Dance Books

Book SynopsisDances and balls appear throughout world literature as venues for young people to meet, flirt, and form relationships, as any reader of Pride and Prejudice, War and Peace, or Romeo and Juliet can attest. The popularity of social dance transcends class, gender, ethnic, and national boundaries. In the context of nineteenth- and twentieth-century Jewish culture, dance offers crucial insights into debates about emancipation and acculturation. While traditional Jewish law prohibits men and women from dancing together, Jewish mixed-sex dancing was understood as the very sign of modernity––and the ultimate boundary transgression. Writers of modern Jewish literature deployed dance scenes as a charged and complex arena for understanding the limits of acculturation, the dangers of ethnic mixing, and the implications of shifting gender norms and marriage patterns, while simultaneously entertaining their readers. In this pioneering study, Sonia Gollance examines the specific literary qualities of dance scenes, while also paying close attention to the broader social implications of Jewish engagement with dance. Combining cultural history with literary analysis and drawing connections to contemporary representations of Jewish social dance, Gollance illustrates how mixed-sex dancing functions as a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions.Trade Review"It Could Lead to Dancing is a fascinating exploration of the role of dance in literary representations of Jewish modernization and secularization. With sources from memoirs to dance history, focusing primarily on German and Yiddish fiction, this wonderful, immensely learned, and original book will attract interest among literary scholars and beyond." —Naomi Seidman, University of Toronto"Extensively researched and deftly written, Sonia Gollance's rich study guides us through a nuanced cultural history of Jewish mixed-sex dancing from the long nineteenth century into the present day. It Could Lead to Dancing confirms the importance of the Jewish perspective in literary dance studies, casting light on the dance floor as a site where social comportment reflected the political pursuits of acculturation, emancipation, and female empowerment." —Lucia Ruprecht, Emmanuel College, University of Cambridge"What is arguably the most important aspect of Gollance's book... is its tackling one of the most well-known, yet little examined, topics of Jewish culture—the place of mixed-sex dancing in Jewish life, where mixed-sex dancing relates to social or vernacular dancing between men and women. ... what she aims to prove, and does so very effectively, is that tracing the existence of mixed-sex dancing... is not only about witnessing changing ideas of sexuality but how Jews addressed the radical transformations arising from modernity during the period spanning from the Enlightenment to World War II... These shifts relate to gender roles, secularization, debates about Jewish emancipation, urbanization, migration, and war."—Naomi Jackson, In geveb: A Journal of Yiddish Studies"The mixed-sex dance scene, as Gollance successfully argues, is not only a plot device but an aesthetic choice. As such, It Could Lead to Dancing guides readers through a history of dance as both a cultural-historical subject and literary practice that will enhance the work of scholars and Jewish dance activists alike."—Sunny S. Yudkoff, Monatshefte"Gollance... offers an extensive, fascinating exploration of Jewish mixed-sex dancing... A well-written and fun read. Essential."—K. J. Wetmore Jr., CHOICE"Like the dance floor, 'a liminal space that eludes all kinds of boundaries,' Gollance... uncovers a field of cultural production that crosses and exposes linguistic and social borders (12). It is a contested field that renders new perspectives on the animating tensions of Jewish modernity."—Matthew Johnson, German Studies Review"Gollance presents a thorough exploration of the dynamics of mixed-sex dancing and draws compelling parallels to broader social and cultural circumstances surrounding Jews.... Through her nuanced writing, Gollance describes how Jews at times found acceptance from non-Jews in dance contexts, but the acceptance was often temporary or partial."—Rabbanit Dalia Davis, Contemporary Jewry"Sonia Gollance's It could Lead to Dancing: Mixed-Sex Dancing and Jewish Modernity is a thoroughly researched and engaging study of the role of mixed-sex dancing in modern Jewish life. Gollance mines a wide range of literary resources—novels, memoirs, short stories, plays and poems, in Yiddish, German, Hebrew and English, in the modern period (1780-1940) and beyond."—National Jewish Book Awards Judges"Gollance excels at interweaving a tremendous amount of research. It Could Lead to Dancing covers multiple centuries, geographic locations, venues, and languages. Indeed, each facet of this interdisciplinary topic is complex, and Gollance selected highly relevant case studies that reveal her material's nuance and scope. Gollance is in thorough command of her subject. It is an impressive feat.... Gollance illuminates complex material and a complex history in a clear, engaging, and compelling way."—Susan Funkenstein, Central European HistoryTable of ContentsIntroduction: The Space of the Dance Floor 1. The Choreography of Acculturation 2. How Jews Learned to Dance 3. The Tavern: Jewish Participation in Rural Leisure Culture 4. The Ballroom: Questions of Admission and Exclusion 5. The Wedding: Celebratory Ritual and Social Enforcement 6. The Dance Hall: Commercial Leisure Culture and American Sexual Mores Epilogue: "What Comes from Men and Women Dancing"

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Book SynopsisWhat happens when one of Germany’s most important writers, himself a Muslim, immerses himself in the world of Christian art? In this book, Navid Kermani is awestruck by a religion full of sacrifice and lamentation, love and wonder, the irrational and the unfathomable, the deeply human and the divine – a Christianity that today’s Christians rarely speak of so earnestly, boldly and enthusiastically. With the open-minded curiosity of a non-believer – or rather a believer in another faith – Kermani engages with Christian art in its great richness and diversity. The result is an enchanting reflection which reinvests in Christianity both its spectacular beauty and its terror. Kermani struggles with the cross, falls in love at the sight of Mary, experiences the Orthodox Mass and appreciates the greatness of St Francis. He teaches us to see the questions of our present-day lives in the pictures of old masters such as Botticelli, Caravaggio and Rembrandt – not with lectures on art history or theology, but with an intelligent eye for the essential details and the underlying relations to seemingly remote worlds, to literature and to mystical Islam. Kermani’s poetic school of seeing draws us in as we are carried along by his unique perspective on Christianity, rekindling our interest in great art at the same time. We are captivated by his unique and brilliant Islamic reading of the West.Trade Review"A work of genius" Ian Sansom, The Guardian"This truly is one of the best books I've read in years: funny, outrageous, touching, intimate, glorious."Nicola Barker, The Guardian Best Books of 2017"Navid Kermani has written one of the funniest, most perceptive, outrageous and engaging books about art, life and faith that I have ever read… It’s wonderful. It’s cathartic. It's transformative."The Spectator"An astonishing, deeply sympathetic, constantly surprising meditation on Christianity from one of the greatest Muslim writers and thinkers in the Western world. Kermani writes perceptively about individual works of art and particular places, about the New Testament, and about the rich traditions of Christian theology and practice. Still more important, he articulates a vision of Islamic–Christian friendship that is, in our vexed world, a human gift of rare importance." Stephen Greenblatt, Cogan University Professor of the Humanities, Harvard University"In this beautifully written book, Navid Kermani performs something which, if not unprecedented, is still highly unusual, as he considers Christianity from the distance of a different faith. He does not claim any superiority here, quite the opposite. Unencumbered by the need to accept or reject, he explores the Christian faith with an alert interest and consuming curiosity. Through his keen gaze, coupled with a profound knowledge of theology and art history, Kermani captivates readers with the marvels of artworks that they might otherwise never really notice. The anglophone world needs and deserves this gem of a book."Daniel Boyarin, University of California, Berkeley "In this book Navid Kermani draws on his unique perspectives as a Muslim intellectual to offer thoughtful reflections on the complex divine ideas underlying Christian art and the deep parallels that can be drawn between it and other traditions, including mystical Islam. As an outside observer of Christianity, Kermani reminds us that the great faith traditions have more in common than they have difference and how, at the end of the day, we all pay tribute to the same divine spirit. May more Muslim and Christian thinkers alike be inspired by his deep reflectiveness and willingness to engage across faith traditions."Ambassador Akbar Ahmed, Ibn Khaldun Chair of Islamic Studies, American University, Washington, DC "When I lived in Deir Mar Musa, Paolo Dall’Oglio would sometimes press a “very important” book on me to read. I am sure that Wonder Beyond Belief is one of these books. It encourages debate and impresses the reader with the need for communication and respect for other people’s beliefs."Emma Loosley, University of Exeter "Superbly written with occasional suprises, this book is hard to put down"Premier Christianity ‘Kermani holds in fine balance his reverence and irreverence, his sense of the holy, his outrage at the outrageous… His “wonder” at art in the Christian – mainly Catholic – tradition is expansive, responsive, humane and imaginative. Sometimes it is also very funny. His curiosity as both a scholar and an art lover is prodigious and infectious… His very openness means that looking at Christianity and its art through his eyes can be moving, entertaining, illuminating, uncomfortable and very rewarding.’Art and Christianity“Many Christians, and especially many Catholics, will learn a great deal not just about the Islamic point of view, but about what they think of as their own true faith... This is a book which ought not to be missed by anyone concerned with issues in the modern world.”Irish Catholic

