The books in the CLR are arranged by topic using Library of Congress classification system. Here are a few call number ranges to explore:
Performing Arts in Dance
GV 1580-1799.4 Dancing
MT 950 Music to accompany instruction in Ballet, Folk Dancing, Gymnastics, etc.
For Subject searches using the Worldcat Discover, try:
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Test out performing arts and dance or performing arts in dance as searches and see what you can find.
In the Bachelor in Performing Arts, Major in Dance program, students experience the creative process and disciplined training of dance while developing an awareness of its historical and cultural aspects. Technique classes in Dance are offered alongside theoretical studies in dance history, criticism, and teaching methodologies. These courses deepen the artist’s appreciation for how his/her craft is a powerful form of expression that can enrich a culture and transform a society.
This subject guide gathers in one place carefully evaluated and selected resources on Performing Arts in Dance Program available and accessible at the LRC and its subscribed databases. Books (both print and electronic) are categorized per course; while journals, magazines, online databases are recommended for the entire Performing Arts in Dance program. [Source]
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Dancers need to know how their body works and how it is organized in order to efficiently and functionally move with it. This course serves to introduce you to the landmarks, structure, functions and mechanics of parts of the body involved when you dance. The course will focus on considering each body part as they are considered in whole body movement and in maintaining proper alignment.
Anatomy and Physiology by
Saladin's well-accepted organization of topics is based upon the most logical physiological ties between body systems.
Anatomy and Physiology by
Part 1 Organization of the Human Body 1 The Human Organism 2 The Chemical Basis of Life 3 Structure and Function of the Cell 4 Histology: The Study of Tissues Part 2 Support and Movement 5 Integumentary System 6 Skeletal System: Bones and Bone Tissue 7 Skeletal System: Gross Anatomy 8 Articulations and Movement 9 Muscular System: Histology and Physiology 10 Muscular System: Gross Anatomy Part 3 Integration and Control Systems 11 Functional Organization of Nervous Tissue 12 Spinal Cord and Spinal Nerves 13 Brain and Cranial Nerves 14 Integration of Nervous System Functions 15 The Special Senses 16 Autonomic Nervous System 17 Functional Organization of the Endocrine System 18 Endocrine Glands Part 4 Regulations and Maintenance 19 Cardiovascular System: Blood 20 Cardiovascular System: The Heart 21 Cardiovascular System: Peripheral Circulation and Regulation 22 Lymphatic System and Immunity 23 Respiratory System 24 Digestive System 25 Nutrition, Metabolism, and Temperature Regulation 26 Urinary System 27 Water, Electrolytes, and Acid-Base Balance Part 5 Reproduction and Development 28 Reproductive System 29 Development, Growth, Aging, and Genetics A Table of Measurements B Scientific Notation C Solution Concentrations D pH E Reference Laboratory Values F Answers to Review and Comprehension Questions G Answers to Critical Thinking Questions
Anatomy Demystified by
Say goodbye to dry presentations, grueling formulas, and abstract theories that would put Einstein to sleep -- now there's an easier way to master the disciplines you really need to know. McGraw-Hill's Demystified Series teaches complex subjects in a unique, easy-to-absorb manner, and is perfect for users without formal training or unlimited time. They're also the most time-efficient, interestingly written "brush-ups" you can find. Organized as self-teaching guides, they come complete with key points, background information, questions at the end of each chapter, and even final exams. You'll be able to learn more in less time, evaluate your areas of strength and weakness and reinforce your knowledge and confidence.This clear, heavily-illustrated guide to the human body covers anatomy of cells and tissues, muscle tissue, major muscles of the body, nervous tissue, membranes, organs, cancer, the skin, the human skeleton, the nervous system, glands, the senses, the cardiovascular system, the immune system, the respiratory system, digestion, genitourinary system, the embryo, and more.
The Anatomy of Dance Discourse by
Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period and explores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius. The volume is divided into two Parts: while the second Part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of cultural expression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not only to the highly encoded genre of pantomime, which dominated the stage in the Roman empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volume defends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.
Beginning Hip-Hop Dance by
Beginning Hip-Hop Dance is a part of Human Kinetics' Interactive Dance Series. The series includes resources for ballet, modern, tap, jazz, musical theater, and hip-hop dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a collection of guides to learning, performing, and viewing dance. ............................................................................................................................................................. Since its development in the United States in the 1970s, hip-hop has grown to become a global dance phenomenon. In Beginning Hip-Hop Dance, students gain a strong foundation and learn the fundamentals of hip-hop techniques as they venture into the exciting world of this dance genre. Written by dance educator, historian, and scholar E. Moncell Durden, Beginning Hip-Hop Dance gives students the opportunity to explore hip-hop history and techniques, foundational information, and significant works and artists; understand the styles and aesthetics of hip-hop dance as a performing art and cultural art form; and learn about the forms of hip-hop dance, such as locking, waacking, popping and boogaloo, and house. The text comes with a web resource that includes 56 video clips to support student learning and aid in the practice of the techniques. The web resource also offers extended learning activities and prompts for e-journaling to help students understand how the dance form relates to their overall development as a dancer; glossary terms with and without definitions so students can check their knowledge; and chapter review quizzes to help students assess their knowledge and understanding of hip-hop dance and its history, artists, styles, and aesthetics. (The web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) As students move through the book, they will learn the BEATS method of exploring hip-hop through body, emotion, action, time, and space. This method opens up the creative and expressive qualities of the movements and helps students to appreciate hip-hop as an art form. Students will also learn how to critique a dance performance and create their own personal style of movement to music. Beginning Hip-Hop Dance is a comprehensive resource that provides beginning dance students--dance majors, minors, or general education students with an interest in dance--a solid foundation in this contemporary cultural dance genre. It intertwines visual, auditory, and kinesthetic modes of learning and offers students the techniques and knowledge to build onto the movements that are presented in the book and video clips. Beginning Hip-Hop Dance is the ideal introduction to this exciting dance genre.
Body and Culture by
Part of the Longman Topics reader series, Body and Culture is not simply about the impact of our society on our physical appearance. Rather, it almost ignores the physicality of the body and, instead, treats it as a medium through which a person can express his or her culture. This collection of readings explores the ideas and ethics behind the choices made in reacting to and expressing culture. It is also important to understand the consequences of culture's toll on the body. The text includes six chapters, which break up the essays according to the aspect of culture affecting the body. These influences include a wide range such as psychology, media, and dance. Each chapter includes a section entitled 'Topics for Exploration and Writing' that is designed to aid in introducing students to approaching and considering an essay topic. "Longman Topics" are brief, attractive readers on a single, complex, but compelling topic. Featuring about 30 full-length selections, these volumes are generally half the size and half the cost of standard composition readers.
Conditioning for Dance by
Even the best sense of rhythm, the most careful technical training, and the most astute dance intuition aren't enough to make a dancer truly excel; you also need focused strength, balance, and flexibility to execute the movements with power and grace. Conditioning for Dance improves your technique and performance in all dance forms by strengthening the body's core (abdominal and back muscles) while improving coordination, balance, and alignment and optimizing flexibility. The result is more lift without tension, deeper pliï¿Å"s, higher jumps with less effort, tighter turns, and improved extension and turnout. Conditioning for Dance is the result of years of practical experience combined with scientific and anatomical analysis. Author Eric Franklin is an internationally known dancer, teacher, choreographer, and writer. His innovative, proven techniques will help you execute key dance skills better as you -strengthen the muscles you use in dance by performing exercises with elastic resistance bands; -start and move in proper alignment using imagery; -improve your balance and release tension through playful exercises with small balls; -develop leg and torso power that translates to higher jumps and tighter turns; and -optimize your flexibility through touch, movement awareness, and imagery.The book features 102 imagery illustrations paired with dance-specific exercises to help you maximize body-mind conditioning and develop more fluid mobility, balance, and tension release. The book culminates with a 20-minute, full-body workout routine designed to help dancers warm up, condition, and refine their dance technique. You'll learn how to execute lifelong dance skills that give power without the risk of injuries. By working the muscles through movements and ranges of motion that approximate the demands of your chosen dance form, you directly enrich your performance capabilities. And as you strengthen the body's core, stretch to gain just the right amount of flexibility, and incorporate the power of the mind, you unleash your full artistic and physical potential.
Conditioning for Dance by
Eric Franklin''s first edition of Conditioning for Dance was a bestseller--and it is back and better than ever, offering state-of-the-art conditioning exercises for dancers. An internationally renowned master teacher, Franklin has developed a science-based method of conditioning that is taught and practiced in companies and schools around the world. In this new edition of Conditioning for Dance, he integrates the latest scientific research on strength, flexibility, and conditioning into his dance exercises. New to This Edition Since the first edition, the topic of dancers'' health, wellness, and conditioning has taken on even greater importance in the dance community. Franklin has responded to this increased emphasis by adding these new exercises and resources: * Over 100 new conditioning exercises--for all parts of the body--to support dancers in a wide range of genres, forms, and styles * Over 100 new illustrations and photos to explain and show the exercises * Two new chapters with exercises for a complete conditioning plan * A new web resource that offers 17 video clips featuring Franklin showing correct execution of the conditioning exercises from the book, two 20-minute portable whole-body workouts that use elastic bands to increase strength and aerobic conditioning for dance, and a personal conditioning program you can use to set goals chapter by chapter and monitor your conditioning development to support your performance. The web resource is included with all new print books and some ebooks. For ebook formats that don''t provide access, the web resource is available separately. In addition, the book is now printed in full color to enhance image quality in showing technique. Conditioning for Dance now has separate chapters for shoulders and feet, with additional information on calves and ankles. Franklin also offers practical tips to help you develop your personal conditioning plan, which you can set up through the web resource. Applying Principles Through the Franklin Method Conditioning for Dance is available in print and electronic formats. It uses the principles of resistance training, physics, anatomy, biomechanics, and neuroplasticity (using imagery for positive mental and physical changes) as applied to dance conditioning. Conditioning for Dance blends imagery, focus, and conditioning exercises for dancers to enhance their technique and performance while practicing injury-prevention strategies. Franklin uses experiential anatomy to show and explain how the conditioning principles work to condition your body. As you undertake the exercises, you gain awareness of the body''s function and design and take in the knowledge of the principles through movement. This method, known as the Franklin Method, leads to greater understanding of your body, enhanced performance, and fewer injuries. Franklin developed the training systems within the book as well as a line of equipment, including the Franklin Band and Franklin Balls. Franklin has designed the exercises to transfer directly into dance steps; as such, they are appropriate for incorporating into the preparation time for dance classes. You can use the two 20-minute elastic-band workouts from the web resource to prepare you for class or rehearsal and build your strength and aerobic capacities. Immediate Benefits Conditioning for Dance offers you the culmination of decades of wisdom and experience in dance conditioning from a master teacher. By using its practical exercises, mind-body relationships, and conditioning routines, and in transferring the book knowledge to body experience, you will notice immediate benefits to your conditioning, strength, and flexibility. You will become kinesthetically aware, create great dance technique from within your own body, and begin to craft injury-free and artistically successful routines.
Dance Anatomy by
Powerful, expressive, and compelling! Now you can see what it takes to be a stronger, more elegant dancer. Featuring over 200 full-color illustrations, Dance Anatomyvisually depicts the unique relationship between muscle development and aesthetic movement as never before. Dance Anatomyfeatures 82 of the most effective dance, movement, and performance exercises, each designed to promote perfect alignment, improved placement, proper breathing, and prevention of common injuries. In stunning detail, the accompanying illustration captures the dancer in motion and highlights the active muscles associated with each movement. You'll learn how to modify exercises to target specific areas to enhance flexibility and reduce muscle tension. You'll also learn to put it all together to personalize a program based on your style of dance, level of expertise, and individual needs and goals. Whether you seek to optimize performance, add a new movement to your repertoire, or minimize muscle fatigue, stress, and injury, Dance Anatomyis your perfect partner.
Dance Anatomy by
Experience the raw energy and aesthetic beauty of dance as you perfect your technique with Dance Anatomy. Featuring hundreds of full-color illustrations, Dance Anatomy presents more than 100 of the most effective dance, movement, and performance exercises, each designed to promote correct alignment, improved placement, proper breathing, and prevention of common injuries. The exercises are drawn in stunning detail, capturing the dancer in motion and highlighting the active muscles associated with each movement so you can develop and strengthen different areas of the body. You will clearly see how muscular development translates into greater poise and elegance on the stage. Each chapter addresses a key principle of movement to help you improve performance, beginning with the center of the body, where dance begins. You will learn exercises to target specific areas, such as shoulders and arms, pelvis, and lower legs to enhance flexibility and ensure safety. You will also discover more efficient ways of improving your lines and technique by implementing a supplementary conditioning program that takes into account your changing cycles of classes, practices, and times of rest. Regardless of your ability level or dance style, Dance Anatomy will help you master the impeccable balance, intense muscular control, and grace to prepare you for your next leading role!
