Dance Books

Book Synopsis Brazil has one of the most vibrant theater cultures in the world, home to a wide variety of theatrical expression. This collection of 15 interviews includes some of the country''s most prolific creative minds--Ze Celso (Teatro Oficina), Antunes Filho, Gerald Thomas, Nos do Morro, Rudolfo Vasquez (Os Satyros), Antonio Araujo (Teatro Vertigem), Enrique Diaz (Cia do Atores) and Lia Rodrigues, to name a few--discussing their approaches to the collaborative theater process. They describe a collective creative environment in which practitioners are concerned with fundamental questions about social, cultural and artistic contexts in which productions are staged, and the interdisciplinary climate that predominated from the beginning of the 1980s.

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Book SynopsisExamines the history of one of the best known dramatic dance performance practices on Bali and its connection with cultural tourism. The kecak is one of the best-known dramatic dance performance practices on Bali. Based on the ancient Indian Ramayana epic, it is performed by an ensemble of male and female solo dancers and accompanied by a hundred men who function as both musicians and living scenery. Since its creation in the 1930s, the kecak has been primarily a tourist performance. Drawing on over twenty years of fieldwork and meticulous archival study, Kendra Stepputat provides here a comprehensive study of the history, form, and cultural significance of the kecak. The first part of the book focuses on the kecak in its present form, including musical, choreographic, and dramatic elements. The connection between cultural tourism on Bali and kecak performance practice is analyzed in detail, including the dependency between tourism professionals and artists and ways of promoting the kecak. Tourists' perspectives on the kecak are addressed separately. The second part deals with the genesis and development of the kecak from the 1930s onward, exploring how it became and stayed a tourist genre for more than eighty years.Table of ContentsIntroduction Part 1: the Presence Chapter 1. Kecak -- The Music Rhythmic structures: juru klempung, juru gending (first part), pola cak Intermission: scales in kecak Melodic elements: juru gending (second part), juru tembang, and pangalang The lead: juru tarek and dalang Use of stage space by the jurus and pengecaks Chapter 2. Kecak -- The Dance Movements of the pengecak group Genre influences on the solo characters' movements Balinese dance characterization: halus, keras, and kasar The solo characters' individual dance styles Choreomusical interrelations between pengecaks and soloists in music and dance Chapter 3. Kecak -- The Drama Ramayana kakawin Ramayana adaptations in Balinese performing arts The kecak compromise: stage design, story, entrances The Kecak Ramayana "Kepandung Sita" kecak performance Chapter 4. The Social Organization of Kecak Aims and structures of kecak organizations and groups The members of a kecak group Teaching a kecak group Performance quality and performance quantity Chapter 5. Kecak -- The Tourist Performance The study of tourism and culture The development of cultural tourism on Bali Kecak in cultural tourism Tourists' perspectives The authenticity issue Some concluding remarks on kecak in tourism Part 2: The History Chapter 6. From Sanghyang Dedari to Kecak Ritual structures Musical structures Dance structures Sanghyang dedari in the early twenty-first century Performing sanghyang dedari on film and on stage Sanghyang dedari in performance at the end of the twentieth century Chapter 7. The First Kecak 1931: Kecak in "Insel der Dämonen"? 1926 to 1931: Changes in setting, choreography, and music Related kecak experiments in the 1920s and 1930s: Janger 1935: Kecak documented by Vicki Baum Villages and organizations: Bedulu and Bona Balinese artists: I Wayan Limbak and I Nengah Mudarya Expatriates: Walter Spies and Katharane Mershon Colonial power structures Who created the kecak? Chapter 8. Almost a Century of Kecak 1930s-1940s: Kecak becomes a tourist attraction Development in Bona and Bedulu Early tourists' conceptions of the kecak During and after the Second World War: Kecak deadlocked After the coup d'état and political persecution: Kecak standardization The early twenty-first century: The Bali bombings An alternative kecak approach: Kecak kreasi Some concluding remarks: Does the kecak have a future? Appendixes 1. Kecak dan Wisata Budaya di Bali (Indonesian Summary) 2. Kecak Groups of Bali in 2000-2001 (Badung and Gianyar) 3. Facsimile of a letter from Walter Spies to Leo Spies, 1932 Glossary Bibliography Index

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Book SynopsisProduced to accompany a survey exhibition of British artist Marion Coutts' work in 2003, and focusing on her newly commissioned installation Everglade', this substantial monographic publication captures the distinctiveness, and the diversity, of Coutts' practice.Featuring essays by Sally O'Reilly and Vincent Deary, alongside an in conversation with the artist by Katherine Wood, the book explores Coutts' engaging and inventive practice whose subtle use of the moving image is allied to a wider object-based aesthetic.

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Book SynopsisA Continual Farewell tells the story of the relationship between Factory Records' Tony Wilson and his first wife, Lindsay Reade, in full colour through their personal and intimate letters, postcards and numerous family photos and snapshots.

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Book SynopsisThis book examines men, masculinities and sexualities in Western theatrical dance, offering insights into the processes, actions and interactions that occur in dance institutions around gender-transgressive acts, and the factors that set limits to transgression. This text uses interview and observation data to analyze the conditions that encourage some boys and young men to become involved in this widely unconventional activity, and the ways through which they negotiate the gendered and sexual attachments of their professional identity. Most importantly, the book analyzes the opportunities male dancers find to develop a reflexive habitus, engage in gender transgressive acts and experiment with their sexuality. At the same time, it approaches gender and sexuality as embodied, and therefore as parts of identity that are not as easily amendable. This book will be of interest to scholars in Gender and Sexuality Studies as well as Dance and Performance Studies. Table of Contents1 Introduction The Cultural Attachments of Western Theatrical Dance Gender, Sex, Sexuality: Theoretical and Conceptual Tools Matters of methodology Outlining the book References 2 Theoretical and conceptual elaborations (Un)doing gender Reflexivity and the habit of gender Men and masculinities Conclusion References 3 The gendering of Western theatrical dance The gendering of ballet The gendering of modern dance Dance today References 4 Becoming Dancers Discovering dance The pains and pleasures of dancing Conclusion References 5 The Practice of Dance, Habitus, and Heightened Reflexivity Reflexivity and habitus Dancing bodies, reflexive actors Reflexivity in ballet and contemporary dance Conclusion References 6 Behind the Curtains: Questioning sexuality, troubling gender Dance is a very gay world What does it mean to be a man? Conclusion References 7 Getting in Character: Just acting or gender embodied? Performing onstage: masculinity, sexuality and the body To be a leading man it requires a sense of masculinity Conclusion References 8 Male dancers negotiating the gendered and sexual attachments of dance Negotiating dancing identities Dance is butch, but not that manly Conclusion References 9 The grand finale The tensions of dance Men and masculinities in dance and beyond Limitations and Areas for Future research Concluding Remarks References Index