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Book SynopsisA new exploration of how digital media assert the relevance of dance in a wired world How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In Perpetual Motion, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community. From original research on dance today to political economies of digital media to the philosophy of dance, Perpetual Motion provides an ambitious, invigorating look at a commonly shared practice.Trade Review"In Perpetual Motion, Harmony Bench achieves a stunning tour de force rendering of dance created for internet distribution. Reading the digitized bodies-in-motion as the basis for a twenty-first century common, she constructs essential theoretical models for considering asymmetrical access to dance, travel, the technologies of digital production, and modes of global distribution. A crucial offering for dance studies."—Thomas F. DeFrantz, former president, Society of Dance History Scholars"How does dance move through digital cultures and how do digital cultures move through dance? Perpetual Motion explores acts of transfer among and across on-screen and off-screen bodies that manifest as dance. A highly skilled dance scholar and a precise and accessible writer, Harmony Bench reads embodied, screenal entanglements as a matter of performative commoning and offers both historical perspective and immediate experience of mediatic, danced, choreographic, and spectatorial encounters."—Rebecca Schneider, Brown University"With an unmatched skill at plain-language engagement with dense philosophical problems, Bench lays out a wide-ranging case for the radical possibilities inherent in the online dissemination of even the corniest dances, while avoiding neoliberal language of democratization and universality."—Performance Research "This book is a rewarding way to further study dance in the digital age, with deep considerations of access and distribution, and explorations of what technology means for audience engagement, collaboration and more."—Dance TeacherTable of ContentsContentsAcknowledgmentsIntroduction: Dance as Common1. Interactivity and Agency: Making-Common and the Limits of Difference2. Dance in Public: Of Common Spaces3. A World from a Crowd: Composing the Common 4. Screen Sharing: Dance as Gift of the CommonNotesIndex

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Book SynopsisA new exploration of how digital media assert the relevance of dance in a wired world How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In Perpetual Motion, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community. From original research on dance today to political economies of digital media to the philosophy of dance, Perpetual Motion provides an ambitious, invigorating look at a commonly shared practice.Trade Review"In Perpetual Motion, Harmony Bench achieves a stunning tour de force rendering of dance created for internet distribution. Reading the digitized bodies-in-motion as the basis for a twenty-first century common, she constructs essential theoretical models for considering asymmetrical access to dance, travel, the technologies of digital production, and modes of global distribution. A crucial offering for dance studies."—Thomas F. DeFrantz, former president, Society of Dance History Scholars"How does dance move through digital cultures and how do digital cultures move through dance? Perpetual Motion explores acts of transfer among and across on-screen and off-screen bodies that manifest as dance. A highly skilled dance scholar and a precise and accessible writer, Harmony Bench reads embodied, screenal entanglements as a matter of performative commoning and offers both historical perspective and immediate experience of mediatic, danced, choreographic, and spectatorial encounters."—Rebecca Schneider, Brown University"With an unmatched skill at plain-language engagement with dense philosophical problems, Bench lays out a wide-ranging case for the radical possibilities inherent in the online dissemination of even the corniest dances, while avoiding neoliberal language of democratization and universality."—Performance Research "This book is a rewarding way to further study dance in the digital age, with deep considerations of access and distribution, and explorations of what technology means for audience engagement, collaboration and more."—Dance TeacherTable of ContentsContentsAcknowledgmentsIntroduction: Dance as Common1. Interactivity and Agency: Making-Common and the Limits of Difference2. Dance in Public: Of Common Spaces3. A World from a Crowd: Composing the Common 4. Screen Sharing: Dance as Gift of the CommonNotesIndex

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Book SynopsisAn exploration of the representational culture of Alzheimer’s disease and how media technologies shape our ideas of cognition and aging With no known cause or cure despite a century of research, Alzheimer’s disease is a true medical mystery. In Mediating Alzheimer’s, Scott Selberg examines the nature of this enduring national health crisis by looking at the disease’s relationship to media and representation. He shows how collective investments in different kinds of media have historically shaped how we understand, treat, and live with this disease. Selberg demonstrates how the cognitive abilities that Alzheimer’s threatens—memory, for example—are integrated into the operations of representational technologies, from Polaroid photographs to Post-its to digital artificial intelligence. Focusing on a wide variety of media technologies, such as neuroimaging, art therapy, virtual reality, and social media, he shows how these cognitively oriented media ultimately help define personhood for people with Alzheimer’s. Media have changed the practices of successful aging in the United States, and Selberg takes us deep into how technologies like digital brain-training and online care networks shape ideas of cognition and healthy aging.Packed with startlingly fresh insights, Mediating Alzheimer’s contributes to debates around bioethics, the labor of caregiving, and a national economy increasingly invested in communication and digital media. Probing the very technologies that promise to save and understand our brains, it gives us new ways of understanding Alzheimer’s disease and aging in America.Table of ContentsIntroduction: Alzheimer’s and Media1. Origin Myths: History, Histology, and Representational Value2. New Media Pioneers: Neuroimaging a National Crisis3. Use It or Lose It: Affirming the Self, Defining the Person4. PET Scans and Polaroids: Anachronizing Personhood5. Dementia in the Museum: Modern Art as Public Care6. Dementia on the Canvas: Art, Therapy, and Creativity’s Values7. Loved Ones: The Capacity for Representation, Recognition, and CareEpilogue: “How to Not Forget”AcknowledgmentsNotesBibliographyIndex