Dance Anatomy and Kinesiology by
All dancers are looking to achieve optimal performance--and Dance Anatomy and Kinesiologywill help them do just that. This text helps dancers learn anatomical and biomechanical principles as they apply to dance performance. It focuses on optimal dance movement and the related principles for understanding the function of body joints. And by applying those principles, dancers can help reduce their risk of injury and enhance their performance longevity. In addition, Dance Anatomy and Kinesiologyincludes special practical applications: -Concept Demonstrations provide hands-on exercises to try. -Tests and Measurements are specific to selected regions of the body. -Dance Cues help analyze cue effectiveness and promote optimal movement execution. -Study Questions and Applications help apply chapter concepts. -Attachments provide the pronunciations, attachments, and key actions of the primary muscles covered in this text. The first two chapters cover the skeletal and muscular systems as they apply to dance and provide basic anatomical terminology and concepts. Chapters 3 through 7 delve into specific areas of the body--the spine, the pelvic girdle and hip joint, the knee and patellofemoral joints, the ankle and foot, and the upper extremity. These chapters encompass primary bones, muscles, joints, alignment deviations, mechanics, and injuries for the given region, with special considerations for dance. They present strength and flexibility exercises to help dancers improve technique and prevent injuries. And they contain many practical exercises and examples that are specific to dance technique to help dancers apply the material. The material is augmented by more than 250 illustrations and nearly 350 photographs, which will appeal to the visual learning abilities of many dancers and reinforce the connection between technique and art. The final chapter presents a schema to help analyze full-body dance movements to determine optimal execution. Dance Anatomy and Kinesiologyoffers valuable scientific knowledge and understanding for dancers, helping them to blend anatomical and kinesiological principles with artistic expression. Such a blend of science and art will empower dancers to realize their potential and expand their artistic vision.
Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
Dance Kinesiology by
Dance Kinesiology reflects modern techniques and includes articles addressing eight important systems of body work: the Pilates Method, Rolfing, the Feldenkrais Method, the Alexander Technique, Ideokinesis, Body-Mind Centering, the Bartenieff Fundamentals, and Laban Movement Analysis.
Dance Medicine in Practice by
Dance Medicine in Practice is the complete physical textbook for dance, written specifically to help dancers understand the anatomy, function and care of their bodies. Specific chapters are devoted to focusing on the spine, pelvis, hips, knees, feet, shoulders and arms. Each of these covers the following key aspects: Anatomy: bone structure, musculature, and function. How each part of the body moves and how it responds under pressure Pitfalls: Common examples of bad practice and the effect that these can have on the body Self Analysis: How to become aware of and muscle groups and the capacity of each joint. Injury Prevention: Tips and advice on how to best avoid and prevent injury both in training and everyday life Exercises: Simple and effective methods of strengthening, mobilising and relaxing joints and muscles Checklists: Dos and Don'ts for the best dance technique. The best dancers know that looking after their bodies is the key to their success, and Dance Medicine in Practice also covers how to ensure the best possible nutrition, plan and manage training schedules, and ensure that injuries are kept to a minimum both in frequency and impact. It is the best possible companion to a life in dance.
The Dancer Prepares by
Designed for beginning and intermediate courses, this accessible, easy-to-read text provides students with concrete, practical information on both the technical and creative aspects of modern dance. It also covers the basics of anatomy, including posture and injury concerns.
Dynamic Human Anatomy by
Dynamic Human Anatomy, Second Edition With Web Study Guide, is back--with a new title, significant new material and learning aids, and the same goals: to cover concepts not found in traditional anatomy texts and to help students apply those concepts. Formerly titled Dynatomy, the new edition of this introductory to upper-level biomechanics and anatomy text sets itself apart from other texts in this field by connecting biomechanical principles with applications in sports and dance, strength training, work settings, and clinical settings. Dynamic Human Anatomy offers applied dance- and sport-specific information on how the body performs dynamic movement, providing students an understanding of the body's structure and function as it explores the elegance and complexity of the body's functional movement anatomy. New Tools and Learning Aids Dynamic Human Anatomy comes with many tools and learning aids, including a web study guide and new instructor resources, each featuring new material and tools. The web study guide offers the following: * Tables that indicate articulations for the spine and upper and lower extremities * Tables that list the origin, insertion, action, and innervation for all major muscle groups * Practice problems that allow students to apply the muscle control formula discussed in chapter 6 * Critical thinking questions The instructor resources include: * A presentation package with slides that present the key concepts from the text and can be used for class discussion and demonstration * An image bank that includes the figures and tables from the book to develop a custom presentation * An instructor guide that includes a sample syllabus, chapter summaries, lecture outlines, ideas for additional assignments, and answers to the critical thinking questions presented in the web study guide * A test package that includes 330 questions Dynamic Human Anatomy also offers a full-color design and learning aids that include an updated glossary, chapter objectives, summaries, and suggested readings. Each chapter has Applying the Concept sidebars, which provide practical examples of concepts, and Research in Mechanics sidebars, which highlight recent research in biomechanics and human movement. Organized Into Four Parts Dynamic Human Anatomy is organized into four parts. Part I provides a concise review of relevant anatomical information and neuromechanical concepts. It covers the dynamics of human movement, the essentials of anatomical structure and the organization of the skeletal system. Part II details the essentials of a dynamic approach to movement, including a review of mechanical concepts essential to understanding human movement, the muscle control formula, and topics relevant to movement assessment. In part III, the focus is on fundamental movements as the chapters examine posture and balance, gait, and basic movement patterns. Part IV explores movement-related aspects for strength and conditioning applications, sport and dance applications, clinical applications, and ergonomic applications. Brings Anatommy to Life Dynamic Human Anatomy, Second Edition, explores the potential of the human body to express itself through movement, making it a highly valuable text for students who have taken, or are taking, introductory anatomy and who need a more detailed exposure to concepts in human movement anatomy.
Essentials of human anatomy & physiology by
With her clear and friendly writing style and meaningful analogies, Elaine Marieb emphasizes the relevance of anatomy & physiology to students' lives and future careers. New clinical photos in the homeostatic imbalance feature help students visualize diseases and disorders, and new integrated Concept Links help students make connections across topics and body systems.
Finding Balance by
Finding Balance: Fitness, Health, and Training for a Lifetime in Dance gives an overview of issues faced by all performing dancers: injury and treatment; technique and training; fitness; nutrition and diet; and career management. The text includes both easy-to-read overviews of each topic and "profiles" of well known dancers and how they have coped with these issues. The new edition includes: Updated and new profiles. Expanded injury and injury treatment information. Updated dance science and physiology findings, and new references. Updated diet guidelines, Expanded and updated "Taking Control" section. It concludes with a list of selected dance/arts medicine clinics, a bibliography, glossary, and text notes.
Fitness Professional's Guide to Musculoskeletal Anatomy and Human Movement by
Fitness Professional's Guide to Musculoskeletal Anatomy and Human Movement is a revolution in the field of human movement. Comprehensive and meticulous, this ground- breaking text is ideal for university courses and a must for any fitness professional. The accompanying CD-ROM is one-of-a-kind. Developed specifically as a companion to this text, the intuitive and easy-to-use PC CD-ROM applies each of the muscles and body actions described in the book to nearly 300 specific exercises.
Human Anatomy by
Get pristine views and explanations of the human body's inner-workings with this anatomy guide's clear and detailed CGI artworks. The body's structure is revealed using spectacular anatomical illustrations, making it easy to find and focus on specific organs or systems. Learn the key information on features such as tissues, cells, DNA, and genes. Each chapter then takes you through the body's systems - including the digestive system, skeletal system, nervous system, endocrine system, and more. Jump into this book for a specific question you may have, using its clear and organized structure, or travel through the book as each system is displayed in full and then broken down into sections with larger views and simple annotations. The combination of clear imagery and simple text make Human Anatomy an approachable guide to those interested in learning more about the human body or the perfect reference for students of the subject.
Human Body Dynamics by
A quantitative approach to studying human biomechanics, presenting principles of classical mechanics using case studies involving human movement. Vector algebra and vector differentiation are used to describe the motion of objects and 3D motion mechanics are treated in depth. Diagrams and software-created sequences are used to illustrate human movement.
Melloni's Illustrated Review of Human Anatomy by
This book is a ready reference to help medical and allied health students find the information that they need quickly and easily in an organized display of basic material that students can easily assimilate and retain. The format of the book includes a careful balance of text and illustrations. These two components, textual and pictorial are placed on opposing pages--the text on the left page, the illustrations on the right. Information is grouped into six sections devoted to arteries, bones, ligaments, muscles, nerves and veins. The over 1000 illustrations were methodically planned and rendered with painstaking care. Every anatomical structure described in the text of the book is illustrated.
Nutrition for Dance and Performance by
The Complete Guide to Dance Nutrition is the first complete textbook written by an experienced dietitian specialising in the field of dance nutrition and provideS both dancers-in-training and instructors with practical advice on dance nutrition for health and performance. It is also highly relevant for dance professionals. With an in-depth and extensive coverage on all nutrition topics relevant to dancers, this textbook covers nutrition for the scenarios dancers face, including day to day training and rehearsals, peak performance, injuries, immunonutrition, nutrition and stress management. Information is included on topics applicable to individual dancers including advice for dancers with type 1 diabetes and clinical conditions relating to gut health. This book guides the reader through the macronutrients making up the diet, their chemical structure and their role in health and optimal performance. Readers will be shown how to estimate energy and nutrient needs based on their schedule, type of dance undertaken, and personal goals before considering the practical aspects of dance nutrition; from nutrition planning to dietary supplements, strategies for assessing the need to alter body composition and guidance on undertaking health focused changes is presented. The Complete Guide to Dance Nutrition combines and condenses the author's knowledge and many years of experience working in the dance industry to translate nutrition science into a practical guide. Bringing together the latest research in dance science and nutrition, this book aims to be a trusted reference and practical textbook for students of Dance, Dance Nutrition, Dance Performance, Sport Nutrition and Sport Science more generally as well as for those training in the dance industry, dance teachers and professionals.
Principles of Human Anatomy by
Principles of Human Anatomy, the market-leading text through its many editions, successfully blends visual and textual elements to illuminate the complexities of human anatomy. A host of carefully crafted pedagogical aids support both the succinctly written narrative as well as the outstanding illustration program. Clinical applications, popular with students, represent a variety of clinical perspectives and provide both relevance and motivation for students as they study. The ninth edition of the text continues to break new ground in a modern day anatomy textbook by offering students a glimpse into the fascinating history of how we have come to know what we do, opportunities to explore structure from diverse perspectives, and insights into the vital contributions that anatomical knowledge brings to the understanding of functions and diagnosis and treatment of disease.
Strength Training Anatomy by
Strength Training Anatomy combines the most effective exercises for all the major muscle groups with detailed, full-color illustrations of the muscles used during the exercises. This indispensable reference contains detailed anatomical drawings of exercises for the entire body. The detailed illustrations graphically depict the muscles and bones of each region, showing how the muscles interact with the joints and skeletal functions during each exercise. The quality of the drawings is unmatched in any other strength training book and they are color-coded to show exactly which muscles are isolated. Strength Training Anatomy includes numerous exercise variations so you can target specific muscles and customize your strength training regimen to suit your needs. Author and illustrator Frederic Delavier also helps you gain a better understanding of your body and avoid wrong and potentially harmful techniques. If you're looking for more than a standard strength training book, Strength Training Anatomy is for you. It's an excellent anatomical reference for every fitness and strength training enthusiast and professional.
Understanding Human Anatomy and Physiology by 
Women's Strength Training Anatomy by
With information on strengthening and toning the legs, buttocks, abs, and back, Women's Strength Training Anatomy provides full-color, detailed anatomical illustrations of exercises for these hard-to-shape areas. What makes this book unique is that readers can see the muscles at work during each exercise, like an X ray of the body in motion. Are there definite anatomical differences in the way men and women should build their bodies? According to the best-selling author and illustrator of Strength Training Anatomy, the answer is an overwhelming yes! Exercise variations based on a woman's unique anatomical features are also covered, helping to isolate muscles and make each exercise more effective. Make your workouts work harder for you! If you work out to strengthen and shape your body or if you help women get stronger and more defined, this is one book you need for understanding the female form and getting the most from your exercises.
Dancers need to know how their body works and how it is organized in order to efficiently and functionally move with it. This course serves to introduce you to the landmarks, structure, functions and mechanics of parts of the body involved when you dance. The course will focus on considering each body part as they are considered in whole body movement and in maintaining proper alignment.
Finding BalanceFinding balance : fitness, training, and health for a lifetime in dance by
Finding Balance: Fitness, Health, and Training for a Lifetime in Dance gives an overview of issues faced by all performing dancers: injury and treatment; technique and training; fitness; nutrition and diet; and career management. The text includes both easy-to-read overviews of each topic and "profiles" of well known dancers and how they have coped with these issues. The new edition includes: Updated and new profiles. Expanded injury and injury treatment information. Updated dance science and physiology findings, and new references. Updated diet guidelines, Expanded and updated "Taking Control" section. It concludes with a list of selected dance/arts medicine clinics, a bibliography, glossary, and text notes.
Functional Awareness by
Functional Awareness: Anatomy in Action for Dancers is where anatomy meets artistry. Each chapter provides explorations in embodied anatomy in an engaging manner with the use of images, storytelling, and experiential exercises. It is an accessible introduction to the relationship betweendaily movement habits, dance training and anatomy. The information is founded on over 30,000 hours of experience teaching and training dancers to generate efficient exertion and appropriate recuperation. Functional Awareness: Anatomy in Action for Dancers employs somatic practices along withexplorations in experiential anatomy to awaken the body-mind connection and improve movement function. The book applies the Functional AwarenessRG approach to improve dance technique and provide skills to enable the dancer to move with balance and grace in the classroom, on stage, and in dailylife.
