Dance Books

Book SynopsisTable of Contents Preface UNIT I Foundations of Business and Professional Communication CHAPTER 1 Introducing Business and Professional Communication 1 Communication Gaps in the Workplace What General Communication Competencies Are Needed in Organizations? Communication Competencies Expected in Organizations Definition and Model of Business and Professional Communication Assumptions About Communication: A Word on Axioms Business and Professional Communication in Four Contexts In Perspective Discussion Questions Exercises References CHAPTER 2 Managing Leadership Communication in Organizational Cultures Organizational Culture as a Context for Communication Features of Organizational Culture Leadership in Organizational Cultures: Structures and Styles In Perspective Discussion Questions Exercises References UNIT II Interpersonal Communication in Business and Professional Communication CHAPTER 3 Managing Interpersonal Communication in the Workplace Interpersonal Communication Principles in the Workplace Social Equity Theory Managing Interpersonal Communication Skills Managing Social Networking as Interpersonal Communication In Perspective Discussion Questions Exercises References CHAPTER 4 Managing Listening Communication in the Workplace The Significant of Listening in Organizations Concepts That Explain Listening Deficits Avoid Communication Omission How to Improve Listening Skills Active Listening In Perspective Discussion Questions Exercises References CHAPTER 5 Managing Nonverbal Communication in the Workplace Defining Nonverbal Communication Importance of Nonverbal Communication in the Workplace Functions and Rules of Nonverbal Communication Elements of Nonverbal Communication Using Nonverbal Communication in the Workplace In Perspective Discussion Questions Exercises References CHAPTER 6 Managing Communication Conflict in the Workplace Conflict in the Workplace Communication Skills in Managing Conflict Communication Skills in Managing Negotiation In Perspective Discussion Questions Exercises References CHAPTER 7 Managing Intercultural Communication in the Workplace Definition and Model of Intercultural Communication Understanding Cultural Diversity Importance of Managing Cultural Diversity Intercultural Communication Strategies for Promoting Unity In Perspective Discussion Questions Exercises References Unit III Small Groups and Teams in Business and Professional Communication CHAPTER 8 Managing Group Communication and Workplace Teams Defining Small-Group Communication Group Outcomes Communication Networks in Small Groups Leadership in Teams and Small Groups Conducting Results-Oriented Group Communication Strategies for Conducting Large Group Meetings Strategies for Team Building in the Workplace Definition and Model of Teams How to Facilitate High Functioning Workplace Teams What Makes a Successful Team? Outcomes of Successful Teams In Perspective Discussion Questions Exercises References CHAPTER 9 Managing Interviews in the Workplace Importance of Interviewing Types of Interviews Structuring Effective Interviews Interview Questions In Perspective Discussion Questions Exercises References UNIT IV Public Presentations in Business and Professional Communication CHAPTER 10 Managing Public Presentations in the Workplace Importance of Making Public Presentations Building Credibility Building Confidence Consulting for Audience Analysis In Perspective Discussion Questions Exercises References CHAPTER 11 Managing Presentational Skills in the Workplace Elements of Language Style Elements of Delivery Methods of Delivery Presentation Technology and Communication Ethics and Presentations In Perspective Discussion Questions Exercises References CHAPTER 12 Managing Informative Presentations in the Workplace Developing Informative Presentations Principles for Topic Selection In Perspective Discussion Questions Exercises References CHAPTER 13 Managing Persuasive Presentations in the Workplace Persuasion Changes or Reinforces Attitudes, Values, Beliefs, and Behaviors Beginning Theories Underlying Persuasion Developing Persuasive Presentations In Perspective Discussion Questions Exercises References CHAPTER 14 Managing Customers and Client Communication and Sales Definition and Model of Customer Service Communicating to Enhance Customer Service Changing the Organizational Culture to Enhance Customer Service Managing Sales Presentations in the Workplace Principles of Sales Communication Strategies for Effective Sales Communication In Perspective Discussion Questions Exercises References What Can You Do with a Communication Major ? Appendix A: Communication Style in the Workplace Appendix B: Changes in Organizational Cultures Appendix C: Communication Networks in the Workplace Appendix D: Written Communication in the Workplace: Reports, Proposals, Resumes, Letters, and Email Etiquette Appendix E: Speech Evaluation Forms Glossary Index Photo Credits