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Book SynopsisThis monograph presents a specific experience of modernity within the context of Indian dance by looking at the transcultural journey of Indian dancer / choreographer Uday Shankar (1900b – 1977d). His popularity in Europe and America as an Oriental male dancer in the first half of the 20th century, and his worldwide recognition as the Ambassador of Indian culture, are brought into a historiographical perspective within the cultural and social reforms of early twentieth century India. By exploring his artistic journey beyond India in the period between the two world wars, and his experience of dance making, presentational technique and representation of India through various phases of his life, a path is forged to understanding the emergence of modernity in Indian dance.Table of ContentsChapter 1 Uday Shankar and Indian Dance History.- Chapter 2 Modern Dance? Placing Shankar’s Transculturality in Colonial South Asia.- Chapter 3 Dancing ‘Oriental’ Masculinity: Uday Shankar and his Experiments in Modern Dance.- Chapter 4 An attempt at creating a modern institution.- Chapter 5 Beyond the Proscenium with Dance, Magic, and Film.- Chapter 6 The Illusive Legacy.

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Book SynopsisThis book explores how doing dramaturgy is informed by today’s highly diverse field of theatre, dance and performance. It does so in dialogue with fourteen performances and their makers, tracing the thinking-through-practice that underlies these creations. The first part of the book looks at how dramaturgs participate in practices of thinking-making and introduces a dramaturgical mode of looking at performances and the processes in which they are created. The second part of the book discusses the performances and creative processes of Manuela Infante, Julian Hetzel, Ivo van Hove, Anouk van Dijk, Falk Richter, Milo Rau, Kris Verdonck, Death Centre, Hotel Modern, Jr.cE.sA.r , Emio Greco and Pieter C. Scholten, Dries Verhoeven, the LGB Society of Mind, Sanja Mitrović, and Amanda Piña. Showing how ways of making and ways of doing dramaturgy mutually inform each other, this book is an essential resource for students and others aspiring to develop their own dramaturgical practice.Table of Contents1. Introduction Part I 2. Thinking Through Practice 3. A Dramaturgical Mode of Looking 4. Doing Dramaturgy Part II 5. The Ghent Altarpiece - Milo Rau 6. Chekhov’s First Play – Dead Center 7. Dear Winnie - Jr.cE.sA.r 8. Complexity of Belonging – Anouk van Dijk and Falk Richter 9. Lazarus – Ivo van Hove 10. Le Corps du Ballet – EG|PC 11. Estado Vegetal – Manuela Infante 12. Conversations (at the end of the world) – Kris Verdonck 13. Phobiarama – Dries Verhoeven 14. All Inclusive – Julian Hetzel 15. WAR (Ein Kriegstanz) – Amanda Pina 16. Kamp – Hotel Modern 17. SPEAK! – Sanja Mitrovic 18. I am LGB – The LGB Society of Mind 19. Epilogue

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Book SynopsisDance is communication. From contemporary collaborations or the first happenings of the Japanese Butoh dancers and the pioneers of Modern dance, Global Groove explores the cultural history of contact between the West and the Far East. Global Groove is going back even to the early performances by Asian dancers in Europe around 1900. Photographs, paintings, sculptures, films and live actions reveal the role played by the language of dance in the political and cultural transformation of societies.

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Book SynopsisEd Watson, Principal Dancer with The Royal Ballet for over 20 years is a unique talent; a widely celebrated collaborator in dance, photography and fashion. Each illustrated essay of this gorgeous volume focuses on a distinct aspect of Watson’s career. Leading art critic Sarah Crompton discusses his trajectory from young student to principal dancer and coach with The Royal Ballet. Wayne McGregor reflects on their long and fruitful collaboration. Longtime friend Charlotte MacMillan engages in a lively conversation with the man himself, while Gareth Pugh muses on the concept of duende. Dozens of images by leading photographers—including Rick Guest, Nick Knight, Anthony Crickmay, Kosmas Pavlos, Nadav Kander, Paul Smith, Laurence Ellis, Teddy Iborra Wicksteed, Liz Seagrove, Paul Grover, and Johan Persson—depict Watson throughout his career, in rehearsal, on fashion shoots, in the dressing room, and in stills from his famed performances. Together these words and images tell the story of a performer of extraordinary versatility, exceptional physicality, and a profound artistic sensibility.

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Book SynopsisTaking readers behind the scenes of one of the world's most exciting dance companies, this richly illustrated book also tells the incredible back story of its famed creator and his brilliant vision to weave Cuban culture and history into classical and contemporary dance. As a troubled teenager, Carlos Acosta was whisked off the streets of his native Havana and enrolled in the Cuban national ballet. From that time on he has emerged as one of the most influential dancers of the twenty-first century. Throughout his career, Acosta has striven to shine an international light on his homeland's rich cultural traditions, while also exposing Cuba to choreographic innovations happening around the globe. With this aim, Acosta established ACOSTA DANZA in 2015. More than five years later the troupe continues to perform to rapturous accolades, both for the exceptional quality of its Cuban dancers and for its mission to highlight Cuban-influenced music and set design. Filled with more than one hundred photographs, many never-before- published, this book gives voice to the astonishingly diverse collection of dancers and choreographers, whose sensuous vitality and technical skill jump off the page-their experiences on and off the stage, their dreams and strategies, their emotions and challenges. In a deeply personal interview, Acosta himself shares a vision for giving young Cuban dancers the opportunities to express themselves creatively, and to give back to a country and community that gave so much to him.

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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.Judy Raymond is a writer and editor based in Trinidad. She works as a journalist and is the editor in chief of the Trinidad and Tobago Newsday. She is the author of Barbara Jardine: Goldsmith; Meiling: Fashion Designer and The Colour of Shadows: Images of Caribbean Slavery.

