subjectivities of 'touching subject' - 'touched object' 2.5 Theories of consciousness 2.6 The matter of the psyche; or what matter is the psyche? Summary Chapter 3. The research design – defining roles 3.1. A qualitative framework and mixed method approach 3.2. Defining the selves: The multiple subjectivities 3.3. Data analysis – methods and implementation Chapter 4. Embodied Ethics 4.1. Earning legitimacy and ethical approval 4.2. Towards an embodied ethics; a phenomenological insight 4.3. The Research Governance Framework, an intransigent construct 4.4. The ethical demise of embodied ethics 4.5. The Integrated Research Application System (IRAS) Chapter 5. CASE STUDY SESSION 1: Transcript and data analysis 'You child angry heart?' Amanda as participant; managing autonomy. Chapter 6. CASE STUDY SESSION 4: Transcript and data analysis Establishing a mutual language; beyond good and bad touch Towards introspection, an intrapersonal and transpersonal approach Tying in the thread of integrative approaches to Dance Movement Psychotherapy Chapter 7. CASE STUDY SESSION 6: Transcript and data analysis Chapter 8. FINDING AN ENDING AND EMERGENT THEORY Chapter 9. TOWARDS A THEORY OF RECEPTIVITY; Touching once again upon touch Arriving at receptivity – an 'ethic of care' (Etherington 2007: 604). The pre-ontological space and time domain of the body Appendix 1. Embodied Ethics continued Part 1. The co-researcher role and the ethics of inclusive research-seduction or sensitivity, occlusion or collusion; a question of 'capacity'? Part 2. Ethical issues in mixed methodological research Part 3. Hope at Hand – the ethics of research and the ethics of treatment Summary Appendix 2. For Chapter 5, diagrams 1-4 and 5. (i) and (ii) Appendix 3. For Chapter 6. Prehension theory diagram, Appendix 4. For Chapter 8. Client competence, session 1 and 10 Appendix 5. Martz and Lindy, The trauma Membrane Concept (2010) Appendix 6. Perceptual-Response Cycle

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Book SynopsisNorman Wisdom''s early years could easily have come straight from the pages of a Dickens novel. Left by their frightened mother, ill-treated by a brutal father, Norman and his brother were forced to fend for themselves, sleeping rough in London and stealing food to survive. This is a rags to riches tale of the man Charlie Chaplin said would take his mantle and who went on to make millions laugh around the world for over five decades. Here are the hardships, tragedies and triumphs that gave him his inspiration. From the days working the seasons at Scarborough, to the unforgettable and endearing character Norman Pitkin - the little man in a tight fitting suit, read of his rapid climb up the showbiz ladder.Trade ReviewA classic rags-to-riches saga * The Spectator *