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Book SynopsisAn exploration of the representational culture of Alzheimer’s disease and how media technologies shape our ideas of cognition and aging With no known cause or cure despite a century of research, Alzheimer’s disease is a true medical mystery. In Mediating Alzheimer’s, Scott Selberg examines the nature of this enduring national health crisis by looking at the disease’s relationship to media and representation. He shows how collective investments in different kinds of media have historically shaped how we understand, treat, and live with this disease. Selberg demonstrates how the cognitive abilities that Alzheimer’s threatens—memory, for example—are integrated into the operations of representational technologies, from Polaroid photographs to Post-its to digital artificial intelligence. Focusing on a wide variety of media technologies, such as neuroimaging, art therapy, virtual reality, and social media, he shows how these cognitively oriented media ultimately help define personhood for people with Alzheimer’s. Media have changed the practices of successful aging in the United States, and Selberg takes us deep into how technologies like digital brain-training and online care networks shape ideas of cognition and healthy aging.Packed with startlingly fresh insights, Mediating Alzheimer’s contributes to debates around bioethics, the labor of caregiving, and a national economy increasingly invested in communication and digital media. Probing the very technologies that promise to save and understand our brains, it gives us new ways of understanding Alzheimer’s disease and aging in America.Table of ContentsIntroduction: Alzheimer’s and Media1. Origin Myths: History, Histology, and Representational Value2. New Media Pioneers: Neuroimaging a National Crisis3. Use It or Lose It: Affirming the Self, Defining the Person4. PET Scans and Polaroids: Anachronizing Personhood5. Dementia in the Museum: Modern Art as Public Care6. Dementia on the Canvas: Art, Therapy, and Creativity’s Values7. Loved Ones: The Capacity for Representation, Recognition, and CareEpilogue: “How to Not Forget”AcknowledgmentsNotesBibliographyIndex

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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 SynopsisBritish filmmaker Michael Powell (1905-1990) began his career assisting director Rex Ingram in the waning years of silent film. Given a boost by Alfred Hitchcock, Powell spent much of the 1930s directing what were known as ""quota quickies,"" low-budget B movies. Later he created some of the most daring, interesting, and literate films ever made, including The Edge of the World (1937), Peeping Tom (1960), and his work with Hungarian-born filmmaker Emeric Pressburger, with whom producer/director Alexander Korda paired him. Powell's conversations disclose the same intellectual and artistic range that makes his films so rewarding. This collection of interviews manifests how he imagined himself simultaneously as a classic English gentleman and as a citizen of the world, making films with social conscience about life both in England and abroad. His expressions are charged with brilliance, wit, and jauntiness as he discusses his work on Thief of Baghdad, One of Our Aircraft Is Missing, The Red Shoes, The Tales of Hoffman, and Black Narcissus, as well as the politics of the British film industry. He is candid about the controversy surrounding his thriller Peeping Tom (1960). Now regarded as a classic, it was so derided upon its original release that Powell could not direct in the United Kingdom for a decade. This collection reveals the mind and the tactics of a master filmmaker who is woefully under-known, even as his films are widely celebrated throughout the world. Martin Scorsese, whom Powell befriended in his later years, considers him a towering genius of cinema. David Lazar, an associate professor of English at Ohio University, senior editor of Hotel Amerika, and editor/publisher of CreativeNonfiction.com, edited Conversations with M. F. K. Fisher (University Press of Mississippi). He is the author of The Body of Brooklyn and his work has appeared in the Houston Chronicle, Aperture, Southwest Review, and many other journals and magazines.

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Book SynopsisA series focusing on the rich varieties of dance from countries and continents around the world including those of Asia, Africa, the Middle East, Europe, Latin America and the Caribbean, as well as various dance styles including modern dance, ballet and popular dance from ballroom to hip-hop.

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Book SynopsisDuring the Cold War, dancers and musicians from the United States and the USSR were drawn into the battle for hearts and minds, crossing the Iron Curtain to prove their artistic and ideological prowess. After the passage of the Lacy-Zarubin Agreement, direct cultural exchange between the two superpowers opened up, and the Moiseyev Dance Company arrived in the United States in 1958. The first Soviet cultural representatives to tour America, this folk-dance troupe’s repertoire included dances from territories controlled or influenced by the USSR, including Uzbekistan, Crimea, and Poland. Drawing on contemporary personal and published accounts, Victoria Hallinan explores why the dancers garnered overwhelming acclaim during their multicity tour and Ed Sullivan Show appearance. The “boy-meets-girl” love stories of the dances, and their idealized view of multiple Soviet cultures living together in harmony, presented a comforting image of post–World War II gender norms and race relations for audiences. Americans saw the dancers—their supposed enemies—as humans rather than agents of communist contagion.Trade ReviewIn this important book, Hallinan uses audience reception to analyze how Americans looked at the troupe, and she has done enormous archival research to track down letters from audience members to the Moiseyev company, dance reviews in major US magazines and newspapers, and contemporary accounts of the company found in newspapers." - Anthony Shay, author of The Igor Moiseyev Dance Company: Dancing Diplomats"The Moiseyev Dance Company Tours America is a significant contribution to the fields of dance, cultural diplomacy, and Cold War studies. It will appeal to scholars and readers in American studies, international relations, and other studies of the performing arts." - Anne Searcy, author of Ballet in the Cold War: A Soviet-American Exchange

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Book SynopsisWith over 9 million Americans practicing Pilates, the popular core exercise system is taking the world by storm. While many find the system helps to strengthen the core, improve posture, and recover from or prevent injuries and pain, Pilates has been clouded in controversy since the beginning. Its origin story is one of greed, ego, celebrities, and lies, with heated legal controversy that threatened the industry.In The Pilates Effect, Stacey Redfield and Sarah Holmes reveal the hidden history of Pilates. From humble beginnings, Joseph Pilates founded the groundbreaking regimen in New York City and worked closely with his partner Clara to rehabilitate and renew dancers who had been injured or were aging. Although Joseph's core strengthening regime was touted as "fifty years ahead of [its] time," finance and health issues plagued Joe and Clara's business. A small and devoted group of followers, including Carola Trier, would fight to spread the practice that they felt gave them a second chance at life and rehabilitated their bodies and souls.A fascinating and inspiring story of fitness in America, The Pilates Effect showcases the people and events that formed an iconic industry. Redfield and Holmes offer inspiration and practical advice for how Pilates can offer change for everyday people regardless of gender, ethnicity, or background.Table of ContentsForeword By Kevin BowenEpigraphAcknowledgementsList of CaptionsPreface: What is the Pilates Effect?Chapter One: 939 Eighth AvenueChapter Two: Eve Gentry: "I Took Off My Tutu and Ballet Shoes and Burned Them"Chapter Three: Romana Kryzanowska: The Legacy of a FantasyChapter Four: Carola Trier: "Pass the Bread and Roquefort Cheese"Chapter Five: Kathy Grant: "Ladies, Line Up...It's Showtime!"Chapter Six: Ron Fletcher: "By the Grace of God and a Toothpick"Chapter Seven: Cease and Desist Epilogue: Your Body Will Last a LifetimeIndex