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Book SynopsisThis lushly illustrated package is the ultimate fan guide for Swifties! It covers the Taylor Swift multiverse from all angles with a journey through fandom history, exclusive interviews, and behind-the-scenes detail on her career across eras, including The Tortured Poets Department. Whether you?ve been with Taylor from the start or are a new fan, this guide is for you. Use it to catch up on all the lore and inside jokes from the beginning, or to discover forgotten details from the past. From MySpace comments to T-Party invites to Secret Sessions and beyond, Long Live explores the evolution of Taylor as well as the ride that fans have been on with her through two decades of personal milestones?hers and ours, both good and bad. With Long Live you?ll: Take a trip through Taylor?s eras from the start of her career, with stops at each album and its iconic songs, the hidden Easter Eggs, and relationships that have informed the star?s music. Have fun looking back on concert traditions and inside jokes, roll your eyes at the most embarrassing clowning moments, take in era-specific Swiftie style lessons, read exclusive stories of fan encounters and author Nicole Pomarico?s own experiences meeting Taylor Swift and her parents. Be amazed by how the relationship between Taylor and her fans has been so well nurtured that it has become a cultural force building the career of one of the biggest stars of all time. Featuringstylish illustrations and photos throughout, this is an essential look at the artist?s career and fandom. The complete package for Taylor Swift fans!

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Book SynopsisDance has become increasingly visible within contemporary culture: just think of reality TV shows featuring this art form. This shift brings the ballet body into renewed focus. Historically both celebrated and critiqued for its thin, flexible, and highly feminized aesthetic, the ballet body now takes on new and complex meanings at the intersections of performance art, popular culture, and fitness. The Evolving Feminine Ballet Body provides a local perspective to enrich the broader cultural narratives of ballet through historical, socio-cultural, political, and artistic lenses, redefining what many consider to be “high art.” Scholars in gender studies, folklore, popular culture, and cultural studies will be interested in this collection, as well as those involved in the dance world. Contributors: Kelsie Acton, Marianne I. Clark, Kate Z. Davies, Lindsay Eales, Pirkko Markula, Carolyn Millar, Jodie VandekerkhoveTrade Review"Editors and contributors examine perceptions of femininity through the magnifying lens of classical dance. They are not ballet critics; they number dancers, instructors and sociologists. Yet the conclusions are stark.... "The Evolving Feminine Ballet Body" is fresh and compelling." [Full article at https://www.blacklocks.ca/book-review-what-our-daughters-see/] -- Holly Doan * Blacklock's Reporter *"In this unique text, Markula and Clark have edited a collection of essays that explore the transformation of the ballet body alongside an inquiry into the history and meaning of ballet. In addition to being dancers themselves, the contributors are scholars from a range of backgrounds, including gender studies, occupational therapy, and kinesiology.... Of particular interest is the book's emphasis on the different ways ballet dancers experience their bodies.... A fascinating work." C. Hauff, CHOICE Magazine, November 2018 -- C. Hauff * CHOICE Magazine *“… for dance research coming from outside a dance studies context, the dance expertise of these authors grounds the work, giving it additional credence. … Here, ‘evolving’ refers to certain specific and contextual mediatizations and negotiations of this oft-celebrated and sometimes vilified ‘feminine ballet body’ in decidedly contemporary contexts.” -- P. Megan Andrews * University of Toronto Quarterly, Summer 2020 *Table of ContentsAcknowledgements Preface Introduction - Pirkko Markula and Marianne I. Clark I Ballet in the Contemporary Media 1 Reading the Ballet Body in Children’s Fiction - Kate Z. Davies 2 So You Think You Can Dance: The Feminine Ballet Body in a Popular Reality Show - Pirkko Markula 3 Ballet-Inspired Workouts: Intersections of Ballet and Fitness - Pirkko Markula and Marianne I. Clark II Lived Experiences of Ballet in Contemporary Culture 4 Multiple Bodies: In the Studio with Adolescent Ballet Dancers - Marianne I. Clark 5 “Moving for Pleasure”: The Positive Experiences of Ballet Dancers Moving into Recreational Contemporary Dance - Carolyn Millar 6 At the Barre: Ethical Training for Beginner Ballet Class - Jodie Vandekerkhove 7 Ballet for All Bodies? Tensions in Teaching Ballet Technique within an Integrated Dance Context - Kelsie Acton and Lindsay Eales Conclusion - Pirkko Markula and Marianne I. Clark Contributors Index

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Book SynopsisTold from the perspective of the dancers, "Processing Choreography: Thinking with William Forsythe's Duo" is an ethnography that reconstructs the dancers' activity within William Forsythe's Duo project. The book is written legibly for readers in dance studies, the social sciences, and dance practice. Considering how the choreography of Duo emerged through practice and changed over two decades of history (1996-2018), Elizabeth Waterhouse offers a nuanced picture of creative cooperation and institutionalized process. She presents a compelling vision of choreography as a nexus of people, im/material practices, contexts, and relations. As a former Forsythe dancer herself, the author provides novel insights into this choreographic community.Table of ContentsPreface; Introduction; Ensemble: William Forsythe & Team; The Institutions of Ballett Frankfurt & The Forsythe Company; The Dancers; The Dancers' Practices; Duo's Art World; The Movement of Showerhead; Movement Material & Relations; Entrainment; Movement Profile of Duo; Creating Duo (1996); Re-Creating Duo (19962016); Conclusion: Choreography as Creative Organization; Bibliography; Appendix.

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Book SynopsisFrom objects to sounds, choreography is expanding beyond dance and human bodies in motion. This book offers one of the rare systematic investigations of expanded choreography as it develops in contemporaneity, and is the first to consider expanded choreography from a trans-historical perspective. Through case studies on different periods of European dance history - ranging from Renaissance dance to William Forsythe's choreographic objects and from Baroque court ballets to digital choreographies - it traces a journey of choreography as a practice transcending its sole association with dancing, moving, human bodies.