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Book SynopsisThe founders of Burn Boot Camp, a fitness franchise with over 110,000 active members in over 400 locations around the country, offer a healthy lifestyle plan for people who struggle with their self-improvement-featuring the Burn 10-Minute Meal Plan and more than 100 Burn 10-Minute Recipes.How would you like to create a life you love? As the CEO and COO of Burn Boot Camp, one of the fastest growing health franchises in the world, Devan and Morgan Kline have spent years devising the ultimate plan to answer that question. Now, they share their all their best advice in Keep Moving Forward, your five point plan to stop self-sabotage and break bad habits like eating junk food, drinking too much, and not exercising enough or at all. And once and for all, you can end your depression and experience greater happiness. Keep Moving Forward is a book for people who struggle with their self-improvement efforts. It''s based on one powerful assertion that makes this boo

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Book SynopsisDANCER OFF HER FEET is an incredible true story that stands as an irrefutable witness to God''s power to heal people both physically and spiritually. It has inspired and encouraged many thousands of people since its first publication in 1991. This edition contains a foreword written twelve years on, which brings Julie''s story up to date and details the highs and lows she has since experienced.For three years, former ballet dancer Julie Sheldon was stricken with the neurological disease Dystonia, and her life hung in the balance. Crippled, enduring fierce muscle spasms, she was in intensive care when Canon Jim Glennon prayed for her. ''A corner was turned after that visit in June 1989, and by July I was out of hospital. In August I was out of the wheelchair and off crutches for good, and in September off all drugs. All the time there was this conviction of total healing, not just of the body but of the mind and spirit as well.''The news hit press headlines and amazed doctors: ''Jul

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Book SynopsisJenny Belingy is an experienced dancer and teacher. John Byrne is a performance coach and bestselling author of several books for writers and performers.

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

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Book SynopsisMeet Bruno Tonioli - Strictly Come Dancing judge, wildcat choreographer and stardust magnet. With his irrepressible personality and Italian exuberance, Bruno has become a TV sensation, settling the fate of Britain''s ballroom hopefuls during the nation''s favourite Saturday night show.Bruno''s journey is mind-blowing. He fled from home at eighteen to join the dance company La Grande Eugene and travelled around Europe; he later coached the actress Goldie Hawn as a dance instructor, and orchestrated lavish productions for TV, film and pop videos, where he worked alongside The Rolling Stones, Freddie Mercury, Duran Duran and Tina Turner.Along the way Bruno has Tangoed with high fashion, performed the Cha Cha Cha with untameable pop vixens Bananarama and danced an emotional Waltz with bereavement and breakdown before settling in the perfect location - a seat on the judging panel of Strictly Come Dancing, where he wowed the nation at home and in Hollywood wi

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Book SynopsisAfter four seasons, HBO's award-winning dramatic series based on George R. R. Martin's bestselling fantasy novels, Game of Thrones, is hotter than ever, reaching over 19 million viewers per episode. Game of Thrones: In Memoriam, a photo- and fact-filled memorial to the characters who have met their end thus far, will be a must-have for the show's dedicated fan base.

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Book SynopsisFocuses on 19 mystery series that were primarily released during the 1940s. The shows covered range from such enduring favourites as Sherlock Holmes and The Saint to lesser-known efforts, such as the Whistling comedies with Red Skelton and the Monogram Sh

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Book SynopsisThis history of dancing is rich with fascinating anecdotes (like the New Jersey girl arrested for dancing the Turkey Trot on her lunch hour) and astonishing facts (the first geisha were men), as well as tender portrayals of dancers whose stage antics have earned them lasting fame.Trade Review'MUST READ - read this and strut your stuff.' Tatler 'Buonaventura's theatrical flourish never deserts her. The breadth of her knowledge is apparent in every gem of an anecdote.' Daily Telegraph 'Fascinating.' The Big Issue 'Brilliantly researched and utterly absorbing.' Venue 'Truly fascinating ... this is a riveting read even for newcomers to dance.' Decode 'Dancing is sexy and subversive. If you can't get onto a dance floor, read Buonaventura's book, which is the next best thing.' Joan Smith 'Engaging and informative and deliciously opinionated. The most enjoyable dance lesson Wendy Buonaventura's readers will ever have had.' Irma Kurtz

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Book SynopsisAn anthology of critical reflections on performance art from Australian scholars, curators and artists, 1970s to 2000s.

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

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

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

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

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

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

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

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

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