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Book SynopsisWith over 9 million Americans practicing Pilates, the popular core exercise system is taking the world by storm. While many find the system helps to strengthen the core, improve posture, and recover from or prevent injuries and pain, Pilates has been clouded in controversy since the beginning. Its origin story is one of greed, ego, celebrities, and lies, with heated legal controversy that threatened the industry.In The Pilates Effect, Stacey Redfield and Sarah Holmes reveal the hidden history of Pilates. From humble beginnings, Joseph Pilates founded the groundbreaking regimen in New York City and worked closely with his partner Clara to rehabilitate and renew dancers who had been injured or were aging. Although Joseph's core strengthening regime was touted as "fifty years ahead of [its] time," finance and health issues plagued Joe and Clara's business. A small and devoted group of followers, including Carola Trier, would fight to spread the practice that they felt gave them a second chance at life and rehabilitated their bodies and souls.A fascinating and inspiring story of fitness in America, The Pilates Effect showcases the people and events that formed an iconic industry. Redfield and Holmes offer inspiration and practical advice for how Pilates can offer change for everyday people regardless of gender, ethnicity, or background.Table of ContentsForeword By Kevin BowenEpigraphAcknowledgementsList of CaptionsPreface: What is the Pilates Effect?Chapter One: 939 Eighth AvenueChapter Two: Eve Gentry: "I Took Off My Tutu and Ballet Shoes and Burned Them"Chapter Three: Romana Kryzanowska: The Legacy of a FantasyChapter Four: Carola Trier: "Pass the Bread and Roquefort Cheese"Chapter Five: Kathy Grant: "Ladies, Line Up...It's Showtime!"Chapter Six: Ron Fletcher: "By the Grace of God and a Toothpick"Chapter Seven: Cease and Desist Epilogue: Your Body Will Last a LifetimeIndex

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Book SynopsisMost dance production books are written from the perspective of a production manager or designer, focusing on the technical aspects of a traditional dance production.Producing Dance takes a unique path—one that includes the voice of the choreographer and dancer in the journey to performance.In doing so, the authors support the process of the entire creative team and cover all aspects of a production. They put those aspects in the context of real-world application, in sequence with other components, creating a toolbox for success for all involved. By the end of the book, readers will have discovered the many options available to them in the production setting and be able to choose the tool most needed at the time.Critical Guidance That Sets This Book ApartThrough its collaborative approach, Producing Dance goes beyond the performance, covering evaluation, reflection, and opportunities for growth. And it offers guidance in two critical areas that are not addressed in other dance production books: Creating dance performances in nontraditional spaces such as site-specific venues, dance and culture festivals, and audience-immersive experiences Supporting the development of an artistic career through acquiring business skills such as fundraising, grant writing, and performing business analyses AncillariesProducing Dance comes with an instructor guide, a test bank, a PowerPoint presentation package, and HKPropel Access. Through HKPropel, students will find supplemental content and study aids: Application activities for each chapter, allowing students to practice the concepts discussed in the chapter Real-world examples with explanations Links to websites that further illustrate concepts Virtual flash cards to help students study and retain key terms Parts of the BookThe text is presented in four parts. Part I guides readers in balancing and integrating artistic ideas with logistical considerations to create a clear and unified vision. Part II explores the process of realizing that vision through a collaborative and creative process. In part III, the knowledge gained in the first two parts is put into action as performance takes center stage. In part IV, readers learn how to continue to grow beyond the performance through a variety of pathways that deepen understanding and open up future opportunities.Realizing VisionThe journey from an idea to a fully produced vision can be daunting. Producing Dance makes that journey not only doable but also enjoyable. It provides readers the understanding and tools they need to realize their vision, explore and develop their voice, and further their growth and career development.Note: A code for accessing HKPropel is included with all new print books.Table of ContentsPart I. Vision: Balancing Artistic Content and Production RealitiesChapter 1. Vision and Collaboration in Dance PerformanceEarly Dance Performances and VisionPerformance SpacesDesign ElementsSummaryChapter 2. Artistic VisionInspiration and Purpose Tied to Artistic VisionAudiencePerformance SpacesResearchCreative BriefSummaryChapter 3. Logistical ConsiderationsSWOT AnalysisSWOT ApplicationFinancial StructureCollaborative Organizational StructuresArts AdministrationSummaryChapter 4. Getting StartedVenuesFundingVisibilitySummaryPart II. Process: Clarity Through Creation, Collaboration, and ConversationsChapter 5. CollaboratorsOrganization of RolesDance CollaboratorsProduction CollaboratorsDefining a Collaborative LanguageProduction MeetingsSummaryChapter 6. Creation in the StudioAuditionsRehearsalsSummaryChapter 7. Stage, Scenery, Props, and LightingStagesScenery and PropsLightingSummaryChapter 8. Sound, Digital Media, Costumes, and MakeupSoundDigital MediaCostume and MakeupSummaryPart III. Integration: Blending Vision and ProcessChapter 9. Production TimelineProduction CalendarMilestonesProduction ProcessPulling the Timelines TogetherCreating a Gantt ChartProduction MeetingsSummaryChapter 10. Production Scope and Audience ExperienceProduction ScopeAudience ExperienceSummaryChapter 11. Integrating Elements OnstageStage ConsiderationsScenery and PropsLightingSoundDigital MediaCostumesSummaryPart IV. Culmination: Performance and BeyondChapter 12. Production WeekTimelineCue-to-Cue RehearsalTechnical (Tech) RehearsalDress RehearsalExpecting the UnexpectedSummaryChapter 13. PerformanceFront of HouseBackstage CrewPerformersStrikeSummaryChapter 14. PostmortemTechnical Production PerspectiveChoreographer and Artistic PerspectivesMediatorsFeedbackNow What?