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Book SynopsisThis volume provides new, ground-breaking perspectives on the globally renowned work of the Tanztheater Wuppertal and its iconic founder and artistic director, Pina Bausch. The company's performances, how it developed its productions, the global transfer of its choreographic material and the reactions of audiences and critics are explained as complex, interdependent and reciprocal processes of translation. This is the first book to focus on the artistic research conducted for the Tanztheater's international coproductions and features extensive interviews with dancers, collaborators and spectators and provides first-hand ethnographic insights into the work process. By introducing the praxeology of translation as a key methodological concept for dance research, Gabriele Klein argues that Pina Bausch's lasting legacy is defined by an entanglement of temporalities that challenges the notion of contemporaneity.Trade Review"A comprehensive and absolutely worth reading book." Jan Kuhlbrodt, Signaturen, 9 (2020) "[The reading] is only surpassed by one thing: the visit of a dance evening by Pina Bausch." Thomas Rothschild, Kultura-Extra, 31.07.2020, translated from German "Gabriele Klein [...] offers a fantastic wealth of information, she brings out the characteristic aspects of artistic creation and embeds the pieces in their respective historical, social and political time context." Karen Nölle, TraLaLit, 29.07.2020, translated from German "There are no many detailed works about one of the most famous dance companies in the world. The book offers new perspectives on the working process, the members and the reception of Tanztheater Wuppertal and the work of Pina Bausch." Michael Lausberg, www.scharf-links.de, 08.07.2020, translated from German "This book is designed to be a good introduction to Bausch's cosmos for all those interested in culture, while still containing sections that provide informative nourishment for even the most cunning specialists." Helmut Ploebst, Der Standard, 27.03.2020, translated from German "An informative and personal as well socially relevant reading pleasure, not only for a specialist audience, but for a broad readership." Miriam Althammer, www.tanznetz.de, 26.02.2020, translated from German "Klein [embeds] the artistic creation and work of the entire ensemble in complex cultural, sociological, but also intertextual contexts. The result makes a decisive contribution to being able to view the long-term impact of the artist in a new light ten years after her death." Rico Stehfest, tanz, 1 (2020), translated from German "A work [...] which represents the character of a standard work on the legend and the phenomenon of Pina Bausch and which refutes, supports and documents many of the previous second-hand publications [...]." Peter Dahms, Tanzinfo Berlin, 07.10.2019, translated from GermanTable of ContentsIntroduction; Pieces; Company; Work Process; Solo Dance; Reception; Theory and Methodology; Conclusion; Indexes.

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Book SynopsisDancers are top performance athletes on stage to keep fit andhealthy proper nutrition is an integral part of an optimal dancetraining. Nutrition for Dancers provides the principles of nutritionfor dancers of all genres. Authors Liane Simmel and Eva-Maria Kraft clarify widespread nutritional mistakes and giveadvice on how a healthy diet can be incorporated into the everydaylife of dancers.Trade Review"Nutrition for Dancers boasts an information-packed conciseness, excellent readability, and singular clarity in much of the discussion. The clarity is enhanced by the many text call-outs, practical tips, tables, and diagrams. Dancers will find the text useful."-Journal of Dance Medicine & Science, Vol 23, Number 2 2019Table of ContentsGetting started 1 The basics – an overview Dancing needs energy Providing energy – oxygen is key Digestion – from food to energy Carbohydrates as energy providers Regulating blood sugarEnergy reserves for danceFats as energy providers Not all fats are alike Proteins - Building blocks for the body Quality lies in the combination Vitamins, Minerals, & key micronutrients Vitamins and phytonutrients Minerals: macro-minerals and trace elements 2. Drinking – Fluids are crucial Water and its significance for the dancer Perspiration – an intelligent cooling system The dangers of lacking fluids The right drink Selection criteria Handle with care! 3. What? The agony of choice Daily requirements – recommendations for planning your diet Breakfast – getting off to a good start Cold breakfasts Warm breakfasts Main meals - the basis of fitness The "plate of thirds" – healthy nutrition at a glance Snacks – energy on the go Practice makes perfect – some general information Other senses enjoy the meal, too. Warm or cold?Sugar – a How-To?Comfort Foods Food in balance – a planning aid Dietary Supplements – healthy or unhealthy? If things don’t run smoothly – digestive problems and food allergies Digestion is work Food intolerance 4. When? Timing is everything Eating around a dancer’s scheduleBefore dancing: stock up on energy While dancing: maintain your energyAfter dancing: accelerate regeneration A daily meal planReality can be a different story No time, no space Working evenings 5. How? Healthy nutrition as a daily routinePreparation is key – shop with a plan Writing a grocery list Navigating the offers Reading labels Seasonal and regional Organic– yes or no? "Free of" and "diet" products – the power of advertising Cooking tips for everyday lifeThe right amount of waterOil – a How-To? Healthy toppings – sprouts, seeds, and co. Homemade or ready meals? Eating out 6. Fit and slim – a challenge for dancers How many calories does a dancer need? Your basic energy needs Your total energy needs – movement is key Figure and body composition BMI – the Body Mass Index Body fat – an unloved necessity Maintaining body fat Much ado about weighing Dancing influences one’s weight Dancing influences one’s diet A new living situation alters one’s diet Putting dieting to the testDropping weight too quickly – the body’s emergency plan How to lose weight the healthy way Eating disorders – awareness is key Causes, risk factors, triggers Is this still normal? – warning signs of an eating disorder Avoiding eating disorders – tips for the dance world 7. Synoptic of foods and nutrients Appendix Literature Recommended web links Contact addresses for eating disorders Register Index

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Book SynopsisWith a global membership of 14,000 and a presence in 84 countries, the Royal Academy of Dance has grown from its foundation in 1920 into one of the world's most influential dance education organisations. This lavishly illustrated volume celebrates 100 years of dancing and education, performances and competitions, and the Academy's many successful outreach projects. The book features special sections on music, choreography and costume, and on the traditions that many of those who have taken a ballet exam will remember.