Imaging Anatomy by
Designed to help you quickly learn or review normal anatomy and confirm variants, Imaging Anatomy: Knee, Ankle, Foot , by Dr. Julia R. Crim, provides detailed anatomic views of each major joint of the lower extremity. Ultrasound and 3T MR images in each standard plane of imaging (axial, coronal, and sagittal) accompany highly accurate and detailed medical illustrations, assisting you in making an accurate diagnosis. Comprehensive coverage of the knee, ankle, and foot, combined with an orderly, easy-to-follow structure, make this unique title unmatched in its field. Includes all relevant imaging modalities, 3D reconstructions, and highly accurate and detailed medical graphics that illustrate the fine points of the imaging anatomy Depicts common anatomic variants (both osseous and soft tissue) and covers imaging pitfalls as a part of its comprehensive coverage Enables any structure in the lower extremity to easily be located, identified, and tracked in any plane for a faster, more accurate diagnosis Provides richly labeled images with associated commentary as well as scout images to assist in localization Explains uniquely difficult functional or anatomical regions of the lower extremity, such as posterolateral corner of knee, ankle ligaments, ankle tendons, and nerves of the lower extremity Presents coronal and axial planes as both the right and left legs, on facing pages, making ultrasound/MR correlation even easier Features a new focus on anterolateral ligament of knee, superficial deltoid ligament, retinacula of the ankle, and more, increasing anatomic knowledge and understanding of these areas.
Imaging Anatomy by
Designed to help you quickly learn or review normal anatomy and confirm variants, Imaging Anatomy: Ultrasound, second edition, is the ultimate reference worldwide, keeping you current within the fast-changing field of ultrasound imaging through comprehensive coverage of sonographic anatomy for head and neck, musculoskeletal, abdomen and pelvis, obstetrics and embryology, neonatal head, and vascular. With most images updated, this second edition is completely up-to-date and highly illustrated, which when combined with an orderly, easy-to-follow structure, make this unique title unmatched in its field. Provides expert reference at the point of care in every anatomical area where ultrasound is used Presents richly labeled images with associated commentary as well as thumbnail scout images to show transducer placement Features a robust collection of CT/MR correlations, highlighting the importance of multimodality imaging in modern clinical practice Reflects the recent dramatic improvements in equipment and techniques with state-of-the-art images throughout Includes an expanded musculoskeletal section, new and expanded OB/GYN content including pelvic floor, and new coverage of 3D ultrasound
Kinematic Analysis of Human Movement by
After a quick survey of the famous pioneers of human movement analysis and the actual needs in different domains, this book presents the main types of systems available on the market (with the pros and cons), and then details the most widely used: the optoelectronic systems using passive markers. The theoretical background for joint kinematics calculation is explained, specifying the international standardization for parameters reports. One chapter is dedicated to measurement errors and their management, followed by several applications, mostly in the clinical field.
The Physiology of Physical Training by
The Physiology of Physical Training provides complete coverage of the physiological and methodological aspects of physical training, providing essential knowledge for anyone involved in exercise physiology. Physiological processes at the cellular level (and for the whole organism) are covered to better explain particular training methods and convey a deeper knowledge and understanding of training techniques. Coverage of exercise training-induced adaptive responses and the most appropriate training methods to bring about targeted adaptive changes are also included. This is the perfect reference for researchers of physiology/kinesiology and human kinetics, practicing coaches, graduate students and sports medicine specialists. Describes exercise-induced adaptation, from the cell to the whole body Demonstrates practical applications of exercise for injury, disease prevention and improved physical performance Fully integrates the knowledge of molecular exercise physiology and training methods
This course examines theoretical perspectives, modes of inquiry, methodologies, and procedures for conducting ballet classes; with emphasis on integrating theory and practice, and on the generation of new ideas, approaches, and perspectives in dance education. You will be guided in fieldwork observation and fieldwork analysis–oriented assignments with the goal of developing a thorough understanding of the use of biomechanics, artistic imagery and insight on the needs of the dance student at professional and recreational tracks of study.
This course also focuses on a holistic and anatomical movement education and how it illuminates the relationship between the body and mind, guiding the process for full body integration. You will develop a basic understanding of the relationship between the mind and movement; the kinds of results obtained with syllabus driven goals; and the causes of sensory–motor conflicts. You will begin with the study of experiential anatomy and move into the analysis of both the theory and practice behind various techniques. You will build an initial teaching philosophy and syllabus for your future practice.
The Aging Body in Dance by
What does it mean to be able to move? The Aging Body in Dance brings together leading scholars and artists from a range of backgrounds to investigate cultural ideas of movement and beauty, expressiveness and agility. Contributors focus on Euro-American and Japanese attitudes towards aging and performance, including studies of choreographers, dancers and directors from Yvonne Rainer, Martha Graham, Anna Halprin and Roemeo Castellucci to Kazuo Ohno and Kikuo Tomoeda. They draw a fascinating comparison between youth-oriented Western cultures and dance cultures like Japan's, where aging performers are celebrated as part of the country's living heritage. The first cross-cultural study of its kind, The Aging Body in Dance offers a vital resource for scholars and practitioners interested in global dance cultures and their differing responses to the world's aging population.
The Bloomsbury Companion to Dance Studies by
The Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry: Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance, Dance History, Dance and Philosophy, and Digital Dance. Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized its teaching and research. Therefore each author speaks to the labels, methods, issues and histories of each given category, while also exemplifying this scholarship in action. The dances under investigation range from experimental conceptual concert dance through to underground street dance practices, and the geographic reach encompasses dance-making from Europe, North and South America, the Caribbean and Asia. The book ends with a chapter that looks ahead to new directions in dance scholarship, in addition to an annotated bibliography and list of key concepts. The volume is an essential guide for students and scholars interested in the creative and critical approaches that dance studies can offer.
Bodies of Sound by
From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music, which is imagined here as 'bodies of sound'. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels. In Part I: Constructing the Popular, the authors explore how categories of popular music and dance are constructed and de-stabilized, and their proclivity to appropriate and re-imagine cultural forms and meanings. In Part II: Authenticity, Revival and Reinvention, the authors examine how popular forms produce and manipulate identities and meanings through their attraction to and departure from cultural traditions. In Part III: (Re)Framing Value, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized through popular music and dance. And in Part IV: Politics of the Popular, the authors read the popular as a site of political negotiation and transformation.
Creative Ballet Teaching by
How do teachers create a classroom environment that promotes collaborative and inquiry-based approaches to learning ballet? How do teachers impart the stylistic qualities of ballet while also supporting each dancer's artistic instincts and development of a personal style? How does ballet technique education develop the versatility and creativity needed in the contemporary dance environment? Creative Ballet Teaching draws on the fields of Laban/Bartenieff Movement Analysis (L/BMA), dance pedagogy, and somatic education to explore these questions. Sample lesson plans, class exercises, movement explorations, and journal writing activities specifically designed for teachers bring these ideas into the studio and classroom. A complementary online manual, Creative Ballet Learning, provides students with tools for technical and artistic development, self-assessment, and reflection. Offering a practical, exciting approach, Creative Ballet Teaching is a must-read for those teaching and learning ballet.
Dance Kinesiology by
Dance Kinesiology reflects modern techniques and includes articles addressing eight important systems of body work: the Pilates Method, Rolfing, the Feldenkrais Method, the Alexander Technique, Ideokinesis, Body-Mind Centering, the Bartenieff Fundamentals, and Laban Movement Analysis.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Making Ballet American by
George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold neoclassical style that is celebrated as the first American manifestation of the art form. In Making Ballet American, author Andrea Harris challenges this narrative by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet. Situating American ballet within a larger context of modernisms, the book examines critical efforts to craft new, modernist ideas about the relevance of classical dancing for American society and democracy. Through cultural and choreographic analysis, it illustrates the evolution of modernist ballet during a turbulent historical period. Ultimately, the book argues that the Americanization of Balanchine's neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a far more complicated story that pivots on the question of modern art's relationship to America and the larger world.
Mapping Multimodal Performance Studies by
This book is a first attempt to map the broad context of performance studies from a multimodal perspective. It collects original research on traditional performing arts (theatre, dance, opera), live (durational performance) and mediated/recorded performances (films, television shows), as well as performative discursive practices on social media by adopting several theories and methodologies all dealing with the notion of multimodality. As a mostly dynamic and also interactive environment for various text types and genres, the context of performance studies provides many opportunities to produce meaning verbally and non-verbally. All chapters in this book develop frameworks for the analysis of performance-related events and activities and explore empirical case studies in a range of different ages and cultures. A further focus lies on the communicative strategies deployed by different communities of practice, taking into account processes of production, distribution, and consumption of such texts in diverse spatial and temporal contexts.
The Oxford Handbook of Improvisation in Dance by
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while ithas long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets.Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency andcollective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience,cognition, and technologies.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Teaching Children Dance by
Teaching Children Dance, Third Edition, assists both student learners and practitioners in understanding the components and benefits of children's dance and in developing the skills required for enhancing or initiating dance as part of a physical education or arts education curriculum. A comprehensive text for both students and practitioners in elementary methods courses, Teaching Children Dance, Third Edition, offers a framework for presenting creative dance lessons to elementary-aged children in a variety of settings. In this updated third edition, respected authors Purcell Cone and Cone identify how dance experiences assist children in cultivating 21st-century skills of creative thinking, collaboration, communication, global awareness, and self-direction. The authors present dance as a mode of learning that involves the whole child, using the body and the senses to gather information, communicate, and demonstrate conceptual understandings. Teaching Children Dance presents the fundamentals of program construction and delivery, guidelines on tailoring a dance program to fit various teaching situations, and advocacy strategies for maintaining and developing a program. Sample unit plans as well as ideas for planning yearlong unit plans and lesson outlines are included. Readers will find protocols for maintaining a safe and productive learning environment as well as strategies for encouraging students' feedback, demonstrations, and observations. Teaching Children Dance presents 31 challenging and enjoyable dance experiences. These ready-to-use learning experiences are divided into 12 activities for children in kindergarten through second grade and 11 activities appropriate for students in third through fifth grade. Eight dance experiences designed for inclusive or self-contained dance classes are also detailed along with strategies to ensure successful experiences for children with disabilities. New chapters on inclusive dance for children and classes for children with disabilities and interdisciplinary connections provide strategies and tools for successful implementation. The third edition of Teaching Children Dance also includes 13 new learning experiences, additional assessment examples, and a menu of instruments for teacher assessment, peer assessment, and student self-assessment. In addition, Teaching Children Dance features a bonus CD-ROM with PDFs of the learning experiences included in the text, plus additional learning experiences from previous editions. Using the learning experience index, instructors can easily select an age-appropriate learning experience and print it for use in the class. The CD-ROM offers instructional support materials used in elementary methods courses, including worksheets, assignments, end-of-chapter questions, and assessment tools. Each learning experience includes a listing of the learning outcomes, organization of the activity (individual, partner, or small-group participation), and required equipment. A four-part learning experience details the introduction, development, culminating dance, and closure sections of the dance experience. Key points to observe; ideas for extending or varying the lesson; specific interdisciplinary connections; and suggestions for student self-assessment, teacher assessment of student learning, and peer assessment are also included. Usingg the lessons, strategies, and tools in Teaching Children Dance, Third Edition, teachers can offer exciting opportunities for children to express themselves through dance and experience the joy of dancing with others. Whether in a physical education, dance, or elementary classroom, Teaching Children Dance will assist teachers in developing learning experiences that cultivate creativity, positive social interactions, and motor skill development for elementary children of all ability levels.
Undergraduate Research in Dance by
Undergraduate Research in Dance: A Guide for Studentssupplies tools for scaffolding research skills alongside examples of undergraduate research in dance scholarship. Dance can be studied as an expressive embodied art form with physical, cognitive, and affective domains, and as an integral part of society, history, and vast areas of interdisciplinary content. To this end, the guidance provided by this book will equip future dance professionals with the means to move the field of dance forward. Chapters 1-9 guide students through the fundamentals of research methods, providing a foundation to help students get started in understanding research protocols and processes. Students will learn skills such as how to choose a research topic, refine research questions, conduct literature reviews, cite sources, synthesize and analyze data, develop conclusions and results, and present their findings. Chapters 10-19 detail forms of undergraduate research in a rich diversity of fields within dance that are taught in many collegiate dance programs including dance therapy, history, science, psychology, education, and technology, in addition to public scholarship, choreography, and interdisciplinary topics. The book also includes a final chapter which provides annotated online resources, and many of its chapters are supported by examples of abstracts of capstone projects, senior theses, and conference presentations by undergraduate researchers across the United States. Suitable for both professors and students, Undergraduate Research in Danceis an ideal reference book for any course that has a significant opportunity for the creation of new knowledge, or as an essential interdisciplinary connection between dance and other disciplines.
World Dance Cultures by
From healing, fertility and religious rituals, through theatrical entertainment, to death ceremonies and ancestor worship, World Dance Cultures introduces an extraordinary variety of dance forms practiced around the world. This highly illustrated textbook draws on wide-ranging historical documentation and first-hand accounts, taking in India, Bali, Java, Cambodia, China, Japan, Hawai'i, New Zealand, Papua New Guinea, Africa, Turkey, Spain, Native America, South America, and the Caribbean. Each chapter covers a certain region's distinctive dances, pinpoints key issues and trends from the form's development to its modern iteration, and offers a wealth of study features including: Case Studies - zooming in on key details of a dance form's cultural, historical, and religious contexts 'Explorations' - first-hand descriptions of dances, from scholars, anthropologists and practitioners 'Think About' - provocations to encourage critical analysis of dance forms and the ways in which they're understood Discussion Questions - starting points for group work, classroom seminars or individual study Further Study Tips - listing essential books, essays and video material. Offering a comprehensive overview of each dance form covered with over 100 full color photos, World Dance Cultures is an essential introductory resource for students and instructors alike.