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Book SynopsisPerforming Time explores our experience of time in dance and music, from the perspectives of both performers and audience, and informed by the most recent research in dance science, musicology, neuroscience, and psychology.Table of Contents0: Wöllner & London: Introduction to Performing Time 1 Foundations: The Flow of Time in Music and Dance 1: Bettina Bläsing: Time experiences in dance 2: Mariusz Kozak: Varieties of musical temporality 3: Keith Doelling, Sophie Herbst, Luc Arnal & Virginie van Wassenhove: Psychological and neuroscientific foundations of rhythms and timing 4: Sylvie Droit-Volet & Natalia Martinelli: The psychological underpinnings of feelings of the passage of time 2 Duration, Tempo and Pacing in Performance and Perception 5: Justin London: What is musical tempo? 6: Renee Conroy: Telling time: Dancers, dancemakers, and audience members 7: Molly Henry & Sonja Kotz: Preferred tempo and its relation to personal sense of time and temporal flow 8: Coline Joufflineau: Time through the magnifying glass of slowness: a case study in Myriam Gourfink's choreography 9: Alexander Jensenius: Standing still together: Reflections on a one-year-long exploration of human micromotion 10: David Hammerschmidt: Spontaneous motor tempo: A window into the inner sense of time 11: Mari Romarheim Haugen: An embodied perspective on rhythm in music-dance genres 3 Synchrony: Keeping Together in Time 12: Guy Madison: Moving together in music and dance - features of entrainment and sensorimotor synchronisation 13: Werner Goebl & Laura Bishop: Joint shaping of musical time: How togetherness emerges in music ensemble performance 14: Julien Laroche, Tommi Himberg & Asaf Bachrach: Making time together: An exploration of participatory time-making through collective dance improvisation 15: Birgitta Burger & Petri Toiviainen: Time and synchronisation in dance movement 16: Simone Dalla Bella: Unravelling individual differences in synchronizing to the beat of music 17: Anne Danielsen: Shaping the beat bin in computer-based grooves 18: Matthew H. Woolhouse: The 'synchrony effect' in dance: how rhythmic scaffolding and vision facilitate social cohesion 4 Performance Time Experienced: Attention, Expectation and Groove 19: Clemens Wöllner: Changes in psychological time when attending to different temporal structures in music 20: Pieter-Jan Maes & Marc Leman: Expressive timing in music and dance interactions: a dynamic perspective 21: Psyche Loui: Temporal aspects of musical expectancy and creativity in improvisation: A review of recent neuroscientific studies and an updated model 22: Anna Pakes: Experiences of time in boring dance 23: Jason Noble, Tanor Bonin, Roger Dean & Stephen McAdams: Evaluating the psychological reality of alternate temporalities in contemporary music: Empirical case studies of Gérard Grisey's Vortex Temporum 24: Kristina Knowles & Richard Ashley: Measuring experienced time while listening to music 25: Jan Stupacher, Michael Hove & Peter Vuust: The experience of musical groove: body movement, pleasure, and social bonding 5 Conclusions: Capturing Time in Performance and Science 26: Marc Wittmann: Embodied time: what the psychology and neuroscience of time can learn from the performing arts 27: Russell Hartenberger: Learning to feel the time: Reflections of a percussionist 28: Henry Daniel, Justin London: Performing and feeling time in contemporary dance 29: Kent Nagano, Clemens Wöllner: Music is a unique artform because of the temporal aspect 30: Stewart Copeland & Daniel Levitin: Timing, tempo and rhythm: Evidence from the laboratory and the concert stage