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Book SynopsisAn engaging overview of dance from the Medieval era through the BaroqueTrade ReviewA big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. She manages to weave an introduction into the book, and each of its six subsections make the promise of its lofty title (and the ideas it appears to embrace) within her grasp. Given the book's vast chronological sweep-rather more than the 500 years suggested in the title, since the very useful essay on 'Plato's Philosophy of Dance' by Graham Pont increases the range substantially-it was my guess, when I embarked on my journey through its pages, that I would find some themes on spectacle or the carnivalesque that would override chronology. Or maybe there would be a sociological/anthropological approach to the embodiment of status relationships (politics) through dance that would render chronology secondary to social configurations. With excited anticipation I dove in, expecting to find something along these lines. Although I was not disappointed, I discovered something quite different. The book features a nice selection of generally excellent essays by some leading authorities in historical dance. Each essay offers information situated in its own time frame, and each presents a secure control of primary and secondary sources and includes a very useful list of recommended reading at its conclusion. Some essays provide tantalizing new details (John S. Powell's piece on Beauchamps and public theaters in 17th-century France and David R. Wilson's review of the basse danse are good examples). Some interpret well-known material in new and promising ways. Jennifer Thorp's piece on 'Dance in the London Theatres c.1700-1750' makes me look forward to her important new work. Two essays review material the authors have already addressed, but nevertheless do so here in a compellingly compact way; Ken Pierce's offering on the choreographic structure of Barouque dance and Margaret M. McGowan's essay on court dancing in 16th and 17th-century France. Only a pair of essays (not counting the deceptively erudite and versatile 'Introduction and Overview' by Nevile herself) really fit the themes of bodies, politics, and spectacle announced by the title. Julia Prest's offering on politics and ballet in Louis XIV's France is pretty perfunctory. But Linda J. Tomko's essay on 'Mr. Issac's The Pastorall and Issues of "Party"' really does embrace the kind of inquiry I was expecting. Tomko's is a truly analytical study that responds with vibrancy to the themes called for by the volume's editor. Most of the authors represented here undertake their tasks with precision and skill. Many succeed, and all should be acknowledged for their contribution: those not already mentioned include Alessandro Arcangeli; Katherine Tucker McGinnis, and Karen Silen. Jennifer Nevile's multiple contributions to the volume cannot be praised sufficiently; her essays on Renaissance dance are impressive, her introduction to the volume full of perception. I suppose we must await some future in which an individual truly finds a connection among the various manifestations of social, stage, and court dancing over the ages. But I wonder if this is really important. Dance, after all, is body, is spectacle, is 'politik' (however we configure it). I'm just not sure that Guglielmo Ebreo (15th century), Cesare Negri (c. 1535-after 1604), or Mr. Isaac (late 17th, early 18th century) shared some common agenda (let alone believed they did) when they created their splendid dances. Nevile, nevertheless, would have us believe that something like the same bodies, the same spectacles, the same kinds of politics were enacted (perhaps unintentionally) over and over again across the centuries addressed in this volume. Maybe she is right. The scholars she has brought together, however, do not appear to espouse such a grandiose vision but appear more concerned with a narrower, well-informed view of dancing in a given place at a given time. Congratulations to them all, and to Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. -- Richard Semmens * Early Music America : Mag Historical Perf *Jennifer Nevile's accessibly written anthology seeks to explore many now obscure aspects of early dance: contributions by twelve scholars elucidate the fascinating, multifarious nature of dance from the thirteenth to the eighteenth century. . . . contributors demonstrate a high scholarly standard and pursue their chosen themes with assurance and passion. The great forte of this collection is its ambitious, multidisciplinary range, and the authors' practical insight, honed by years of performance experience, represents a rare feat indeed. The book should be required reading in dance studies.62 Summer 2009 -- Barbara Ravelhofer * Univeristy of Dunham *A big bite of dance history scholarship is undertaken in this study, and it does not seem to be too big for Jennifer Nevile, the editor of the volume, to chew. . . . Congratulations to . . . Nevile for bringing this impressive collection to life. I have profited considerably from reading the offerings presented here, and I am certain others will, too. I will recommend readings from this volume to my students for years to come. Spring 2009 -- Richard Semmens * University of Western Ontario, Professor of Music History *Nevile . . . has assembled an intriguing book that in many ways serves as an encyclopedia of early dance—a feat not easily accomplished in one volume. . . . [T]his is a fine resource for those who research this specialized period of dance history. An excellent glossary and bibliography and a 'list of dance treatises, manuscripts, modern editions, and translations' complete the book. Summing Up: Recommended. Graduate students and researchers.March 2009 * Choice *This is a great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe. It is filled with a whole cosmology of ideas. How the arc of five centuries connect, are enmeshed, develop and flow into our own day. This book is a treasure.Winter 2008 -- Paul-James Dwyer * Toronto Early Music Quarterly *The balanced assortment of general introductions and detailed case studies makes Dance, Spectacle, and the Body Politick, 1250-1750 a useful collection and an engaging 'read' for dance enthusiasts, reconstructors, and scholars alike. -- Emily Winerock * Dance Chronicle *[This] collection more than fulfills its goal of opening up pre-1750 dance studies to a general readership, but will also be of interest to the more informed dance historian. * Historical Dance *Dance, Spectacle, and the Body Politick makes an important contribution to existing dance scholarship ... The essays in Nevile's collection add significantly to this diligent work. Every essay is both informative and interesting, and each author provides a valuable list of further readings on the topic.Volume 16 Issue 2 2011 * European Legacy *This well-researched and original collection of essays on early dance addresses the picture of dance in society from 1250 to 1750. The interdisciplinary and wide-ranging approach of the book makes it very valuable for dance historians, musicologists and historians of ideas alike, as well as anyone interested in dance history. Issue 78, Autumn 2010 * Cahiers Elisabethains *. . . this ambitious anthology . . . manages to fill an academic void . . . .Vol. 35.1 2010 -- Nicole Haitzinger * University of Salzburg *An important book for any musician, theatrical performer, dancer, historian, reconstructor or anyone involved in recreating the work of this time period. Essays with detailed notes, glossary, bibliography and a list of dance treatises, manuscripts, modern editions and published translations are worth the price of the book alone. A great book for understanding music, dance and the part they played in the period covering 1250-1750, in Europe.Summer 2009 -- Paul-James Dwyer * Dance International *Table of ContentsPart 1. Introduction and Overview1. Dance in Europe 1250–1750Part 2. Dance at Court and in the City2. Dance in Late Thirteenth-Century Paris3. Dance and Society in Quattrocento Italy4. Dance in Sixteenth- and Early Seventeenth-Century FrancePart 3. Dance and the Public Theater5. Pierre Beauchamps and the Public Theater6. Dance in the London Theaters c. 1700–1750Part 4. Choreographic Structure and Music7. The Relationship between Dance and Music in Fifteenth-Century Italian Dance Practice 8. The Basse Dance c. 1445–c. 15459. Choreographic Structure in Baroque DancePart 5. Dance and the State10. Your Most Humble Subject, Cesare Negri Milanese11. The Politics of Ballet at the Court of Louis XIV12. Mr. Isaac's The Pastorall and Issues of "Party"Part 6. Dance, Society, and the Cosmos13. Plato's Philosophy of Dance14. Moral Views on Dance15. Order, Proportion, and Geometric Forms: The Cosmic Structure of Dance, Grand Gardens, and Architecture during the RenaissanceList of Dance Treatises, Manuscripts, Modern Editions, and TranslationsGlossaryBibliographyList of ContributorsIndex