This course examines theoretical perspectives, modes of inquiry, methodologies, and procedures for conducting ballet classes; with emphasis on integrating theory and practice, and on the generation of new ideas, approaches, and perspectives in dance education. You will be guided in fieldwork observation and fieldwork analysis–oriented assignments with the goal of developing a thorough understanding of the use of biomechanics, artistic imagery and insight on the needs of the dance student at professional and recreational tracks of study.
This course also focuses on a holistic and anatomical movement education and how it illuminates the relationship between the body and mind, guiding the process for full body integration. You will develop a basic understanding of the relationship between the mind and movement; the kinds of results obtained with syllabus driven goals; and the causes of sensory–motor conflicts. You will begin with the study of experiential anatomy and move into the analysis of both the theory and practice behind various techniques. You will build an initial teaching philosophy and syllabus for your future practice.
Bodies of Sound : Studies Across Popular Music and Dance by
From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels.
Body and Voice: Somatic Re-Education by
Body and Voice: Learning to Work Together is an excellent resource for teachers of singing, voice coaches, and speech-language pathologists who work with singers and other voice professionals. It provides a new paradigm for working with singers in a way that allows for improved kinesthetic awareness.
The Body of the People by
The Body of the People is the first comprehensive study of dance and choreography in East Germany. More than twenty years after the fall of the Berlin Wall, Jens Richard Giersdorf investigates a national dance history in the German Democratic Republic, from its founding as a Communist state that supplanted the Soviet zone of occupation in 1949 through the aftermath of its collapse forty years later, examining complex themes of nationhood, ideology, resistance, and diaspora through an innovative mix of archival research, critical theory, personal narrative, and performance analysis. Giersdorf looks closely at uniquely East German dance forms--including mass exercise events, national folk dances, Marxist-Leninist visions staged by the dance ensemble of the armed forces, the vast amateur dance culture, East Germany's version of Tanztheater, and socialist alternatives to rock 'n' roll--to demonstrate how dance was used both as a form of corporeal utopia and of embodied socialist propaganda and indoctrination. The Body of the People also explores the artists working in the shadow of official culture who used dance and movement to critique and resist state power, notably Charlotte von Mahlsdorf, Arila Siegert, and Fine Kwiatkowski. Giersdorf considers a myriad of embodied responses to the Communist state even after reunification, analyzing the embodiment of the fall of the Berlin Wall in the works of Jo Fabian and Sasha Waltz, and the diasporic traces of East German culture abroad, exemplified by the Chilean choreographer Patricio Bunster.
Dance Circles by
Senegal has played a central role in contemporary dance due to its rich performing traditions, as well as strong state patronage of the arts, first under French colonialism and later in the postcolonial era. In the 1980s, when the Senegalese economy was in decline and state fundingwithdrawn, European agencies used the performing arts as a tool in diplomacy. This had a profound impact on choreographic production and arts markets throughout Africa. In Senegal, choreographic performers have taken to contemporary dance, while continuing to engage with neo-traditional performance, regional genres like the sabar, and the popular dances they grew up with. A historically informed ethnography of creativity, agency, and the fashioning of selves through the different life stages in urban Senegal, this book explores the significance of this multiple engagement with dance in a context of economic uncertainty and rising concerns over morality in the public space."
Dance in Ireland by
In Dance in Ireland: Steps, Stages and Stories, Sharon Phelan provides an in-depth view of dance in Ireland during the colonial and post-colonial eras. She presents dance as an integral part of Irish life and as a signifier of cultural change. Central themes are documented and analysed. They include cross-cultural influences, the dance master and pantomimic dance traditions, dance during the Gaelic Revival, dichotomies in dance, and the theatricalisation of Irish dance. The book is illustrated with photographs and it is an indispensable resource for academics and artists alike, as they continue to foster dance, on the page and on the stage.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dance [and] Theory by
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
Dancing Cultures by
Dance is more than an aesthetic of life - dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
Directing the Dance Legacy of Doris Humphrey by
Directing the Dance Legacy of Doris Humphrey looks inside four of Doris Humphrey's major choreographic works--Water Study (1928), The Shakers (1931), With My Red Fires (1936), and Passacaglia (1938)--with an eye to how directorial strategies applied in recent contemporized stagings in the United States and Europe could work across the modern and contemporary dance genre. Author Lesley Main, a seasoned practitioner of Doris Humphrey choreography, stresses to the reader the need to balance respect for classical works from the modern dance repertory with the necessity for fresh directorial strategies, to balance between traditional practices and a creative role for the reconstructor. Drawing upon her own dance experience, Main's book addresses an area of dance research and practice that is becoming increasingly pertinent as the dancer-choreographers of the 20th century modern and contemporary dance are no longer alive to attend to the re-stagings of the body of their works. Insightful and thought-provoking, Directing the Dance Legacy of Doris Humphrey calls for the creation of new forms of directorial practice in dance beyond reconstruction. The radical new practices it proposes to replace the old are sure to spark debate and fresh thinking across the dance field.
Dramaturgy in motion : at work on dance and movement performance by
Dramaturgy in Motion innovatively examines the work of the dramaturg in contemporary dance and movement performance. Katherine Profeta, a working dramaturg for more than fifteen years, shifts the focus from asking "Who is the dramaturg?" to "What does the dramaturg think about?" Profeta explores five arenas for the dramaturg's attention--text and language, research, audience, movement, and interculturalism. Drawing on her extended collaboration with choreographer and visual artist Ralph Lemon, she grounds her thinking in actual rehearsal-room examples and situates practice within theoretical discourse about contemporary dramaturgy. Moving between theory and practice, word and movement, question and answer until these distinctions blur, she develops the foundational concept of dramaturgical labor as a quality of motion. Dramaturgy in Motion will be invaluable to practitioners and scholars interested in the processes of creating contemporary dance and movement performance--particularly artists wondering what it might be like to collaborate with a dramaturg and dramaturgs wondering what it might be like to collaborate on movement performance. The book will also appeal to those intrigued by the work of Lemon and his collaborators, to which Profeta turns repeatedly to unfold the thorny questions and rich benefits of dramaturgical labor.
The Expressive Body in Life, Art and Therapy by
Drawing on her extensive experience in expressive arts therapy, Daria Halprin presents a unique approach to healing through movement and art. She describes the body as the container of one's entire life experience and movement as a language that expresses and reveals our deepest struggles and creative potentials. Interweaving artistic and psychological processes, she offers a philosophy and methodology that invites the reader to consider the transformational capacity of the arts. In this essential resource for anyone interested in the integration of psychotherapy and the arts, Halprin also presents case studies and a selection of exercises that she has evolved over her career and practised at the Tamalpa Institute for over twenty-five years.
Functional awareness : anatomy in action for dancers by
Functional Awareness: Anatomy in Action for Dancers is where anatomy meets artistry. Each chapter provides explorations in embodied anatomy in an engaging manner with the use of images, storytelling, and experiential exercises. It is an accessible introduction to the relationship between daily movement habits, dance training and anatomy. The information is founded on over 30,000 hours of experience teaching and training dancers to generate efficient exertion and appropriate recuperation. Functional Awareness: Anatomy in Action for Dancers employs somatic practices along with explorations in experiential anatomy to awaken the body-mind connection and improve movement function. The book applies the Functional Awareness® approach to improve dance technique and provide skills to enable the dancer to move with balance and grace in the classroom, on stage, and in daily life.
Moving consciously : somatic transformations through dance, yoga, and touch by
The popularity of yoga and Zen meditation has heightened awareness of somatic practices. Individuals develop the conscious embodiment central to somatics work via movement and dance, or through touch from a skilled teacher or therapist often called a somatic bodyworker. Methods of touch and movement foster generative processes of consciousness in order to create a fluid interconnection between sensation, thought, movement, and expression. In Moving Consciously , Sondra Fraleigh gathers essays that probe ideas surrounding embodied knowledge and the conscious embodiment of movement and dance. Using a variety of perspectives on movement and dance somatics, Fraleigh and other contributors draw on scholarship and personal practice to participate in a multifaceted investigation of a thriving worldwide phenomenon. Their goal: to present the mental and physical health benefits of experiencing one's inner world through sensory awareness and movement integration. A stimulating addition to a burgeoning field, Moving Consciously incorporates concepts from East and West into a timely look at life-changing, intertwined practices that involve dance, movement, performance studies, and education. Contributors: Richard Biehl, Robert Bingham, Hillel Braude, Alison East, Sondra Fraleigh, Kelly Ferris Lester, Karin Rugman, Catherine Schaeffer, Jeanne Schul, and Ruth Way.
New German Dance Studies by
New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Within the Asian continent, of which the Philippines is part, are various dance forms with a specific style, form, aesthetic, technique, tradition, and language. This course will give you an overview of the dance forms within the Asian continent in order for you to study similarities and differences among the dance forms, especially as it relates to Philippine dance forms. Conducted with a lecture/workshop format, this course will allow you to embody, perform, and study the dance forms to understand heritage, authenticity, and cultural identity as you interact with them first-hand.
Bayanihan : the national folk dance company of the Philippines : a memory of six continents by 
Burmese Dance and Theatre by
This book traces the history of dance and theatre in Burma in the courts and the countryside, and describes the various dances, plays, and musical accompaniment that evolved as a result of the country's cultural and religious mix and its changing political circumstances.
Classical Dance and Theatre in South-East Asia by
This lavishly illustrated book provides an introduction to the rich traditions of South-East Asian dance, theatre and puppet theatre. It focuses mainly on classical traditions which are still performed and separate sections are devoted to Burma, Thailand, Java, Bali, Malaysia, Cambodia, andLaos. Chinese theatre in the region and the Chinese-influenced theatre of Vietnam are also discussed.
Dance, Drama and Theatre in Thailand by Dance and other slippages : critical narratives on women, dance and art by Dance composition for Philippine schools and colleges by The dances of the emerald isles : a great Philippine heritage by 
Defiant Daughters Dancing by 
Educating in the arts : the Asian experience by
Written by leaders in a wide range of creative fields and from all corners of the Asian region, this collection of essays presents arts and education programs which reflect traditional and contemporary practices. The volume aims to encourage the use of the arts in developing international understanding, celebrating cultural diversity, building cultural bridges and creating cross-cultural dialogue throughout the Asian region.
The evolution of dance in Philippine culture by Folk dance troupes in the public secondary schools by The History of Chinese Dance by 
Identity and diversity : celebrating dance in Taiwan by
Reflecting the breadth and diversity of dance in the Asia¿Pacific region, this volume provides an in-depth and comprehensive study of Taiwan¿s dance history. Taiwan is home to several indigenous tribes with unique rituals and folk dance traditions, with an array of eclectic influences including martial arts and Peking Opera from China, and dance forms such as contemporary, neo-classical, post-modern, jazz, ballroom, and hip-hop from the West. Dance in Taiwan, led by pioneers such as choreographers Liu Feng-shueh and Lin Hwai-min, continues to have a strong presence in both performance and educational arenas. In 1973, Lin Hwai-min created Cloud Gate Dance Theatre, the country¿s internationally acclaimed modern dance company, and simultaneously produced a generation of dancers not only trained in modern dance and ballet, but also in Chinese aesthetics and history, tai-chi and meditation. Including the voices of dance professionals, scholars and critics, this collection of articles highlights the emerging trends and challenges faced by dance in Taiwan. It examines the history, creative development, education, training, and above all, the hybrid practices that give Taiwanese dance a unique identity, making it central to the renaissance of Asian contemporary dance. In describing how the intersections of dance cultures are marked by exchanges, research and pedagogy, it shows the way choreographers, performers, associated artists and companies of the region choose to imaginatively invent, blend, fuse, select and morph the multiple influences, revitalising and preserving cultural heritage while oscillating between tradition and change.
The Oxford Handbook of Dance and Competition by
In the twenty-first century, values of competition underpin the free-market economy and aspirations of individual achievement shape the broader social world. Consequently, ideas of winning and losing, success and failure, judgment and worth, influence the dance that we see and do. Acrossstage, studio, street, and screen, economies of competition impact bodily aesthetics, choreographic strategies, and danced meanings. In formalized competitions, dancers are judged according to industry standards to accumulate social capital and financial gain. Within the capitalist economy, dancingbodies compete to win positions in prestigious companies, while choreographers hustle to secure funding and attract audiences. On the social dance floor, dancers participate in dance-offs that often include unspoken, but nevertheless complex, rules of bodily engagement. And the media attraction tothe drama and spectacle of competition regularly plays out in reality television shows, film documentaries, and Hollywood cinema. Drawing upon a diverse collection of dances across history and geography, The Oxford Handbook of Dance and Competition asks how competition affects the presentation andexperience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.
Philippine dance : mainstream and crosscurrents by Philippine neo-ethnic choreography : a creative process by Physical education for college by Sayaw : an essay on the American colonial and contemporary traditions and Philippine dance by Sayaw : an essay on the Spanish influence on Philippine dance by
"This monograph is part of Tuklas Sining, a series of essays and video documentaries on the seven arts in the Philippines"
Sayaw : dances of the Philippine islands by Sayaw : Philippine dances by 
Sibod by
In this book, Christine Muyco provides us with a magic key to enter a remarkable world where music, dance, and gesture are woven together to create a fabric of human meaning. - Elena Rivera Mirano
Treading through : 45 years of Philippine dance by
Treading Through is the first reader in Philippine dance, observed through forty-five years of viewing, reviewing, and doing. It is one observer's understanding of what, where, and how dance, and who makes it and why we dance.