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Book SynopsisTeaching Children Dance is back and better than ever. The fourth edition of this text retains everything dance educators have loved in previous editions while providing significant updates and new material.What’s New in This Edition? New material in the text—which contains learning experiences for physical education, dance, and classroom settings and is geared toward K-12 students of all ability levels—includes the following: Two new chapters that feature 32 new learning experiences for popular, fitness, and social dances, as well as for folk and cultural dances based on traditional movements and songs from around the globe Instructional videos of teaching techniques, movements, and dances from the two new chapters Online resources, accessed through HKPropel, that include PowerPoint presentations, gradable assessments, and forms that can be used as is or adapted Other new material includes suggested answers to chapter-ending reflection questions; updates to discussions on dance and the whole-child education initiative; new material on how 21st-century skills promote creative thinking, collaboration, communication, global awareness, and self-direction; and a description of the link between dance and the 2018 Physical Activity Guidelines for Americans.Dance an Inherent Component of Education “This latest edition of Teaching Children Dance brings a new perspective focused on dance as an inherent component of a child’s education,” says coauthor Susan Flynn. “Since our last edition, educational issues have refocused on students gaining knowledge and skills that can be applied to all aspects of their lives. Dance is one mode for learning that involves using the body and the senses to gather information, communicate, and demonstrate conceptual understandings.”Book Organization The text is organized into two parts, with part I’s seven chapters providing the foundation for developing dance learning experiences and offering ideas for planning a yearlong program, a unit, or a single lesson. Part II contains two chapters of creative dance learning experiences and two chapters on choreographed learning experiences. Each learning experience includes learning outcomes; ideas for the introduction and warm-up, development, and culminating dance; variations and adaptations; and assessment suggestions that are directly linked to each outcome.Fun Learning for All Ability LevelsTeaching Children Dance offers dance instructors insight into designing lessons for students of all skill levels, including those with disabilities, and provides a variety of teaching strategies, assessment tools, and instruction on effective demonstrations—all to make the learning experience fun and motivating for the dancers. “We’ve developed learning experiences that encourage creativity, positive social interaction, and motor skill development,” says Flynn. “Students view dance as a way to have fun. This opens the door for dance to be a welcomed activity in the school curriculum.”Note: A code for accessing HKPropel is included with all new print books.Table of ContentsPart I. A Framework for Teaching Children’s DanceChapter 1. Understanding the Importance of Teaching Children’s Dance What Is Children’s Dance? Why Teach Children’s Dance? What Are the Benefits of Children’s Dance? Applying 21st-Century Skills to Teaching Dance Meeting the Whole Child Through Dance Linking the Physical Activity Guidelines to Dance Summary Questions for ReflectionChapter 2. Presenting Essential Content for Children’s Dance The Body Body Shapes Space Time Force Flow Relationships Dance Forms Summary Questions for ReflectionChapter 3. Designing a Dance Program Planning a Yearlong Dance Program Planning a Dance Unit Planning the Dance Lessons Sample Unit and Lesson Outline Interdisciplinary Connections Summary Questions for ReflectionChapter 4. Creating a Dance Education Setting Class Size Equipment and Teaching Materials Facilities Class Frequency and Length Community Characteristics School Policies Program Advocacy Summary Questions for ReflectionChapter 5. Making Teaching Effective Helping All Students Learn Using Various Teaching Styles and Strategies Motivating Learners Establishing Protocols and Rules Creating a Safe Learning Environment Presenting Demonstrations Providing Feedback Engaging Students in Performances Observing and Responding to Dance Summary Questions for ReflectionChapter 6. Assessing Children’s Learning in Dance Teacher Assessment of Program Teacher Assessment of Students Peer Assessment Student Self-Assessment Assessment Instruments Summary Questions for ReflectionChapter 7. Including All Children in Dance Knowing Your Students With Disabilities Creating an Inclusive Environment Implementing Inclusive Teaching Strategies Inclusive Dances Summary Questions for ReflectionPart II. Learning ExperiencesChapter 8. Learning Experiences for Kindergarten, First Grade, and Second Grade Neighborhood Friendship Streamer Dance Floating Clouds and Rain Showers Run, Hop, Jump, Skip The Playground Ocean Waves and Swimmers Spaghetti Dance Balloon Dance Percussion Instrument Dance The Hungry Cat Circus Dance Connect the Spots Frog DanceChapter 9. Learning Experiences for Third Through Eighth Grades Dancing Homework Machine Creative Square Dance Action Words Baseball Dance Birthday Celebration Partner Dance Three Sport Dances: Sport Add-On, Sport Web, and Sport Pictures in Action Dance Maps Create Your Own Hip-Hop Dance Funky Shape Museum Stick Figures Come AliveChapter 10. Learning Experiences in Popular, Fitness, and Social Dances Overview of Popular, Fitness, and Social Dances Teaching Strategies for Choreographed Dance Lessons Basic Social and Popular Dance Movements Learning Experiences 5, 6, 7, 8 Steps Line Dance 16-Step Contra Dance Disco Fever Dance Funky Cowboy Line Dance Grapevine Slide Dance Hey Baby Line Dance The Hit Man Contra Dance Honky Tonk Line Dance Honky Tonk Circle Dance Rockin’ Shuffle Rock This Party Line Dance Baba Hou Fitness Dance T Fitness Dance Cha-Cha Plank Fitness Dance Circle Jam Fitness Dance Tabata Dance Salsa Swing Cha-Cha Create Your Own Fitness Dance Create Your Own Popular Dance Sample RubricsChapter 11. Learning Experiences in Folk and Cultural Dances American Square Dance Bele Kawe Appalachian Big Circle (Elementary Version) Appalachian Big Circle (Secondary Version) Kinderpolka La Raspa Mayim, Mayim Samoan Sasa Tanko Bushi Tinikling Virginia Reel

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Book SynopsisSalomania and the Representation of Race and Gender in Modern Erotic Dance situates the 1908 dance craze, which The New York Times called “Salomania,” as a crucial event and a turning point in the history of the modern business of erotic dance. Framing Salomania with reference to imperial ideologies of motherhood and race, it works toward better understanding the increasing value of the display of the undressed female body in the 19th and early 20th centuries.This study turns critical attention to cultures of maternity in the late 19th century, primarily with reference to the ways in which women are defined in relation to their genitals as patriarchal property and space and are valued according to reproduction as their primary labour. Erotic dance as it takes shape in the modern representation of Salome insists both that the mother is and is not visible in the body of the dancer, a contradiction this study characterizes as reproductive fetishism.Looking at a range of media, the study traces the modern figure of Salome through visual art, writing, early psychoanalysis and dance, from "hootchie kootch" to the performances dancer Maud Allan called “mimeo-dramatic” to mid-20th-century North American films such as Billy Wilder's Sunset Boulevard and Charles Lamont's Salome, Where She Danced to the 21st-century HBO series The Sopranos.Trade Review“Cecily Devereux’s Salomania and the Representation of Race and Gender in Modern Erotic Dance offers a wealth of new information. The book poignantly reveals the spectacle of middle-class whiteness behind the racialized Salome craze as well as the sexualized labour of the erotic dance industry. Drawing on an impressive corpus including dance, visual art, postcards, literature, and film, this beautifully illustrated book is a boon for scholars and all those interested in the Salome phenomenon.” – Irene Gammel, Toronto Metropolitan University, author of I Can Only Paint: The Story of Battlefield Artist Mary Riter Hamilton “In this deeply researched book, Cecily Devereux engages psychoanalytic theory to examine how the figure of Salome has been deployed as a reproductive fetish to affirm white heteropatriarchal imperialist objectives from the late nineteenth century to the present. Through insightful analyses of theatrical performances, novellas, films (Sunset Boulevard), and recent television shows (The Sopranos), Devereux situates longstanding fascination with the “daughter of Herodias” within the intertwined histories of erotic dance, white femininity, and Euro-imperial expansion. Timely and invigorating, Salomania and the Representation of Race and Gender in Modern Erotic Dance makes an exciting contribution to interdisciplinary feminist scholarship.” – Marlis Schweitzer, York University, author of Bloody Tyrants and Little Pickles: Stage Roles of Anglo-American Girls in the Nineteenth CenturyTable of Contents Introduction: Maud Allan and the Salome dance in 1908 1: Erotic dance and the culture of imperial motherhood 2: “Salomé, c’est moi”: male artists and the image of the dancer 3: Enter Herodias: the phallic mother and the reproductive fetish 4: On not seeing Salome in Sunset Boulevard 5: The fetish and the reproduction of whiteness from the Salome corpus to Salome, Where She Danced 6: “Pathmakers for Salome”: the danse du ventre, the hootchie kootch and “Little Egypt” 7: Oscar Wilde, Loie Fuller and Maud Allen 8: Salomania and the memetic moment Epilogue: Salomania’s legacies Works Cited Notes