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Book SynopsisMcNeil pursues the possibility that coordinated rhythmic movement—and the shared feelings it evokes—has been a powerful force in holding human groups together. As he has done for historical phenomena as diverse as warfare, plague, and the pursuit of power, he brings a dazzling breadth and depth of knowledge to his study.Trade ReviewIn his imaginative and provocative book...William H. McNeill develops an unconventional notion that, he observes, is 'simplicity itself.' He maintains that people who move together to the same beat tend to bond and thus that communal dance and drill alter human feelings. -- John Mueller * New York Times Book Review *Every now and then, a slender, graceful, unassuming little volume modestly proposes a radical rethinking of human history. Such a book is Keeping Together in Time...Important, witty, and thoroughly approachable, [it] could, perhaps, only be written by a scholar in retirement with a lifetime's interdisciplinary reading to ponder, the imagination to conceive unanswerable questions, and the courage, in this age of over-speculation, to speculate in areas where certainty is impossible. Its vision of dance as a shaper of evolution, a perpetually sustainable and sustaining resource, would crown anyone's career. -- Penelope Reed Doob * Toronto Globe and Mail *McNeill is one of our greatest living historians...As usual with McNeill, Keeping Together in Time contains a wonderfully broad survey of practices in other times and places. There are the Greeks, who invented the flute-accompanied phalanx, and the Romans, who invented calling cadence while marching. There are the Shakers, who combined worship and dancing, and the Mormons, who carefully separated the functions but who prospered at least as much on the strength of their dancing as their Sunday morning worship. -- David Warsh * Boston Sunday Globe *[A] wide-ranging and thought-provoking book...A mind-stretching exploration of the thesis that `keeping together in time'--army drill, village dances, and the like--consolidates group solidarity by making us feel good about ourselves and the group and thus was critical for social cohesion and group survival in the past. * Virginia Quarterly Review *[This book is] nothing less than a survey of the historical impact of shared rhythmic motion from the paleolithic to the present, an impact that [McNeill] finds surprisingly significant...McNeill moves beyond Durkheim in noting that in complex societies divided by social class muscular bonding may be the medium through which discontented and oppressed groups can gain the solidarity necessary for challenging the existing social order. -- Robert N. Bellah * Commonweal *The title of this fascinating essay contains a pun that sums up its thesis" keeping together in time, or coordinated rhythmic movement and the shared feelings it evokes, has kept human groups together throughout history. Most of McNeill's pioneering study is devoted to the history of communal dancing...[This] volume will appeal equally to scholars and to the general reader. -- Doyne Dawson * Military History *As with so many themes [like this one], whether in science or in symphonies, one wonders (in retrospect) why it has not been invented before...[T]he book is fascinating. -- K. Kortmulder * Acta Biotheoretica (The Netherlands) *This scholarly and creative exploration of the largely unresearched phenomenon of shared euphoria aroused by unison movement moves across the disciplines of dance, history, sociology, and psychology...Highly recommended. * Choice *Table of ContentsMuscular Bonding Human Evolution Small Communities Religious Ceremonies Politics and War Conclusion Notes Index

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Book SynopsisThis book contains sets of exercises developed and refined over many years that will prove valuable for every dancer, teacher and coach. There is a description of each stage of an exercise along with illustrative photographs to make it easier to understand and achieve precise movement. A deep knowledge of the basic principles of poise and actions used in Latin dance helps bring out the unique features and characteristics of Rumba, Cha cha cha, Samba, Jive and Paso Doble. In addition there are sets of exercises covering five essential aspects common to several dances, including rotation, partner connection and the use of arms.

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Book SynopsisSharmila Desai and the art of her unique performance are the source of inspiration for Sristi. Here she presents, through photographs and illustrations, how her art is derived from the practice of ancient Indian worship, and fused with contemporary art and spirituality. Edited by Olivier Berggruen, Sristi also contains a foreword by Trudie Styler and Sting, with essays by Karole Armitage, Olivier Berggruen and Jeffrey Deitch. In Indian worship, Yantra - a pure geometric diagram - is a tool to stimulate inner visualisations, meditations and experiences. One of the predominant elementary diagrams is the triangle, representing the three fold process of creation (Sristi), preservation (Sthithi) and dissolution (Samhara). Shot over a period of seven years by a variety of photographers, this captivating book is an offering to the creative principle of Sristi. It follows the practice of the young, New York-based inspirational force, Sharmila Desai, who has merged many forms of Indian movement beginning with Ashtanga yoga and including elements of the martial art Kalaripayattu and the classical dance, Bharata Natyam. Sristi is edited by Olivier Berggruen, and also contains a foreword by Trudie Styler and Sting, with essays by Karole Armitage, Olivier Berggruen and Jeffrey Deitch. "When I become especially excited about someone who is creating a new type of form, I ask them to present a project at our gallery. I asked Sharmila to develop a project for us without specifying whether or not it should be dance, music or sculpture. It turned out to be a remarkable mixture of all three. Her performance was absorbing and inspiring, an invitation to enter Sharmila's unique spiritual and aesthetic world" - Jeffrey Deitch. "When she teaches you are in the company of an ancient. When she dances, she transforms herself, the goddess emerges and the watcher is transfixed. A beautiful being on whom God shines his light. She is goodness, she is kindness, she is as noble as she is simple. She moves with grace, she embodies grace. There it is: Sharmila Desai is Grace" -Trudie Styler and Sting.