Within the Asian continent, of which the Philippines is part, are various dance forms with a specific style, form, aesthetic, technique, tradition, and language. This course will give you an overview of the dance forms within the Asian continent in order for you to study similarities and differences among the dance forms, especially as it relates to Philippine dance forms. Conducted with a lecture/workshop format, this course will allow you to embody, perform, and study the dance forms to understand heritage, authenticity, and cultural identity as you interact with them first-hand.
Austronesian soundscapes : performing arts in Oceania and Southeast Asia by
In Austronesia--the region that stretches from Madagascar in the west to Easter Island in the east--music plays a vital role in both the construction and expression of social and cultural identities. Yet research into the music of Austronesia has hitherto been sparse. Drawing together contemporary cultural studies and musical analysis, Austronesian Soundscapes will fill this research gap, offering a comprehensive analysis of traditional and contemporary Austronesian music and, at the same time, investigating how music reflects the challenges that Austronesian cultures face in this age of globalization.
Body, Movement, and Culture by
In Body, Movement, and Culture, Sally Ann Ness provides an original interpretive account of three forms of sinulog dancing practiced in Cebu City in the Philippines: a healing ritual, a dance drama, and a "cultural" exhibition dance. Ness's examination of these dance forms yields rich insights into the cultural predicament of this Philippine city and the way in which kinesthetic and visual symbols interact to create meaning. Ness scrutinizes the patterns of movement, the use of the body and of objects, and the shaping of space common to all three versions of the sinulog. She then relates these elements to the fundamental ways the culture bearers of Cebu City experience their world. For example, she shows how each of the dance forms functions to reinforce class distinctions and to establish a code of authenticated "cultural" action. At the same time, Ness demonstrates, the dances manifest and actualize widely applied notions about the nature of "devotion," "sincerity," "naturalness," and "beauty." Throughout the text, Ness provides a close analysis of movement that is all too often missing from anthropological studies of dance. Most significantly, she works to relate the movements used in dance to everyday movement and to interpret the attitudes and values that are embodied in both choreographed and quotidian movement. Important and illuminating, Body, Movement, and Culture is of particular interest to students and scholars of anthropology, folklore, dance, and Asian studies.
Choreographing Asian America by
Poised at the intersection of Asian American studies and dance studies, Choreographing Asian America is the first book-length examination of the role of Orientalist discourse in shaping Asian Americanist entanglements with U.S. modern dance history. Moving beyond the acknowledgement that modern dance has its roots in Orientalist appropriation, Yutian Wong considers the effect that invisible Orientalism has on the reception of work by Asian American choreographers and the conceptualization of Asian American performance as a category. Drawing on ethnographic and choreographic research methods, the author follows the work of Club O' Noodles-a Vietnamese American performance ensemble-to understand how Asian American artists respond to competing narratives of representation, aesthetics, and social activism that often frame the production of Asian American performance.
Contemporary Southeast Asian Performance by
Mutual borrowing, fluid transactions and transformations of performances and performers have a long and enduring history in Southeast Asia, but this trend has been heightened and made more vivid in the contemporary period. The omnipresence of global communications has provoked and inspired yet more novel experiments and collaborations between cosmopolitan artists and globally-oriented performers. This volume offers vital insights into recent developments in Southeast Asian performance. It demonstrates the ways in which contemporary artists and performers are increasingly working betwixt the traditional boundaries of the nation and discourses of identity. The essays collected here are testament to ongoing conversations and relations among scholars, practitioners and scholar-practitioners in Southeast Asia and around the world.
Dance and Authenticity in Israel and Palestine by
Dance and Authenticity is an ethnography of dance performance and cultural form. It describes how dabkeh, a type of dance performed at Palestinian weddings, became a model for the Israeli Jewish debkah as a means of affirming Israeli Jewish belonging and common society. The Palestinian dabkeh, in turn, acquired nationalist meanings, especially after the 1967 war and the occupation of the West Bank. The book traces the history of these competing, and conflicting, dance forms, basing the argument principally on the ethnographic study of two Palestinian and one Israeli Jewish dance group conducted between 1998 and 1999. The result is a fascinating parallel ethnography, showing how the ethnography of dance forms contributes to evolving notions of collective national and political identity in a context of unequal power.
The dance that makes you vanish : cultural reconstruction in postgenocide Indonesia by Dancing cultures : globalization, tourism and identity in the anthropology of dance by
Dance is more than an aesthetic of life - dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
The day the dancers stayed : performing in the Filipino/American diaspora by
Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances--and parodies of them--these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. In The Day the Dancers Stayed, scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification. Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
Revolutionary Bodies by
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)--a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries. Learn more at the TOME website, available at: openmonographs.org. Revolutionary Bodies is the first English-language primary source-based history of concert dance in the People's Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China's dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
This course will investigate various choreographic themes, approaches and strategies with a firm grip on compositional structure and form learned from DANCOM1 and 2. To strengthen your individual choreographic voice you will complete a work-in-progress using a minimum of 4 dancers that will be presented in an informal studio showing. The collaborative nature of creating a dance work will be examined, giving attention to aspects of production, performance and critical commentary as related to choreography.
Aerial Dance by
Aerial Dance: A Guide to Dance with Rope and Harness provides an introduction for the beginning aerialist. It covers rigging, equipment, advice on optimal conditioning, and a step-by-step guide to technique, including anatomical references, space and time considerations, and elements of force when working with and against gravity. Specific movements and choreography are framed anatomically and together reflect the pattern and order of an aerial technique class. Challenges inherent to this type of dancing are discussed, as well as wellness instruction and methods of altering these techniques for intermediate and advanced dancing. A companion website hosts video that corresponds with the technique and phrasing in the book.
Beginning Modern Dance by
Beginning Modern Dance text and web resource introduce undergraduate and high school students to modern dance as a performing art through participation, appreciation, and academic study in the dance technique course. In the book, 50 photos with concise descriptions support students in learning beginning modern dance technique and in creating short choreographic or improvisational studies. For those new to modern dance, the book provides a friendly orientation on the structure of a modern dance technique class and includes information regarding class expectations, etiquette, and appropriate attire. Students also learn how to prepare mentally and physically for class, maintain proper nutrition and hydration, and avoid injury. Beginning Modern Dance supports students in understanding modern dance as a performing art and as a medium for artistic expression. The text presents the styles of modern dance artists Martha Graham, Doris Humphrey and José Limón, Katherine Dunham, Lester Horton, and Merce Cunningham along with an introduction to eclectic modern dance style. Chapters help students begin to identify elements of modern dance as they learn, view, and respond to dance choreography and performance. The accompanying web resource offers 38 interactive video clips and photos of dance technique to support learning and practice. In addition, e-journal and self-reflection assignments, performance critiques, and quizzes in the web resource help students develop their knowledge of modern dance as both performers and viewers. (The web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) Through modern dance, students learn new movement vocabularies and explore their unique and personal artistry in response to their world. Beginning Modern Dance text and web resource support your students in their experience of this unique and dynamic genre of dance. Beginning Modern Dance is a part of Human Kinetics' Interactive Dance Series. The series includes resources for modern dance, ballet, and tap dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.
Choreographing Discourses by
Choreographing Discourses brings together essays originally published by Mark Franko between 1996 and the contemporary moment. Assembling these essays from international, sometimes untranslated sources and curating their relationship to a rapidly changing field, this Reader offers an important resource in the dynamic scholarly fields of Dance and Performance Studies. What makes this volume especially appropriate for undergraduate and graduate teaching is its critical focus on twentieth- and twenty-first-century dance artists and choreographers - among these, Oskar Schlemmer, Merce Cunningham, Kazuo Ohno, William Forsythe, Bill T. Jones, and Pina Bausch, some of the most high-profile European, American, and Japanese artists of the past century. The volume's constellation of topics delves into controversies that are essential turning points in the field (notably, Still/Here and Paris is Burning), which illuminate the spine of the field while interlinking dance scholarship with performance theory, film, visual, and public art. The volume contains the first critical assessments of Franko's contribution to the field by André Lepecki and Gay Morris, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography. Ultimately, this Reader encourages a wide scope of conversation and engagement, opening up core questions in ethics, embodiment, and performativity.
Choreomania by
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K�lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Consuming dance : choreography and advertising by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertisingindustry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as culturalproducts, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning.Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and thediscursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Contemporary Choreography by
Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.
The Dance Bible by
The Dance Bible is a book for beginners who have the passion to dance but are unsure how to transform their creative impulse into a career. Advises readers on modern dance, jazz, ballet, contemporary, non-western forms, and even street dance Describes and discuses training regimes and fundamental dance techniques Offers suggestions on how to develop one's own unique style of expression Dancers get advice on physical conditioning and learning to care for their body, on and off the stage Finally, the author offers detailed advice on how beginning dancers can effectively market their talent, maximize income, and sustain a successful career in the highly competitive world of dance.
Dance Composition Basics by
Text instruction can go only so far in teaching how to create dances. Dance Composition Basics picks up where other textbooks leave off, with a bound-in DVD that features professional choreographers and dancers in action. Designed for beginning college-level dance composition courses and dance educators at the middle and high school levels, this textbook and DVD package highlights selected portions of original dance compositions by two noted choreographers. The works of Alonzo King (Chants and Dreamer) and Dwight Rhoden (Verge) are recorded and analyzed to sequence the choreographic process. Students are able to witness a progression that takes them from conceiving and refining an idea to improvising and solving movement problems to shaping and performing dances. The methods featured in Dance Composition Basics can be applied to a variety of dance styles including ballet, modern, and jazz. Each of the 27 lessons serves as a starting point that encourages novice dancers to embark on their own attempts at choreography with more confidence. Structured to present concepts from simple to complex, the chapters cover the body, space, time, energy, and choreographic devices. Each chapter is divided into lessons based on the dance element or concept highlighted. The lessons challenge students to create solo, duet, trio, and group works. Each lesson includes the following components: -One choreographic concept -Video documentation of the choreographic concept -Vocabulary words -Introductory statement -Warm-up -Structured improvisations -Creative choreographic problems -Questions for discussion -Assessment rubrics The DVD supplements the written instruction in a progression that no textbook alone could achieve. It shows dancers as they solve movement problems, and it shows choreographers as they mold their works from conception to stage performance. DVD footage also captures the decision-making and problem-solving tactics used by each choreographer. With these concrete examples, students can form a basis of comparison when completing their own assignments. Dance Composition Basics is a practical introduction to the methods and tools used in composing dances that engages students in the process--the preferred method of learning and teaching dance composition today. Through real-world examples, this text and DVD package demonstrates the direct relationship of the activities learned in the dance composition class to the current practices used by professional choreographers.
Dance composition for Philippine schools and colleges by Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
The Intimate Act of Choreography by
A comprehensive book that covers all aspects of choreography from the most fundamental techniques to highly sophisticated artistic concerns. The Intimate Act of Choreography presents the what and how of choreography in a workable format that begins with basics- - time, space, force -- and moves on to the more complex issues faced by the intermediate and advanced choreographer -- form, style, abstraction, compositional structures, and choreographic devices. The format of the book evolved from the idea that improvisation is a good way to learn choreography. This approach is in harmony with widely accepted dance philosophies that value the unique quality of each individual's creativity. After discussing a concept, the authors provide improvisations, and choreographic studies that give the student a physical experience of that concept. The language is stimulating an innovative, rich in visual images that will challenge the choreographer to explore new directions in movement. The book is for serious dance students and professionals who are interested in both the practical and theoretical aspects of the art, dancers who are just starting to choreograph, and teachers who are seeking fresh ideas and new approaches to use with young choreographers. (A Teacher's Addendum offers suggestions on how to use the material in the classroom.) It is a guide, a text, and an extensive resource of every choreographic concept central to the art form.
The Laban Sourcebook by
Rudolf Laban (1879 - 1958) was a pioneer in dance and movement, who found an extraordinary range of application for his ideas; from industry to drama, education and therapy.　 Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements. The Laban Sourcebook offers a comprehensive account of Laban's writings. It includes extracts from his five books in English and from his four works in German, written in the 1920s and translated here for the first time.　 This book draws on archival research in England and Germany to chart the development of Laban's groundbreaking ideas through a variety of documents, including letters, articles, transcripts of interviews, and his unpublished Effort and Recovery.　　 It covers: The beginning of his career in Germany and Switzerland in the 1910s. His astonishing rise to fame in Germany in the 1920s as a dance teacher, choreographer and creator of public dance events. Following his move to England in 1938, the application of his ideas to drama, education, industry, and therapy. Each extract has a short preface providing contextual background, and highlighting and explaining key terms. Passages have been selected and are introduced by many of the world's leading Laban scholars.
The Oxford Handbook of Dance and Reenactment by
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch ofchoreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive asit relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historicalknowledge and new media.