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Book SynopsisChronicling the stories told through tango's lyrics, this book shows how the dance went from slumming it in the brothels and cabarets of lower-class Buenos Aires to the ballrooms of Paris, London, Berlin and beyond.

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Book SynopsisA landmark publication in Dalcroze studies that explores the music and movement teaching originated by Émile Jaques-Dalcroze as a diverse and living practice.Navigating Landscapes of Dalcroze Practice provides new perspectives on the pioneering music education developed by Swiss composer Jaques-Dalcroze (1865-1950), who explored how to learn music through listening, moving, singing, and improvising with the original instrument, the human body. It is the first collection of Dalcroze histories to focus on practice itself, showing how methods and ideas have moved among-and been shaped by-people, performance practices, and contexts from music education and music therapy to dance, theatre and physical education. Rather than focusing primarily on Jaques-Dalcroze and his teaching, these histories reveal the collaborations of many people from various backgrounds and places over more than a century of practice. Sixteen international authors mark out pathways into the past, exploring how Dalcroze-based teaching has transcended disciplinary boundaries and moved across borders transnationally, from Europe to Australia and North and South America. They guide us through landscapes of Dalcroze practice where music and movement provide benefits to students, teachers, and performers, as well as children, seniors, disabled people, and those with special educational needs. Demonstrating how practitioners and supporters have interacted with social, political, and educational change, the book considers the impact of two World Wars, advances in technology, and global health challenges on the evolution of Dalcroze practice.

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Book SynopsisDigital traces, whether digitized (programs, notebooks, drawings, etc.) or born digital (emails, websites, video recordings, etc.), constitute a major challenge for the memory of the ephemeral performing arts.Digital technology transforms traces into data and, in doing so, opens them up to manipulation. This paradigm shift calls for a renewal of methodologies for writing the history of theater today, analyzing works and their creative process, and preserving performances. At the crossroads of performing arts studies, the history, digital humanities, conservation and archiving, these methodologies allow us to take into account what is generally dismissed, namely, digital traces that are considered too complex, too numerous, too fragile, of dubious authenticity, etc.With the analysis of Merce Cunningham’s digital traces as a guideline, and through many other examples, this book is intended for researchers and archivists, as well as artists and cultural institutions.Table of ContentsForeword ixBruno BACHIMONT Preface xiii Introduction xxxv Chapter 1. The Digital Trace: From Data to Metatrace 1 1.1. Tracing the ephemeral 2 1.1.1. An impossible history? 3 1.1.2. Relying on traces 4 1.2. The digital trace 8 1.2.1. Digitized traces 9 1.2.2. Born digital traces 10 1.2.3. Heterogeneous, numerous and fragile traces 11 1.3. Transforming traces into data 14 1.3.1. Analog trace and digital trace 14 1.3.2. From trace to data: the datatrace 16 1.3.3. Metatrace 22 1.4. Performing arts data 25 1.4.1. Performing arts data landscapes 25 1.4.2. The Semantic Web paradigm 27 1.4.3. Transforming the living archive into data 33 1.5. Conclusion 38 Chapter 2. Preserving the Impermanent 41 2.1. Note: scoring the representation 42 2.1.1. Notation of the performing arts 43 2.1.2. Scoring 49 2.1.3. From autography to allography: scoring digital works 52 2.1.4. The performing arts, between allography and autography 57 2.2. Diachronic documentation: reconnecting with the process 62 2.2.1. Making digital traces last 63 2.2.2. Taking the creation processes into account 66 2.3. Annotating: redocumentarizing traces 69 2.3.1. Digital as an annotation practice 71 2.3.2. The special case of video recording 73 2.3.3. Intra- and inter-documentary approaches 76 2.3.4. MemoRekall, a video annotation tool for redocumentarizing traces 79 2.4. Denote/connote: artistic intent and datatraces 83 2.4.1. Articulating close and distant reading 83 2.4.2. Rekall 90 2.5. Conclusion 95 Chapter 3. Writing the History of the Performing Arts 97 3.1. Sources and resources 99 3.1.1. Theater studies and digital humanities 100 3.1.2. Scrutinizing 105 3.1.3. Going back to the source 110 3.2. Exposing traces 113 3.2.1. Linking 114 3.2.2. Structuring 119 3.2.3. Reconstructing 124 3.3. Analyzing performing arts data 127 3.3.1. History 129 3.3.2. Literature 135 3.3.3. Shows 141 3.4. Conclusion 147 Conclusion 149 Glossary 153 References 163 Index of Names 179 Index of Terms 183

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Book SynopsisMigration makes a profound impression on identity (gender and sexuality, culture, class, status), its expressions, and performance. Research in this field has demonstrated that migrant communities often cast women as bearers of cultural reproduction. This is especially the case when women choose to become representatives of their community through cultural dance performances. Such performances are also a means to express the migrant life of movement and a way to maintain their sense of well-being. Dancing the Feminine is a compelling vision of expressions of gender and identity at the heart of the Asian womens experience. For the Indonesian female migrants, performing femininity is frequently negotiated in a cross-cultural context. The performances that author Monika Winarnita analyses are dramas of human interaction brought up through fissures and resolutions between the performers and their various audiences. The book provides analysis of these cultural performances as rituals of belonging, which demonstrate that in the diaspora meanings of the ritual are always open to being contested. A particular appeal of this book is the way in which cultural dance performance offers profound insight into migrants life experience as well as into how human beings tell their stories and interact with one another. Based on her experience of performing dance with Indonesian migrant women in Australia, the author provides a unique and novel set of research data that contributes to a diverse body of scholarly work in migration, performance, gender, sexuality and cultural studies, anthropology, and Asian studies.Trade ReviewMonika Winarnitas work provides an intellectually rigorous, insightful, original and engaging examination of the pursuit of traditional, authentic Indonesian dance performances by Indonesian immigrant women in Perth, Western Australia. -- Professor Henry Spiller (ethnomusicology) and Chair, Department of Music, UC Davis