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Book SynopsisHer performing days numbered, Josephine Baker did something outrageous: she transformed her chateau into a theme park whose main attraction was her Rainbow Tribe—12 children from around the globe, adopted as the family of the future. Matthew Pratt Guterl concludes that Baker was a serious activist, determined to make a positive difference.Trade ReviewThis book shimmers. The prose is spun gold, the ideas sparkle with intelligence, and the fun’s as high as Josephine Baker—topless in a banana skirt, her caramel skin gleaming —can take it. But in the end, it’s a tragedy… Baker bought a French castle, adopted a dozen children, and made them stand for every race and nation in the world. It went about as well as any other supersized celebrity adoption with a political agenda. But instead of reducing it to farce, Guterl shows us what it all meant… He weaves in new ways to think about identity, success, family, race, celebrity, and Baker herself. -- Jeannette Cooperman * St. Louis Magazine *Guterl is astute about the contradictions in Baker’s experiment and her celebrity, both of which rested on her capacity for reinvention. * New Yorker *Astute and readable… In many ways, this is cultural studies at its best. -- Steven Carroll * Sydney Morning Herald *A few pages into the finely worded, deeply evocative prologue, Guterl asks readers to set aside everything they know about Josephine Baker—but it’s too late, for Guterl has already begun what almost seems a fabulous fairy tale, one commandingly, colorfully told by a masterful contemporary storyteller. Rarely does an author’s voice come across as audibly as Guterl’s, in cadence and sometimes in directives to the reader, and the effect is enchanting—Baker’s story, even more so. Years after chanteuse-dancer Baker’s soaring star fell, she rose once more, this time as a relentless civil rights advocate and the adoptive mother of 12 multiracial children, the ‘Rainbow Tribe,’ whom she then raised and paraded in a theme-park-type castle, Les Milandes, in the French countryside. Here, Guterl winnows out a truth from the many fragments (in biographies, in the press, from the children themselves), positing that ‘it was an inspirational, exaggerated symbol of what was possible at the extreme end of wealth and fame, globally speaking, for anyone and everyone, no matter their skin tone or racial classification.’ A fascinating book about a magnificent woman. -- Eloise Kinney * Booklist *The persona with which Baker (1906–75) captivated the world had already been retooled once by her manager Giuseppe Pepito Abatino. Following World War II, Baker transformed herself again, this time into a universal mother presiding over a dozen children of every race on permanent display at her castle in France’s Dordogne… This work will be enjoyed by all readers. -- Jenny Brewer * Library Journal *Matthew Guterl’s astonishing Josephine Baker and the Rainbow Tribe tells the wholly unsuspected life-story of one of the twentieth-century’s most amazing visionaries. It is an engrossing biography of an extraordinary woman. -- David Levering Lewis, author of the Pulitzer Prize–winning W. E. B. Du Bois, 1868–1919 and W. E. B. Du Bois, 1919–1963

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Book SynopsisExamines the pivotal role of dance in the Italian operas of Handel, perhaps the greatest opera composer between Monteverdi and Mozart. George Frideric Handel set himself apart from his contemporaries by employing choreographed instrumental music to complement and reinforce the emotional impact of his operas. Of his fifty-three operas, no fewer than fourteen -- including ten written for the London stage -- feature dances. Dance in Handel's London Operas explores the relationship between music, drama, and dance in these London works, dispelling the notion that dance was a largely peripheral element in Italian-language operas prior to those of Gluck. Taking a chronological approach, Sarah McCleave examines operas written throughout various periods in Handel's life, beginning with his early London operas,including his time at the Royal Music Academy and the "Sallé" operas of the 1730s, and concluding with his unstaged dramatic opera Alceste (1750). In considering the various influences on Handel (particularly the London stage), McCleave blends analysis of information from eighteenth-century treatises with that found in more modern studies, offering an informed and imaginative understanding of the role dance played in the work of this major figure --one who remained responsive throughout his career to the vital and innovative theatrical environment in which he worked. Sarah McCleave is a lecturer at The School of Creative Arts at Queen's University Belfast.Trade ReviewPlaces Handel's creative decisions in the wider context of European dance traditions and dance on the London stage, frequently referring to contemporary documents. Answers questions such as how the dissemination of French dances through choreographies or through chamber music might have been reflected in the dance types Handel used in his operas, hence addressing how far the types of dances he employed related to public taste. * EARLY MUSIC *Impeccably researched. An exemplary model of how to breathe new life into operas that have been studied as a [purely] vocal repertory. [McCleave's] findings will no doubt be of consequence for singers and opera directors looking to revive Handel's operas. Offers an extraordinary amount of useful information. A valuable resource for any dance, theater, or music historian of eighteenth-century England. * MUSIC LIBRARY ASSOCIATION NOTES *The first full-length study of the subject, likely to transform the traditional view. Weaves a rich tapestry from relationships between Handel's output and the presence of dance in the contemporary theatrical scene. . . .The book explore[s] virtually every aspect of dance in Handel's operas. Packed with fresh information. The amount of fresh, detailed information greatly enhances our view of dance and spectacle [in this repertoire]. Anyone interested in Handel's dances -- not only scholars but also performers, conductors, and directors -- will find [this book] essential. An impressive and much-needed piece of scholarship, this book deserves a warm welcome. * JOURNAL OF MUSICOLOGICAL RESEARCH *A data-rich study dealing in uncertainties and ambiguities. . . . Instructive and often revelatory. * MUSICAL TIMES *Dance was a significant area of overlap between opera and other theatrical genres staged in London during the first half of the eighteenth century, and an integral part of the theatrical experience. In Dance in Handel's London Operas, Sarah McCleave shows Handel as the consummate theatrical professional, illuminating his work with and for dancers. --Kathryn Lowerre, author of Music and Musicians on the London Stage, 1695-1705 * . *Table of ContentsIntroduction: Genres of Opera, Styles of Dance Handel's Operas of the 1710s The Royal Academy Operas Handel and the London Theater, 1729-35 Theatrical Dance and Opera in London, 1735-55 The French Connection Pastoral versus Heroic: Handel's Operas with Dance Epilogue: Opera Dance in a Changing Marketplace Appendix 1: A Study of Handel's Compositional Process Appendix 2: Theater and Dance Chronology