Philippine neo-ethnic choreography : a creative process by The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
A Sense of Dance by
A Sense of Dance: Exploring Your Movement Potential, Second Edition, is written for true beginners--students who are exploring the art form for the first time and are not likely to describe themselves as dancers. Through this text, students discover that dance is an accessible art form that can bring greater self-awareness and self-confidence. It helps new dancers learn how to express themselves through dance. This second edition, based on an already-successful textbook, features three new chapters that add even more depth to the topics covered. The chapters address the power of dance through time and place, culture, and community; a sense of style; and patterns of coordination. Like the first edition, this empowering text uses an interactive approach to invite students to learn about dance through everyday experiences, personal observations, and guided experiences. The following are some of the special elements in the text: - "Inside Insights" encourage students to reflect on interesting observations that may affect their movement and expression. -"Try This Experiment" exercises are guided physical explorations of concepts in the text that help students become more kinesthetically aware of their movements and discover new ways of moving. -"Think About It" sections require students to reflect on how they can apply the information presented. These considerations provide good material for journal entries. -"Your Turn to Dance" provides two opportunities per chapter for students to work in small groups to discover movement possibilities, solve problems, and hone their observation and evaluation skills. These become springboards for choreography that reinforces the concepts in the chapter--and provide another adventure of exploring movement potential. The author uses a basic movement vocabulary that you can use to describe and evaluate movement possibilities, improve sensitivity when working in groups, develop critical-thinking skills, and express ideas and emotions through movement. The book also contains these features designed to help students personalize and interact with the content: -Short quizzes -Highlight boxes -Self-assessment exercises -Updated, easy-reference index Whatever your students' level of artistic awareness, this engaging text will inspire innovation and help you guide students in the discovery of their own creativity and sense of dance.
Unworking Choreography by
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dancerefers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographicworks within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within theart form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
This course will investigate various choreographic themes, approaches and strategies with a firm grip on compositional structure and form learned from DANCOM1 and 2. To strengthen your individual choreographic voice you will complete a work-in-progress using a minimum of 4 dancers that will be presented in an informal studio showing. The collaborative nature of creating a dance work will be examined, giving attention to aspects of production, performance and critical commentary as related to choreography.
The Choreographic by
An investigation of dance and choreography that views them not only as artistic strategies but also as intrinsically theoretical and critical practices. The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters, steps, trembles, and spasms. In The Choreographic, Jenn Joy examines dance and choreography not only as artistic strategies and disciplines but also as intrinsically theoretical and critical practices. She investigates artists in dialogue with philosophy, describing a movement of conceptual choreography that flourishes in New York and on the festival circuit. Joy offers close readings of a series of experimental works, arguing for the choreographic as an alternative model of aesthetics. She explores constellations of works, artists, writers, philosophers, and dancers, in conversation with theories of gesture, language, desire, and history. She choreographs a revelatory narrative in which Walter Benjamin, Pina Bausch, Francis Alÿs, and Cormac McCarthy dance together; she traces the feminist and queer force toward desire through the choreography of DD Dorvillier, Heather Kravas, Meg Stuart, La Ribot, Miguel Gutierrez, luciana achugar, and others; she maps new forms of communicability and pedagogy; and she casts science fiction writers Samuel R. Delany and Kim Stanley Robinson as perceptual avatars and dance partners for Ralph Lemon, Marianne Vitali, James Foster, and Janet Cardiff and George Bures Miller. Constructing an expanded notion of the choreographic, Joy explores how choreography as critical concept and practice attunes us to a more productively uncertain, precarious, and ecstatic understanding of aesthetics and art making.
Dance and light : the partnership between choreography and lighting design by
Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.
Dance composition : a practical guide for teachers by
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Dance [and] Theory by
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
Dancing the New World : Aztecs, Spaniards, and the Choreography of Conquest by
From Christopher Columbus to "first anthropologist" Friar Bernardino de Sahagun, fifteenth- and sixteenth-century explorers, conquistadors, clerics, scientists, and travelers wrote about the "Indian" dances they encountered throughout the New World. This was especially true of Spanish missionaries who intensively studied and documented native dances in an attempt to identify and eradicate the "idolatrous" behaviors of the Aztec, the largest indigenous empire in Mesoamerica at the time of its European discovery. Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse--the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri's pathfinding analysis of the vast colonial "dance archive" conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history--the European colonization of the Americas.
Dancing word : an embodied approach to the preparation of performers and the composition of performances by
The product of over eighteen years of embodied research by the author, The Dancing Word presents a systemic and phenomenological description of a contemporary intercultural theatre practice. This volume offers a blueprint for both training and collaborative performance creation that integrates the best of western laboratory theatre with the practice and ontological underpinnings of Chinese martial (Wushu) and healing/self care (Qigong) arts. This is a book for theatre practitioners, students, scholars, and those interested in exploring transcultural methodologies.
Global movements : dance, place, and hybridity by
Global Movements: Dance, Place, and Hybridity provides a theoretical and practical examination of the relationships between the global mobility of ideas and people, and its impact on dance and space. Using seven case studies, the contributors illustrate the mixture of dance styles that result from the global diffusion of cultural traditions and practices. The collection portrays a multitude of ways in which public and private spaces—stages, buildings, town squares as well as natural environments—are transformed and made meaningful by culturally diverse dances. Global Movements will be of interest to scholars of geography, dance, and global issues.
Moving Without a Body by
A radically empirical exploration of movement and technology and the transformations of choreography in a digital realm. Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this does not amount to a technical assessment of software's capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become. Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think--rather than just perform or perceive--movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems.
Pina Bausch and Dance Theater by
Pina Bausch and Dance Theater. The Art of Translating offers new and ground-breaking perspectives on the work of the Tanztheater Wuppertal. The development and performance of its oeuvre, the passing on of choreographic material and reactions by the public are presented as complex, interdependent, and reciprocal processes of translation. For the very first time, this book focuses on the artistic research involved in the company's international co-productions and features extensive empirical material in form of interviews with dancers, collaborators, and spectators, as well as ethnographic insights. This book introduces a praxeology of cultural and aesthetic translation as a viable key concept for research into dance and art.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Staging Dance by
Staging Dance is a practical handbook that covers all aspects of putting on a dance production. It highlights the current diversity of dance activities, choosing examples from working dance groups and from individual dancers. The book includes sections on choreography, music and sound, designing and making sets and costumes, lighting design and technical implementation and stage management. Funding, planning and publicity are also covered. Staging Dance will prove invaluable not only to dance artists, but also those working along side them: musicians, designers, lighting technicians, administrators and directors.
Dance Workshop in Contemporary Forms
This course is to immerse you with practical and physical studio experience with different contemporary dance forms. A guest facilitator will conduct series of workshop and will produce class output at the end of the semester.
Bringing the body to the stage and screen : expressive movement for performers by
As Stage and Screen: artists explore means to enhance their craft, a new wave of interest in expressive movement and physical improvisation has developed. To bring authenticity and believability to a character, it has become increasingly vital tor actors to be aware of movement and physical acting. Stage and screen artists must now call upon physical presence, movement on stage, nonverbal interactions, and gestures to fully convey themselves. In Bringing the Body to the Stage and Screen, Annette Lust provides these artists with a; program of physical and related expressive exercises that can empower their art with more creativity. Lust offers a general introduction that includes definitions and differences between movement on the stage and screen, how to conduct a class or learn on your own, and how to choose your own movement style among a variety of current schools of movement. Throughout the book and in the appendixes, Lust incorporates learning programs that connect the use of basic physical and expressive exercises for the entire body. Also included are original solo and group pantomimes; improvisational exercises; examples of plays, fiction, poetry, and songs that may be interpreted with movement; a list of training centers in America and Europe; and an extensive bibliography and videography. With fifteen interviews and essays by prominent stage and screen actors, mimes, clowns, dancers, and puppeteers who describe the importance ot movement in their art, and illustrated with dozens of photos of world-renowned companies and artists, Bringing the Body to the Stage and Screen is a valuable resource for theatre teachers and students, as well as anyone engaged in the performing arts. Book jacket.
Carmen D. Locsin's legacy of dance : Locsin dance workshop by 
Choreographing Difference by
The choreographies of Bill T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped establish dance as a crucial discourse of the 90s. These dancers, Ann Cooper Albright argues, are asking the audience to see the body as a source of cultural identity -- a physical presence that moves with and through its gendered, racial, and social meanings. Through her articulate and nuanced analysis of contemporary choreography, Albright shows how the dancing body shifts conventions of representation and provides a critical example of the dialectical relationship between cultures and the bodies that inhabit them. As a dancer, feminist, and philosopher, Albright turns to the material experience of bodies, not just the body as a figure or metaphor, to understand how cultural representation becomes embedded in the body. In arguing for the intelligence of bodies, Choreographing Difference is itself a testimonial, giving voice to some important political, moral, and artistic questions of our time.
Dance on its own terms : histories and methodologies by
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation ofmovement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant danceactivity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance.The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications.Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
Dancer's Resource by
A guide to schools, grants, fellowships and job opportunities for anyone pursuing a career as a dancer or choreographer. With state-by-state listings, each programme entry provides contact information, application requirements and other relevant data.
Dancing Female by
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
Envisioning Dance on Film and Video by
Virtually everyone working in dance today uses electronic media technology. Envisioning Dance on Film and Videochronicles this 100-year history and gives readers new insight on how dance creatively exploits the art and craft of film and video. In fifty-three essays, choreographers, filmmakers, critics and collaborating artists explore all aspects of the process of rendering a three-dimensional art form in two-dimensional electronic media. Many of these essays are illustrated by ninety-three photographs and a two-hour DVD (40 video excerpts). A project of UCLA - Center for Intercultural Performance, made possible through The Pew Charitable Trusts (www.wac.ucla.edu/cip).
Fields in motion : ethnography in the worlds of dance by
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
Jump into Jazz by
Written in an accessible, easy-to-read style, Jump into Jazz provides students with well-illustrated descriptions of all basic jazz steps and movements and valuable information on alignment, improvisation, injury prevention, nutrition and fitness, and history of jazz dance. Throughout the text, Movement Tips boxes help students with particularly challenging movements, and Precaution boxes help students utilize correct techniques and avoid injury.
Making an entrance : theory and practice for disabled and non-disabled dancers by
Making an Entrance is the first ever practical introduction to teaching dance with disabled and non disabled students. This clearly written, thought provoking and hugely enjoyable manual is essential reading whether you're just starting out or are already active in the field. Taking improvisation as his focus and as the starting point of choreographic exploration, Adam Benjamin asks what it has to offer as an art form and how it can be better used to meet the changing needs of dance education. In the theoretical section Benjamin explores the history of a disintegrated dance practice, placing it within the wider context of cultural and political movements. He questions what is meant today when we talk about 'inclusive' or 'integrated dance' and what we might expect of it. The book includes over 50 exercises and improvisations designed to stimulate and challenge students at all levels of dance. Benjamin also includes useful hints on the practicalities of setting up workshops covering issues as diverse a class size, the safety aspects of wheelchairs and the accessibility of dance spaces.
Meaning in Motion by
Dance, whether considered as an art form or embodied social practice, as product or process, is a prime subject for cultural analysis. Yet only recently have studies of dance become concerned with the ideological, theoretical, and social meanings of dance practices, performances, and institutions. In Meaning in Motion, Jane C. Desmond brings together the work of critics who have ventured into the boundaries between dance and cultural studies, and thus maps a little-known and rarely explored critical site. Writing from a broad range of perspectives, contributors from disciplines as varied as art history and anthropology, dance history and political science, philosophy and women's studies chart the questions and challenges that mark this site. How does dance enact or rework social categories of identity? How do meanings change as dance styles cross borders of race, nationality, or class? How do we talk about materiality and motion, sensation and expressivity, kinesthetics and ideology? The authors engage these issues in a variety of contexts: from popular social dances to the experimentation of the avant-garde; from nineteenth-century ballet and contemporary Afro-Brazilian Carnival dance to hip hop, the dance hall, and film; from the nationalist politics of folk dances to the feminist philosophies of modern dance. Giving definition to a new field of study, Meaning in Motion broadens the scope of dance analysis and extends to cultural studies new ways of approaching matters of embodiment, identity, and representation. Contributors. Ann Cooper Albright, Evan Alderson, Norman Bryson, Cynthia Cohen Bull, Ann Daly, Brenda Dixon Gottschild, Susan Foster, Mark Franko, Marianne Goldberg, Amy Koritz, Susan Kozel, Susan Manning, Randy Martin, Angela McRobbie, Kate Ramsey, Anna Scott, Janet Wolff
Music-Dance by
Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.
No fixed points : dance in the twentieth century by
The definitive history of twentieth-century theatrical dance, enhanced with more than 200 exceptional photographs Winner of the 2005 Congress on Research in Dance Award for Outstanding Publication in Dance Research "This work is not just reader friendly, it's downright compelling in its chronicle of the most explosively revolutionary century the art form of dance has ever experienced."--Karen Campbell, Christian Science Monitor This book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century.
The Oxford Handbook of Dance and Competition by
In the twenty-first century, values of competition underpin the free-market economy and aspirations of individual achievement shape the broader social world. Consequently, ideas of winning and losing, success and failure, judgment and worth, influence the dance that we see and do. Acrossstage, studio, street, and screen, economies of competition impact bodily aesthetics, choreographic strategies, and danced meanings. In formalized competitions, dancers are judged according to industry standards to accumulate social capital and financial gain. Within the capitalist economy, dancingbodies compete to win positions in prestigious companies, while choreographers hustle to secure funding and attract audiences. On the social dance floor, dancers participate in dance-offs that often include unspoken, but nevertheless complex, rules of bodily engagement. And the media attraction tothe drama and spectacle of competition regularly plays out in reality television shows, film documentaries, and Hollywood cinema. Drawing upon a diverse collection of dances across history and geography, The Oxford Handbook of Dance and Competition asks how competition affects the presentation andexperience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.
The Oxford Handbook of Dance and Politics by
In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.
The Oxford Handbook of Dance and Reenactment by
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch ofchoreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive asit relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historicalknowledge and new media.