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Book SynopsisAfrican dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence. To date, scholars have tended, with a few exceptions, to write about African dance in primarily ethnographic terms. This collection seeks to challenge this pattern and expand dance research by engaging with the aesthetics and socio-political impact of dance for communities in and out of Africa in an increasingly global context. Contributors to this issue look at the impact that specifically situated indigenous dance forms have had on the development of newforms locally, and the reciprocal impact of local and international infrastructures, including funding bodies, tourism and festivals. African Theatre 17 examines how dance is contributing to a particularly African interculturalism, while analysing the issues of representation of Africa in a postcolonial context. Articles address the efficacy of dance to engage audiences with disavowed issues regarding gender, sexuality and dis/ability both within and beyond Africa. Highlights include a dance photo essay on F.O.D. Gang's 2017 site-specific street performance "Untitled" in Lagos, a new non-themed section, and the playscript Lunatic! by Zimbabwean playwright Thoko Zulu. Volume Editors: YVETTE HUTCHISON & CHUKWUMA OKOYE Series Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.Table of ContentsObituary: J.C. Abbey, Master Puppeteer of Ghana (Steve Feld & Nii Noi Ortey) Introduction - Yvette Hutchison and Chukwuma Okoye DANCE James Mweu & Kunja Dance Theatre: Contemporary dance as African cultural production - 'Funmi Adewole Looking behind the mirror: Challenging representationalism in contemporary dance in postcolonial African contexts - Kristina Johnstone Looking behind the mirror: Challenging representationalism in contemporary dance in postcolonial African contexts - Kristina Johnstone Decolonizing the stage: Reflecting on a Canadian-hosted South African Performance Festival - Kymberley Feltham Unmuting South African citizenship through integrated/ disability dance - Yvette Hutchison From television to the streets: The rise and rise of dance-based advertising in Nigeria - 'Tosin Kooshima Tume Dance photo essay: Untitled: FOD Gang's Environmental Activism - Chukwuma Okoye OPEN SECTION Cultural production in a digital age: A reflection on the adaptation of an African folktale for a young audience - J.C. Niala And With Them Came Devils: Ebrahim Hussein, Mashetani & the poetics of doubt - Joshua Williams Playscript: Lunatic! by Thoko Zulu Book Reviews edited by Sola Adeyemi

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Book SynopsisDoes dance tell a story? What, if anything, is it intended to represent? How was it conceived in the early modern period?This book examines the theories and political uses of dance in Spain during the period preceding and following the 'Poetics turn', which coincided with the rule of Philip III (1598-1621), also known as the Dancing King, and the onset of the reign of Philip IV. While this turning point finalised the definition of dance as an art form, it was also paradoxical. Indeed, this development saw the emergence of an aesthetic thought of dance within Aristotelian poetics, thanks to a common court culture, yet it never led to the formulation of a poetics of ballet. By recontextualising this turning point, the book examines the relationship between dance and representation during Spain's Golden Age. It revisits the initial codifications of dance in Italy and figurative experiments at the Burgundian court during the second half of the 15th century, as well as their influence on subsequent practices and humanist theories of dance at the courts of Charles V and Philip II. Subsequently, it focuses on the various shifts in court dance as it became a scenic art at the beginning of the seventeenth century, interrogating the possibility of the king performing dance himself. The book concludes that, in Spain, neo-Aristotelian ideas enabled a shift from an ethical to an aesthetic problematic, which saw dance, whether symbolic or purely kinetic in nature, as a legitimate art form to be placed at the service of the monarchy.

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Book SynopsisOver the past few decades, French filmmaker Olivier Assayas has become a powerful force in contemporary cinema. Between his first feature Désordre (1986) and such major works as L'Eau froide, Irma Vep, Les Destinées Sentimentales, demonlover and, most recently, L'Heure d'été and Carlos, he has charted an exciting path, strongly embracing narrative and character and simultaneously dealing with the 'fragmentary reality' of life in a global economy. He also brought a fresh perspective to the problem of politics after '68, a subject that he revisits in his memoir A Post-May Adolescence (published as a companion book to this volume) and in his most recent film Après-Mai. This first English-language book about Olivier Assayas includes a major essay by Kent Jones, based on his two decades of correspondence and exchanges of ideas with the filmmaker, as well as contributions from Assayas and his most important artistic collaborators. The central part consists of individual essays on each of his works, written by Chris Chang, Larry Gross, Howard Hampton, Kristin M. Jones, B. Kite, Glenn Kenny, Michael Koresky, Alice Lovejoy, Greil Marcus, Geoffrey O'Brien, Jeff Reichert, Richard Suchenski, and Gina Telaroli.Trade ReviewEnthusiastic, personal, and easy to read.... Recommended. * Choice *The book is really beautiful: the layout is terrific, the illustrations fantastic, well-chosen; it’s truly a wonderful package. -- Some Came RunningA thoughtful, personal survey of Assayas's career by American critics edited by Jones and an English translation of Assayas's 2002 memoir 'A Post-May Adolescence: Letter to Alice Debord', both published in handsome volumes by the Austrian Film Museum, expose this tension in Assayas's work: between a desire for risk and a sensitive intelligence resistant to easy solutions; between allegiance to cinema 'degree zero,' a cinema of presence, and a romantic fascination with the passage of time...Jones, who writes four of the essays himself, has been in correspondence with Assayas for two decades, and the richness of the book is due not only to his deep affinity for Assayas's work but from the dialogue that has developed between the two of them on the nature of cinema and art. -- Film CommentTable of ContentsPreface, by Kent JonesWestway to the World, by Glenn KennyBlack Boxes. Désordre, by Jeff ReichertCold Comforts. L'Enfant de l'hiver, by Alice LovejoyWhen You Leave, You Want Time to Stand Still. Paris s'éveille, by Michael KoreskyMoving On. Une nouvelle vie, by Kent JonesRevival. L'Eau froide, by Howard HamptonThe Strange Case of Irma Vep. Irma Vep, by Larry GrossAfter Art Cinema. HHH—Portrait de Hou Hsiao-hsien, by Kristin M. JonesThe Soul in Times of Danger. Fin août, début septembre, by Richard Suchenski"How Futile Work Is." Les Destinées sentimentales, by B. KiteStop Stop Start Again. Demonlover, by Nick PinkertonBetter to Fade Away. Clean, by Chris ChangThe Doctor Is In. Noise, by Gina TelaroliAnywhere and Everywhere. Boarding Gate, by Kent JonesCosmic Pulses. Eldorado, by Geoffrey O'brienThe Secret Life of Objects. L'Heure d'été, by Greil MarcusWhat the Film Wants. Carlos, by Kent JonesLost Companions and Fleeing Ghosts. Après-Mai, by David Phelps, Kent JonesEarly and In-Between. Short Films, by CollaboratorsDenis Lenoir, Éric Gautier, Sylvie Barthet, and Luc Barnier in conversation with Kent Jones, by Olivier AssayasTen FilmsTimelineFilmographyBibliographyContributorsList of IllustrationsAcknowledgments