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Book SynopsisLa Nijinska is the first biography of twentieth-century ballet's premier female choreographer, shedding new light on the modern history of ballet, and recuperating the memory of lost works and forgotten artists, all while revealing the sexism that still confronts women choreographers in the ballet world.Trade ReviewLa Nijinska reveals why some choreographers become canonized and illustrates the process's inseparability from external funding, gender, race, class, and ethnicity. * MARA MANDRADJIEFF, DANCE CHRONICLE *Esteemed dance historian Lynn Garafola meticulously chronicles this life -- in the first full Nijinska biography ever * Mindy Aloff, Wendy Perron *La Nijinska realigns dance history and does long-overdue justice to one of the twentieth century's great women artists. * Alastair Macauley, The New York Review of Books *In a year of great books about dance, this biography of Vaslav Nijinskys sister, Bronislava, stands out... Sensational and enraging. * Sarah Crompton and Robbie Millen, 7 best film and theatre books of 2022, Sunday Times *Blessedly free of academic dance jargon... Garafola's writing style is clear, unfussy, and easy to digest. She presents us, however, with the life of an immensely talented choreographer whose artistic ambition remained thwarted and unfulfilled. It's a sad story but one I urge you to discover for yourself. * Jonathan Gray *... an engrossing book, which gives full weight to an extraordinary life... It is the art that is the ultimate subject of Garafolas book, and she does a triumphant job of reasserting its importance and recreating its impact. So few of Nijinskas works survive that is good to be reminded of just how significant many were when they were first seen, and how wide her influence was on succeeding generations... * Sarah Crompton, The Spectator *Lynn Garafola, doyenne of ballet historians, has produced a scrupulously researched biography of a remarkable woman... Garafola's biography of this brave and complex woman is as judicious as it is sensitive. I recently completed a modest book covering some of the same field. I only wish I had been able to incorporate her meticulous scholarship before it went to press. * Rupert Christiansen, Literary Review *... serious and thoroughly researched study of ballet's leading female choreographer... [an] excellent and thoughtful book. * Gillian Spickernell, The Lady *fascinating, and very well researched * Avatâra Ayuso, ONE *It's gratifying when a biographer and her subject are as perfectly matches as these two are. Everything in Lynn Garafola's prior life - her authorship of a major work on Serge Diaghilev's Ballets Russes, her investigations into other ballet and modern dance companies, her years of teaching in Barnard's eminent dance department - prepared her to accomplish this challenging task. And for Bronislava Nijinska, the long-neglected sister of Vaslav Nijinsky, it's nothing short of a resuscitation. Left out of the ballet history in which she actively participated ... she now has been brought to life by this first-ever biography. * Wendy Lesser, New York Times *Finally the biography she deserves. * Dance International *Nijinska could not have hoped for a more sympathetic and conscientious biographer than Garafola.... She understands the physical, educational, visual, dramatic, political, interpersonal, and financial aspects of the dance industry from the inside out. * Harlow Robinson, Los Angeles Review of Books *[Nijinska's] life after 1924 is known only in sketchy form, though Garafola does a tremendous job of resurrecting it. * Marcia Siegel, Hudson Review *A biography ... told in rich, fascinating detail. * Jennifer Wilson, The Nation *Garafola documents the ways in which a misogynistic establishment undermined Nijinska's achievements and argues that, despite this, her ideas about the relationship between movement and music helped shape the modern art of ballet. * The New Yorker *La Nijinska is a wonderful read; a window into the life of a woman who, for decades, was the world's leading female choreographer.... A big but gratifying read. Garafola provides a previously sketchy, monochrome account of history in color for the first time. * Seeing Dance *A fascinating account of life and work of the great and enigmatic Bronislava Nijinska, who left us a couple of ballets of genius and many unanswered questions. Nijinska, the most influential woman choreographer in classical ballet, was an inspiration for many generations of dance makers, and yet many aspects of her life remained poorly researched and unknown, partly because her memoirs only covered the early years. I was especially interested to read about Nijinska's choreographic debuts in Kiyv, Ukraine, and the second part of her life in California. The interviews of the dancers who worked with her last are priceless. Congratulations to Lynn Garafola. This book, thoroughly researched, full of unknown facts and inspiring details, is a book we were all waiting for. * Alexei Ratmansky, Choreographer, American Ballet Theatre *In this inspirational first biography of Bronislava Nijinska, based on global research, Lynn Garafola has successfully drawn the great choreographer from the shadow of her famous brother. She reveals a complex woman who experienced more than her fair share of tragedies and was constantly betrayed by men, while creating experimental ballets and inspiring successive generations of performers, directors and choreographers. * Jane Pritchard, Curator of Dance, Victoria and Albert Museum, London *This book is an astonishing achievement. Nijinska, sister of tragic dancer-genius Nijinsky, emerges here as a larger-than-life heroine, an Amazon endowed with visionary talent, yet blocked at every turn by forces arrayed against an ambitious woman. It's an epic tale, based on impeccable sources, narrated with rare lucidity, set against a three-continent-wide panorama of European, American and émigré-Russian artists and impresarios, all chasing after this magical quality we now call Modernity. * Elizabeth Kendall, author of Balanchine and the Lost Muse: Revolution and the Making of a Choreographer *Table of ContentsAcknowledgments Transliteration and Russian Names Preface Chapter 1: Nijinska's Apprenticeship Chapter 2: Amazon of the Avant-Garde Chapter 3: Back from the Future Chapter 4: Where is Home? Chapter 5: Les Noces Chapter 6: Les Biches Chapter 7: Le Train Bleu and its Aftermath Chapter 8: A Free-lance Choreographer Chapter 9: Globalizing Modernism Chapter 10: Les Ballets de Madame Ida Rubinstein Chapter 11: A Choreographer for Russia Abroad Chapter 12: Les Ballets Russes de Bronislava Nijinska Chapter 13: On the Road Chapter 14: In Wartime America Chapter 15: The Final Act Chapter 16: Resurrection List of Works Illustrations Credits Archives, Collections, and Other Sources Notes Selected Bibliography Index

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Book SynopsisIn these pages Roger Corman, the most successful independent filmmaker in Hollywood relates his experiences as the director and/or producer of such low-budget classics Attack of the Crab Monsters, The Little Shop of Horrors, The Raven, The Man with the X-ray Eyes, The Wild Angels, The Trip, Night Call Nurses, Bloody Mama, Piranha, and many others. He also discusses his distribution of the Bergman, Fellini, and Truffaut movies that later won Academy Awards in the Best Foreign Film category. Corman alumni—John Sayles, Martin Scorsese, Jack Nicholson, Vincent Price, Francis Ford Coppola, Peter Bogdanovich, Peter Fonda, Joe Dante, and Jonathan Demme, among others—contribute their recollections to give added perspective to Corman''s often hilarious, always informative autobiography.

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Book Synopsis

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