The Oxford Handbook of Improvisation in Dance by
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while ithas long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets.Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency andcollective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience,cognition, and technologies.
Postdramatic Theatre and Form by
Postdramatic theatre is an essential category of performance that challenges classical elements of drama, including the centrality of plot and character. Tracking key developments in contemporary European and North American performance, this collection redirects ongoing debates about postdramatic theatre, turning attention to the overlooked issue on which they hinge: form. Contributors draw on literary studies, film studies and critical theory to reimagine the formal aspects of theatre, such as space, media and text. The volume expands how scholars think of theatrical form, insisting that formalist analysis can be useful for studying the ways theatre is produced and consumed, and how theatre makers engage with other forms like dance and visual art. Chapters focus on a range of interdisciplinary artists including Tadeusz Kantor, Ann Liv Young and Ryan Trecartin and Lizzie Fitch, as well as theatre's enmeshment within institutional formations like funding agencies, festivals, real estate and healthcare. A timely investigation of the aesthetic structures and material conditions of contemporary performance, this collection refines what we mean, and what we don't, when we speak of postdramatic theatre.
Sayaw : an essay on the American colonial and contemporary traditions and Philippine dance by 
Talk about Contemporary Dance by
A densely illustrated and comprehensive introduction to an art form that is enjoying a boon in popularity due to its links with pop culture, fashion, and music. This engaging and unpretentious introduction to contemporary dance explores the discipline in all its facets, from opera to hiphop and from circus skills to fashion. A chronology of the key dates in the history of dance, from the beginning of the twentieth century to the present, provides context on how the art form has evolved over time. The book is completed by profiles of contemporary dance's thirty most influential exponents and choreographers-- from Merce Cunningham to William Forsythe, Anne Teresa de Keersmaeker to Akram Khan, and Trisha Brown to Pina Bausch. An explanatory chronology and a glossary of key vocabulary complete this essential resource; the only book of its kind on the market.
Dance Workshop in Contemporary Forms
This course is to immerse you with practical and physical studio experience with different contemporary dance forms. A guest facilitator will conduct series of workshop and will produce class output at the end of the semester.
The Ancient Dancer in the Modern World by
When the eighteenth-century choreographer Jean-Georges Noverre sought to develop what is now known as modern ballet, he turned to ancient pantomime as his source of inspiration; and when Isadora Duncan and her contemporaries looked for alternatives to the strictures of classical ballet, they looked to ancient Greek vases for models for what they termed 'natural' movement. This is the first book to examine systematically the long history of the impact of ideas about ancient Greek and Roman dance on modern theatrical and choreographic practices. With contributions from eminent classical scholars, dance historians, theatre specialists, modern literary critics, and art historians, as well as from contemporary practitioners, it offers a very wide conspectus on an under-explored but central aspect of classical reception, dance and theatre history, and the history of ideas.
Choreographing Difference by
The choreographies of Bill T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped establish dance as a crucial discourse of the 90s. These dancers, Ann Cooper Albright argues, are asking the audience to see the body as a source of cultural identity -- a physical presence that moves with and through its gendered, racial, and social meanings. Through her articulate and nuanced analysis of contemporary choreography, Albright shows how the dancing body shifts conventions of representation and provides a critical example of the dialectical relationship between cultures and the bodies that inhabit them. As a dancer, feminist, and philosopher, Albright turns to the material experience of bodies, not just the body as a figure or metaphor, to understand how cultural representation becomes embedded in the body. In arguing for the intelligence of bodies, Choreographing Difference is itself a testimonial, giving voice to some important political, moral, and artistic questions of our time.
Inheriting Dance by
»Inheriting Dance. An Invitation from Pina« sets out at the historical moment we found ourselves in after the passing of Pina Bausch. The Pina Bausch Foundation started their work of carrying the artistic heritage of dancer and choreographer Pina Bausch into the future. This book reflects discussions and questions aroused by her work: How to archive dance? How to deal with the performative heritage at the outset of the 21st century? How to describe the performativity of remembering? And finally, what is the task of an archive for tomorrow, an archive to serve as a workshop for the future? Furthermore, »Inheriting Dance« provides profound insight into the practical work of the Pina Bausch Foundation, on a local, national and global level, aiming at an archive as a place of transformation, exchange, creative production, and artistic practice, similar to an abundantly growing garden. A place for future generations of dancers, artists, non-professionals, and scholars. Contributions by Salomon Bausch, Stephan Brinkmann, Royd Climenhaga, Katharina Kelter, Gabriele Klein, Sharon Lehner, Keziah Claudine Nanevie, Linda Seljimi, Bernhard Thull, Michelle Urban and Marc Wagenbach.
Looking at Contemporary Dance by
With a focus on dance innovation from the late 19th century to the present, this history provides dance students with accessible information on the major contributors to the art. Organized chronologically by the decades in which innovators were born or dance organizations were founded, the study shows the similarities and generational character that arise from shared influence. Rather than illustrations or photographs, this modern guide offers links to YouTube videos and other internet references to view examples of the work discussed. The scope is international, with coverage of German, Swedish, Belgian, Dutch, Taiwanese, Russian, Finnish, and Spanish pioneers of the avant-garde to illustrate that dance is a global language that continues to break boundaries and explore new ideas. Just a few of the 120 artists and performers featured include Martha Graham, Doris Humphrey, George Balanchine, Mark Morris, Twyla Tharp, Merce Cunningham, Paul Taylor, Jose Limon, Katherine Dunham, Chunky Move, and Trey McIntyre.
The Responsive Body by
Choreographer, teacher and the former artistic producer of the Canada Dance Festival Brian Webb encourages everyone in the dance community to speak about dance and the dance experience in this bilingual offering of eight essays on contemporary dance in Canada. "There is a real need for better dance literacy both within the dance community and the broader community," he says. "With these books we hope to provide a context for the reading and appreciation of contemporary dance in contemporary society."
Speaking of dance : twelve contemporary choreographers on their craft by
Speaking of Dance: Twelve Contemporary Choreographers on Their Craft delves into the choreographic processes of some of America's most engaging and revolutionary dancemakers. Based on personal interviews, the book's narratives reveal the methods and quests of, among others, Merce Cunningham, Meredith Monk, Bill T. Jones, Trisha Brown, and Mark Morris. Morgenroth shows how the ideas, craft, and passion that go into their work have led these choreographers to disrupt known forms and expectations. The history of dance in the making is revealed through the stories of these intelligent, articulate, and witty dance masters.
Staging Ghana : artistry and nationalism in state dance ensembles by
The Ghana Dance Ensemble takes Ghana's national culture and interprets it in performance using authentic dance forms adapted for local or foreign audiences. Often, says Paul Schauert, the aims of the ensemble and the aims of the individual performers work in opposition. Schauert discusses the history of the dance troupe and its role in Ghana's post-independence nation-building strategy and illustrates how the nation's culture makes its way onto the stage. He argues that as dancers negotiate the terrain of what is or is not authentic, they also find ways to express their personal aspirations, discovering, within the framework of nationalism or collective identity, that there is considerable room to reform national ideals through individual virtuosity.
Theatrical dance forms such as ballet and modern dance developed in conjunction with that of dance criticism –– without dance criticism, dance would not evolve. This Dance Criticism course explores the analysis and review of dance performances, and guides you into making your own analytical and constructive evaluation of dance-theater, be it on the work of others or of your own. In nurturing the ability to analyze and review dance performances, the course is designed for you to first know the components that make up a dance, in order to second, apply frameworks for its analysis learned through reading and analyzing compositional and ideological frameworks in dance reviews in the 19th to 21st centuries. From knowing, you are expected to compose your own criticism and judgments on theatrical dance works with analysis that is theoretically and analytically well written and well founded.
The Aging Body in Dance by
What does it mean to be able to move? The Aging Body in Dance brings together leading scholars and artists from a range of backgrounds to investigate cultural ideas of movement and beauty, expressiveness and agility. Contributors focus on Euro-American and Japanese attitudes towards aging and performance, including studies of choreographers, dancers and directors from Yvonne Rainer, Martha Graham, Anna Halprin and Roemeo Castellucci to Kazuo Ohno and Kikuo Tomoeda. They draw a fascinating comparison between youth-oriented Western cultures and dance cultures like Japan's, where aging performers are celebrated as part of the country's living heritage. The first cross-cultural study of its kind, The Aging Body in Dance offers a vital resource for scholars and practitioners interested in global dance cultures and their differing responses to the world's aging population.
The Bloomsbury Companion to Dance Studies by
The Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry- Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance, Dance History, Dance and Philosophy, and Digital Dance. Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized its teaching and research. Therefore each author speaks to the labels, methods, issues and histories of each given category, while also exemplifying this scholarship in action. The dances under investigation range from experimental conceptual concert dance through to underground street dance practices, and the geographic reach encompasses dance-making from Europe, North and South America, the Caribbean and Asia. The book ends with a chapter that looks ahead to new directions in dance scholarship, in addition to an annotated bibliography and list of key concepts. The volume is an essential guide for students and scholars interested in the creative and critical approaches that dance studies can offer.
Choreomania : dance and disorder by
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K#65533;lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Dance and other slippages : critical narratives on women, dance and art by Dance on Its Own Terms by
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The chapters emphasize dance history and core disciplinary knowledge in three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
The Dancer Prepares : modern dance for beginners by
Designed for beginning and intermediate courses, this accessible, easy-to-read text provides students with concrete, practical information on both the technical and creative aspects of modern dance. It also covers the basics of anatomy, including posture and injury concerns.
Degas and the Dance by
Among the supreme masterpieces of 19th-century art are Edgar Degas' dramatic, incisive and often brilliantly coloured pictures of the ballet. He has enormous popularity as the foremost artist of the dance - with more than half his vast body of paintings, pastels, drawings and sculptures devoted to the on- and off-stage activities of ballerinas - and this catalogue, accompanying an exhibition, illuminates the theme in its historical context.
Experiencing dance : from student to dance artist by
Experiencing Dance: From Student to Dance Artistwill walk your students through the process of becoming well-rounded dancers and deepen their understanding of dance as an art form. Systematic in its approach, Experiencing Dance: From Student to Dance Artistplaces teachers in the roles of facilitators who encourage critical thinking and student involvement in the learning process. This text is designed for students who have had some dance experience and are interested in exploring the art of dance. With movement experiences and written assignments, more than 45 self-paced lessons, and complete guidelines for building a portfolio, the book provides a complete curriculum progression that can also be used to supplement an existing curriculum covering the following elements: - Understanding dance as an art form - Creating and performing dances - Understanding how cultural diversity influences dance - Evaluating and critiquing dance The book's 15 chapters outline for students the steps involved in the making of a dance artist: how to identify movement potential, express ideas through dance, develop choreography, connect to the community and tradition, showcase student work through a formal production, train to become a dancer, refine the art form, and develop a portfolio. Each chapter includes chapter objectives, a list of lessons, introductory text, three or four lessons, portfolio items, and an end-of-chapter review quiz. The self-paced lessons allow students to work independently and allow teachers to address students of various abilities within a class. Each lesson features the following elements: - Move It! is a student's first experience with the content of the lesson. - Vocabulary section presents selected definitions of key terms. - Curtain Up presents background information that students need to do the work. - Take the Stage features student work produced and shared. - Take a Bow covers student response, evaluation, aesthetics, criticism, and revision. - Spotlight features highlights of prominent dancers and dance companies. - Did You Know? presents further information relating to the lesson, including historical and cultural facts. Whether you use the textbook for one semester or two, you'll find there's nothing like Experiencing Dancefor instilling in your students a fresh, new appreciation of dance.
Judson Dance Theater by
"The Judson Dance Theatre "explores the work and legacy of one of the most influential of all dance companies, which first performed at the Judson Memorial Church in downtown Manhattan in the early 1960s. There, a group of choreographers and dancers--including future well-known artists Twyla Tharp, Carolee Schneemann, Robert Morris, Trisha Brown, Yvonne Rainier, and others--created what came to be known as " postmodern dance." Taking their cues from the experiments of Merce Cunningham, they took movements from everyday life--walking, running, gymnastics--to create dances that influenced not only future dance work but also minimalism in music and art, as well as the wedding of dance and speech in solo performance pieces. Judson's legacy has been explored primarily in the work of dance critic Sally Banes, in a book published in the 1980s. Although the dancers from the so-called "Judson School" continue to perform and create new works--and their influence continues to grow from the US to Europe and beyond--there has not been a book-length study in the last two decades that discusses this work in a broader context of cultural trends. Burt is a highly respected dance critic and historian who brings a unique new vision to his study of the Judson dancers and their work which will undoubtedly influence the discussion of these seminal figures for decades to come "Performative Traces: Judson" "Dance Theatre and Its Legacy "combines history, performance analysis, theory, and criticism to give a fresh view of the work of this seminal group of dancers. It will appeal to students of dance history, theory, and practice, as well as all interested in the avant-grade arts and performance practice in the 20th century.
Making Ballet American by
George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold and original neoclassical style that is celebrated as the first successful American manifestation of the art form. This book intervenes in the prevailinghistorical narrative and rebalances Balanchine's role in dance history by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet. Situating American ballet within a larger context of literary, musical, arts, and dancemodernisms, Making Ballet American examines a series of critical efforts to craft new, modernist ideas about the relevance of classical dancing for the country's society and democracy.The book's unique structure interweaves chapters focused on cultural and intellectual histories of ballet production and discourse with close examinations of three Americana ballets spanning the Depression, World War II, and Cold War eras. Through this blend of cultural and choreographic analysis,Making Ballet American illustrates the evolution of modernist ballet theory and practice during a turbulent historical period. Ultimately, the book argues that the Americanization of Balanchine's neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a farmore complicated story that spans several authors and continents and that pivots on the question of modern art's relationship to American society and the larger world.