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Book SynopsisOlivier Assayas is best known as a filmmaker, yet cinema makes only a late appearance in this volume. A Post-May Adolescence is an account of a personal formation, an initiation into an individual vision of the world. It is, equally, a record of youthful struggle. Assayas' reflective memoir takes the reader from the massive cultural upheaval of France in May 1968 to the mid-1990s, when the artist made his first autobiographical film about his teenage years, L'Eau froide. The movement of thought and creation known as Situationism is the golden thread that connects and, in part, inspires his memoir. This book also includes two essays by Assayas on the aesthetic and political legacy of Guy Debord, who played a decisive role in shaping the author's understanding of the world and his path towards an extremely personal way of making films. A Post-May Adolescence was first published in French in 2005. Its expanded English edition makes a valuable companion to the first English-language monograph on Assayas' body of work, Olivier Assayas, edited by Kent Jones, also published by the Austrian Film Museum.Trade ReviewA thoughtful, personal survey of Assayas's career by American critics edited by Jones and an English translation of Assayas's 2002 memoir A Post-May Adolescence: Letter to Alice Debord, both published in handsome volumes by the Austrian Film Museum, expose this tension in Assayas's work: between a desire for risk and a sensitive intelligence resistant to easy solutions; between allegiance to cinema 'degree zero,' a cinema of presence, and a romantic fascination with the passage of time...The slim memoir, packaged with two additional essays by Assayas on Debord, is a valuable companion to the Jones collection, which is often in explicit dialogue with Assayas's analysis of his own work. -- Film CommentAssayas' voice is clear, urgent, and persuasive. For him the matter at hand, the subject that keeps slipping away, is the story of how he came to know the work of Guy Debord. This is nothing less that the story of his life. -- Film Quarterly

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Book SynopsisDetermined, imperious, flighty, charming, Beryl McBurnie was born in Trinidad and went to New York in the early 1940s to study dance and drama. She also made a name for herself as a dancer and singer, Belle Rosette. But she turned her back on the bright lights to return to Trinidad. There she continued the work she had begun before World War II, researching and performing the dances of the Caribbean, especially those that drew on African traditions. She was part of an anticolonial movement that recognized the unique culture of the country and the region and eventually led Trinidad and Tobago to independence.Artistically, McBurnie’s work influenced dancers throughout the region and beyond. She also devoted years to building the Little Carib Theatre. Intended as a home for folk dance, it also housed Derek Walcott’s Theatre Workshop and became a crucible for the performing arts.This book portrays the woman, explores the influences that shaped McBurnie and those whom she influenced in turn, and tells of her struggle to realize a vision she nurtured for decades.

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

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

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

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Book SynopsisFor those just starting to take an interest in Rueda de Casino, this guide provides information on the dance, where it came from, how it works, how it varies, and a 'survival kit' of things to think about when you are learning, including teamwork, timing, and making sense of all those calls. For those learning to call, the guide covers the skills involved in being a Rueda caller, and provides pointers to help you think about choreography, sequencing moves, adding variety and fun, improvisation, switching between dance positions, keeping everything under control, and using hand signals in noisy environments. For experienced dancers and callers looking to extend their repertoire, well over 700 calls and variations are noted, relating to around 650 individual moves. Detailed descriptions and notes for each of these moves are included as an aide memoire, organised by dance position and similarity. All of the moves in the 'Norwegian Rueda Standard 2011' are included. Several less well known variations are described; Rueda dos parejas for 2 couples, Rueda linea dancing in a line, Rueda cruzada two interleaved Ruedas, Rueda llanta sets of 2 couples making one big circle and the challenging Rueda espejo mirror Rueda. If this still isn't enough variety the guide includes descriptions of some Rueda games you can have fun with at party time.

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Book SynopsisCon las mejores actuaciones de todo el mundo, desde El lago de los cisnes hasta Riverdance, también te codearás con coreógrafos e intérpretes legendarios del pasado y del presente, incluidos Antonio Gades, Rudolf Nureyev y Pina Bausch.Este acceso exclusivo detrás del escenario te permitirá ver lo que sucede dentro del teatro, incluido el diseño de vestuario, que podrás admirar con magnífico detalle.Brillantemente curado y exquisitamente ilustrado, este título ofrece una entrada a todas horas a algunas de las actuaciones más maravillosas del mundo. Exploraremos juntos el maravilloso mundo de la danza.

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Table of ContentsAcknowledgments ; Chapter 1 Introduction: Publicity, Counterpublicity, Antipublicity ; Chapter 2 Public and Intimate Sociability in First Nations and Metis Fiddling ; Chapter 3 "#1 on NCI": Country Music and the Aboriginal Public ; Chapter 4 "Your Own Heart Will Make its Own Music": Gospel Singing, Individuation, and the Comforting Community ; Preface to Chapter 5 ; Chapter 5 "We Don't Want to Say No to Anybody Who Wants to Sing": Gospel Music in Coffee-House Performance ; Chapter 6 Antipublicity: Family Tradition and the Aboriginal Public ; Chapter 7 Circulation Controversies ; Conclusion ; Bibliography

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Book SynopsisDancers as Diplomats chronicles the role of dance and dancers in American cultural diplomacy, telling the story of how these tours in shaped and sometimes re-imagined ideas of America in unexpected, often sensational circumstances-pirouetting in Moscow as the Cuban Missile Crisis unfolded and dancing in Burma in the days just before the country held its first democratic elections.Trade ReviewSmoothly written with strong, coherent narrative, Dancers as Diplomats confirms the importance of dance in US cultural exchange. Researching across Cold War and Post-9/11 ideologies of nation and cultural diplomacy, Croft demonstrates how the international exposure of American dance remains inextricably bound up with Washington-based political economies. An essential offering for anyone interested in cultural studies, dance history, or international affairs, Dancers as Diplomats proves that performance might always exceed governmental guidelines and intentions. * Thomas F. DeFrantz, Duke University *Table of ContentsIntroduction ; Chapter One: Ballet Nations: The New York City Ballet on Tour in the Soviet Union in 1962 ; Chapter Two: Refusing Modernist Formulas of Second-Class Citizenship: Arthur Mitchell and the Alvin Ailey American Dance Theater ; Chapter Three: Too Sexy for Export or Just Sexy Enough: Martha Graham Dance Company ; Chapter Four: Negotiating Community and Diaspora: Twenty-First Century Dance Diplomacy ; Chapter Five: Never A Solo ; Appendix A: List of Interviews ; Appendix B: List of US State Department Tours ; References ; Index

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

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

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