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Book SynopsisChildren love to observe, explore, learn, and create.Elementary Dance Education helps them do all four. And it does so in a unique way, shaping its movement activities around nature themes. In fact, all of the learning experiences are based on different aspects of nature, as the text intertwines children’s innate curiosity and observation skills with the processes of scientific inquiry and artistic creation.Elementary Dance Education helps teachers develop the instructional skills they need to incorporate dance into their curricula, providing over 70 movement activities and exercises for students in grades K-6. The activities, which stimulate children’s minds and bodies through the process of collaborative dance creation, include variations for younger and older students. Ideas are offered for partner or small-group explorations, making the activities more inclusive and appropriate for each age group.Another unique feature of this book is the original music accompanying it. Teachers have access to 90 minutes of dynamic sounds, rhythmic percussion, captivating electro-acoustic compositions, and gentle atmospheric selections, delivered through HKPropel, to accompany the learning experiences. The compositions support students’ movement explorations, conveying a range of images and emotions and inspiring a variety of responses.In addition, Elementary Dance Education offers the following: Discussion questions for each exercise, prompting in-class discussion and student exploration; the questions come with sample answers or ideas to encourage student responses and spur a fruitful discussion 75 photos and several diagrams to illustrate positions and poses and stimulate ideas for the movement exercises Journal prompts, tailored for older and younger children, to give students the opportunity to respond and reflect on the learning experiences Video links (provided in HKPropel) to help illustrate concepts and exercises, offer examples, or encourage students to watch for something specific in an activity The book’s first chapter introduces the basic elements of dance; the remaining seven chapters offer movement exercises in various areas of nature: plants, animals, water, earth, sky, people, and other wonders.This book is a rich and easy-to-implement resource not only for elementary dance educators and physical educators but for classroom teachers as well. The exercises in this book use a template for movement discovery in which students will observe, explore, create, and share. This template “can be applied to all areas of the curriculum,” says author Janice Pomer. “It’s an invaluable tool for student engagement, satisfying children’s capacity to watch, wonder, move, interact, discover, and share.”Elementary Dance Education will promote children’s creativity and curiosity, engage and challenge their minds and bodies, and help them learn to appreciate and support each other as they work together exploring, creating, and sharing their ideas and insights about the natural world through dance.Note: A code for accessing HKPropel is included with all new print books.Table of ContentsChapter 1. Basic Elements of DanceThe first chapter contains five foundation exercises that have a series of pedagogic variations to deepen students’ understanding of the basic elements of dance. Because many of you are working with novice movers, it’s important that you introduce these exercises to your students before moving on to the other exercises in this book. The sixth exercise, Collective Observation, reinforces the importance of discussion and shared observations introduced in the five fundamental exercises. This exercise expands students’ observation skills and strengthens trust between fellow students. The process will support students throughout their artistic journey and can be applied to subjects across the curriculum. 1.1 Exploring Shapes1.2 Exploring Motion1.3 Exploring Time1.4 Exploring Space1.5 Exploring Energy1.6 Collective ObservationChapter 2. PlantsThe second chapter explores a variety of growing things that have, or will have, roots. Differing shapes, textures, and environments played a part in the selection of this grouping. On-the-spot movement dynamics will be the common denominator for much of the choreography. Each plant (or seed) has unique characteristics that can inspire dynamic movement phrases and choreography. 2.1 Trees2.2 Flowers2.3 Vines2.4 Tall Grasses2.5 The Three SistersChapter 3. AnimalsEach animal-inspired exercise begins with a simple 16-beat foundation dance based on actions associated with an animal in a specific animal grouping. The foundation dance is used to explore some of the animals’ behavioral traits. Students are then encouraged to create their own dances inspired by other animals within the specific group. For example, the exercise Horns, Antlers, Hooves, and Herds presents a foundation dance inspired by caribou migration and later invites students to create dances inspired by buffalo and musk ox as well as gazelles and antelope. 3.1 Birds of a Feather3.2 Wildcats3.3 Horns, Antlers, Hooves, and Herds3.4 Reptiles With Scales and Shells3.5 Spiders and Insects3.6 Rodents3.7 Animal Anthology (Kindergarten Through Grade 3)3.8 Endangered Species (Grades 4 Through 6)Chapter 4. WaterWe are all bodies of water. When we are born, our bodies contain 75 percent water, which is almost the same percentage of water that covers the earth. Water is in the ground, in the air, and in the food we eat. The movement exercises in this chapter examine some of the many ways water moves and influences us: its cycles and currents and its life-giving and destructive forces. Each of the exercises in this chapter can be extended into in-depth choreographic pieces for novice and experienced movers. 4.1 Water Words4.2 Waves4.3 Frost and Snow4.4 Rain4.5 Water Cycle4.6 Drought4.7 Water Pollution (Grades 4 Through 6)4.8 Wetland HabitatsChapter 5. EarthThe exercises in this chapter are based on surface textures and shapes, and underground earth forces that can be felt and seen. These movement explorations will draw students’ attention to the ways our planet supports us, the way they travel upon it, and the internal pressures that continue to reshape it. 5.1 Earth Words5.2 Terrains5.3 Rocks and Sand5.4 Tectonic Plates5.5 Volcanoes5.6 Mapping the LandChapter 6. SkyHuman beings have been studying the sky since the dawn of mankind; winds and weather impact our daily lives, and the stars and night skies continue to inspire us to dream of other worlds. In this chapter, students will look to the skies from multiple perspectives: personal observations, scientific knowledge, and traditional folktales or origin stories created to explain eclipses and the distant planets. 6.1 Clouds6.2 Thunder and Lightning6.3 Painting the Sky6.4 Sun and Moon6.5 Eclipses6.6 Gravitational Forces6.7 The PlanetsChapter 7. PeopleHumans are mammals, and like mammals and other living things, humans travel, have families, build communities, and communicate. In this chapter, students will revisit some of the previous exercises and examine how they relate to humans, specifically how the actions of their families, friends, and communities are closely linked to the patterns that govern plants, animals, water, earth, and sky. Unlike previous exercises, in this chapter, there is minimal instruction to guide you. The first two exercises provide direction, but after that you and your class decide how to explore, structure, and create the dances. People and Plants7.1 Revisiting Maple Keys7.2 Revisiting the Three SistersPeople and Animals7.3 Revisiting Teamwork7.4 Revisiting Herd MigrationsPeople and Water7.5 Revisiting Snow7.6 Revisiting the Water Cycle, Drought, and FloodsPeople and Earth7.7 Revisiting Tectonic Plates7.8 Revisiting VolcanoesPeople and Sky7.9 Revisiting the Moon7.10 Revisiting Our PlanetChapter 8. Other WondersThe world is filled with wonders. The final chapter contains a list of fascinating natural wonders to explore. PlantsCacti and the Desert Environment, Carnivorous Plants, Ferns, Mushrooms and FungiAnimalsFlightless Birds; The Platypus, Jellyfish, and Other Unique Animals; Animal Metamorphosis; Animal ArchitectsWaterTsunamis, Subterranean Rivers, Hurricanes and Typhoons, IcebergsEarthThe Carbon Cycle, Earth’s Core, Gemstones, Fossil Sites and Tar PitsSkyComets, Constellations, Supernovas, Our Galaxy

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