Teaching Dance Studies by
Teaching Dance Studies is a practical guide, written by college professors and dancers/choreographers active in the field, introducing key issues in dance pedagogy. Many young people graduating from universities with degrees - either PhDs or MFAs - desire to teach dance, either in college settings or at local dance schools. This collection covers all areas of dance education, including improvisation/choreography; movement analysis; anthropology; theory; music for dance; dance on film; kinesiology/injury prevention; notation; history; archiving; and criticism. Among the contributors included in the volume are: Bill Evans, writing on movement analysis; Susan Foster on dance theory; Ilene Fox on notation; Linda Tomko addresses new approaches to teaching the history of all types of dance; and Elizabeth Aldrich writing on archiving.
Theatre and Dance by
This succinct and engaging text explores the interdependence between theatre and dance. Making a compelling case for the significance of resisting genre distinctions in the arts, Kate Elswit demonstrates why and how the ampersand between theatre and dance needs to be understood as the rule, rather than the exception. This illuminating guide focuses on the interconnected ecosystems of practice that constitute performance history, the expansion of theatre and dance forms on contemporary North American and European stages, and the disciplinary methods that scholars use today to understand such practices, both past and present. Accessible and affordable, this is an ideal resource for theatre students and lovers everywhere.
Understanding Dance by
Understanding Dance is a comprehensive introduction to the aestethetics of dance, and will be an essential text for all those interested in dance as an object of study. Focusing on the work of a number of major choreographers, companies and critics Graham McFee explores the nature of our understanding of Dance by considering the practice of understanding dance-works themselves. He concludes with a validation of the place of dance in society and in education. Troughout he provides detailed insights into the nature and appreciation of art as well as a general grouding in philosophy.
What is dance? : readings in theory and criticism by
A wide variety of writing is included in this anthology, from the practical criticism of Arlene Croce and David Denby to the more scholarly work of Rudoloph Arnheim, Suzanne Langer, and Havelock Ellis. The collection is divided into seven sections: What is Dance?; the Dance Medium; Dance andthe Other Arts; Genre and Style; Language, Notation, and Identity; Dance Criticism; and Dance and Society.
World Dance Cultures by
From healing, fertility and religious rituals, through theatrical entertainment, to death ceremonies and ancestor worship, World Dance Cultures introduces an extraordinary variety of dance forms practiced around the world. This highly illustrated textbook draws on wide-ranging historical documentation and first-hand accounts, taking in India, Bali, Java, Cambodia, China, Japan, Hawai'i, New Zealand, Papua New Guinea, Africa, Turkey, Spain, Native America, South America, and the Caribbean. Each chapter covers a certain region's distinctive dances, pinpoints key issues and trends from the form's development to its modern iteration, and offers a wealth of study features including: Case Studies - zooming in on key details of a dance form's cultural, historical, and religious contexts 'Explorations' - first-hand descriptions of dances, from scholars, anthropologists and practitioners 'Think About' - provocations to encourage critical analysis of dance forms and the ways in which they're understood Discussion Questions - starting points for group work, classroom seminars or individual study Further Study Tips - listing essential books, essays and video material. Offering a comprehensive overview of each dance form covered with over 100 full color photos, World Dance Cultures is an essential introductory resource for students and instructors alike.
Theatrical dance forms such as ballet and modern dance developed in conjunction with that of dance criticism –– without dance criticism, dance would not evolve. This Dance Criticism course explores the analysis and review of dance performances, and guides you into making your own analytical and constructive evaluation of dance-theater, be it on the work of others or of your own. In nurturing the ability to analyze and review dance performances, the course is designed for you to first know the components that make up a dance, in order to second, apply frameworks for its analysis learned through reading and analyzing compositional and ideological frameworks in dance reviews in the 19th to 21st centuries. From knowing, you are expected to compose your own criticism and judgments on theatrical dance works with analysis that is theoretically and analytically well written and well founded.
The Ancient Dancer in the Modern World by
When the eighteenth-century choreographer Jean-Georges Noverre sought to develop what is now known as modern ballet, he turned to ancient pantomime as his source of inspiration; and when Isadora Duncan and her contemporaries looked for alternatives to the strictures of classical ballet, they looked to ancient Greek vases for models for what they termed 'natural' movement. This is the first book to examine systematically the long history of the impact of ideas about ancient Greek and Roman dance on modern theatrical and choreographic practices. With contributions from eminent classical scholars, dance historians, theatre specialists, modern literary critics, and art historians, as well as from contemporary practitioners, it offers a very wide conspectus on an under-explored but central aspect of classical reception, dance and theatre history, and the history of ideas.
The Ballets Russes and Beyond by
Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.
Before, between, and beyond : three decades of dance writing by
Sally Banes has been a preeminent critic and scholar of American contemporary dance, and Before, Between, Beyond spans more than thirty years of her prolific work. Beginning with her first published review and including previously unpublished papers, this collection presents some of her finest works on dance and other artistic forms. It concludes with her most recent research on Geroge Balanchine's dancing elephants. In each piece, Banes's detailed eye and sensual prose strike a rare balance between description, context, and opinion, delineating the American artistic scene with remarkable grace. With contextualizing essays by dance scholars Andrea Harris, Joan Acocella, and Lynn Garafola, this is a compelling, insightful indispensable summation of Banes's critical career.
Dance Anecdotes : Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance by
Mindy Aloff, a leading dance critic who has written for The Nation, The New Republic, and The New Yorker, has brought together here a marvelous book of stories by and about dancers--entertaining and informative anecdotes that capture the boundless variety and richness of dance as an art, atradition, a profession, a pastime, an obsession, a reality, and, for the dancer, an ideal. George Balanchine is here, and so are Fred Astaire, Margot Fonteyn, Rudolf Nureyev, Savion Glover, Martha Graham, and Lola Montez, and also stars from other arts--such as Akira Kurosawa and Bob Dylan--who have spoken about dancing with wit or illumination. There are stories about Irene andVernon Castle, Cyd Charisse and Gene Kelly, Bob Fosse and Gwen Verdon, Paul Taylor and Mark Morris. We read about the charisma and spontaneity of Anna Pavlova, about the secret to Vaslav Nijinsky's success ("I worked like an ox and I lived like a martyr"), about George Balanchine racing to a uniondispute with a bag of dimes. Many of the stories are amusing, but some are rueful, even sad, and a few are dark. Aloff concludes the volume with an essay about how dancing has been able to record its past, sometimes over centuries, and about how the art of the dancer, apparently as ephemeral inperformance as cloud patterns, turns out, when conditions are hospitable, to be much more hardy and resilient than many people suppose. A glorious promenade of stories that stretch as far back as classical times and as far afield as Japan, India, and Java, this superb collection will be treasured by everyone who loves dance, whether young or old.
Dance [and] Theory by
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
Grazia Deledda's Dance of Modernity by
Grazia Deledda's Dance of Modernity is a highly original and innovative interpretation of Deledda's narrative in philosophical perspective, which also includes the study of textual variations and considers cultural history in Italy during the early twentieth century.
I Want To Be Ready : Improvised Dance as a Practice of Freedom by
"Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved." ---Fred Moten, Duke University "In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book." ---Barbara Browning, New York University "This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics." ---Randy Martin, Tisch School of Arts at New York University I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies. Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill. Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Myth performance in the African diasporas : ritual, theatre, and dance by
Diaspora studies continue to expand in range and scope and remain fertile terrain for investigating multiple techniques of myth creation in dance performance, history as performance, dramatic narrative, and staged rituals in the field. Similarly, research in postcoloniality, gender/sexuality, intercultural, and literary studies, among others, all engage and feature core components of performance and myth in articulating and understanding their fields. This sharing of similar components also demonstrates the interrelatedness of these fields. In Myth Performance in the African Diasporas: Ritual, Theatre, and Dance, the authors contend that performance traditions across artistic disciplines reveal a shared--if sometimes varied--journey among diasporic artists to reconnect with their African ancestors. The volume begins with a historical and aesthetic overview of how dramatists, choreographers, and performance artists have approached the task of interpreting African myth. The individual chapters reveal how specific artists, dramatists, and choreographers have interpreted African myth and what performative approaches and traditions they have used. Focusing on theatre practitioners from the nineteenth century through the present, the authors examine performative traditions from Canada, the United States, the Caribbean, and Latin America. Drawing upon research in theatre, dance, and literary texts, Myth Performance in the African Diasporas will be crucial to academics interested in African performance viewed through the prism of myth making and spiritual/ritualistic stagings. Besides those interested in diasporic studies, this book will also be useful to scholars and students of history, drama, theatre, and dance.
Teaching Dance Studies by
Teaching Dance Studies is a practical guide, written by college professors and dancers/choreographers active in the field, introducing key issues in dance pedagogy. Many young people graduating from universities with degrees - either PhDs or MFAs - desire to teach dance, either in college settings or at local dance schools. This collection covers all areas of dance education, including improvisation/choreography; movement analysis; anthropology; theory; music for dance; dance on film; kinesiology/injury prevention; notation; history; archiving; and criticism. Among the contributors included in the volume are: Bill Evans, writing on movement analysis; Susan Foster on dance theory; Ilene Fox on notation; Linda Tomko addresses new approaches to teaching the history of all types of dance; and Elizabeth Aldrich writing on archiving.
Through the Eyes of a Dancer by
Through the Eyes of a Dancer compiles the writings of noted dance critic and editor Wendy Perron. In pieces for The SoHo Weekly News, Village Voice, The New York Times, and Dance Magazine, Perron limns the larger aesthetic and theoretical shifts in the dance world since the 1960s. She surveys a wide range of styles and genres, from downtown experimental performance to ballets at the Metropolitan Opera House. In opinion pieces, interviews, reviews, brief memoirs, blog posts, and contemplations on the choreographic process, she gives readers an up-close, personalized look at dancing as an art form. Dancers, choreographers, teachers, college dance students--and anyone interested in the intersection between dance and journalism--will find Perron's probing and insightful writings inspiring. Through the Eyes of a Dancer is a nuanced microcosm of dance's recent globalization and modernization that also provides an opportunity for new dancers to look back on the traditions and styles that preceded their own.
Understanding Dance by
Understanding Dance is a comprehensive introduction to the aestethetics of dance, and will be an essential text for all those interested in dance as an object of study. Focusing on the work of a number of major choreographers, companies and critics Graham McFee explores the nature of our understanding of Dance by considering the practice of understanding dance-works themselves. He concludes with a validation of the place of dance in society and in education. Troughout he provides detailed insights into the nature and appreciation of art as well as a general grouding in philosophy.
Dance Pre-Production Preparation
This course is the summary performance, choreography and teaching exhibition in collaboration with Benilde Experimental Dance Theater. You will produce a full-length dance production (min. 60 mins) that could include solos, duets, trios, a major group work and/or a chosen repertory.
For the Applied Dance Studies elective, this course will provide you with a guided practical experience as a co-teacher for Benilde Experimental Dance.
Beginning Modern Dance by
Beginning Modern Dance text and web resource introduce undergraduate and high school students to modern dance as a performing art through participation, appreciation, and academic study in the dance technique course. In the book, 50 photos with concise descriptions support students in learning beginning modern dance technique and in creating short choreographic or improvisational studies. For those new to modern dance, the book provides a friendly orientation on the structure of a modern dance technique class and includes information regarding class expectations, etiquette, and appropriate attire. Students also learn how to prepare mentally and physically for class, maintain proper nutrition and hydration, and avoid injury. Beginning Modern Dance supports students in understanding modern dance as a performing art and as a medium for artistic expression. The text presents the styles of modern dance artists Martha Graham, Doris Humphrey and José Limón, Katherine Dunham, Lester Horton, and Merce Cunningham along with an introduction to eclectic modern dance style. Chapters help students begin to identify elements of modern dance as they learn, view, and respond to dance choreography and performance. The accompanying web resource offers 38 interactive video clips and photos of dance technique to support learning and practice. In addition, e-journal and self-reflection assignments, performance critiques, and quizzes in the web resource help students develop their knowledge of modern dance as both performers and viewers. (The web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) Through modern dance, students learn new movement vocabularies and explore their unique and personal artistry in response to their world. Beginning Modern Dance text and web resource support your students in their experience of this unique and dynamic genre of dance. Beginning Modern Dance is a part of Human Kinetics' Interactive Dance Series. The series includes resources for modern dance, ballet, and tap dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.
Choreographing Discourses by
Choreographing Discourses brings together essays originally published by Mark Franko between 1996 and the contemporary moment. Assembling these essays from international, sometimes untranslated sources and curating their relationship to a rapidly changing field, this Reader offers an important resource in the dynamic scholarly fields of Dance and Performance Studies. What makes this volume especially appropriate for undergraduate and graduate teaching is its critical focus on twentieth- and twenty-first-century dance artists and choreographers - among these, Oskar Schlemmer, Merce Cunningham, Kazuo Ohno, William Forsythe, Bill T. Jones, and Pina Bausch, some of the most high-profile European, American, and Japanese artists of the past century. The volume's constellation of topics delves into controversies that are essential turning points in the field (notably, Still/Here and Paris is Burning), which illuminate the spine of the field while interlinking dance scholarship with performance theory, film, visual, and public art. The volume contains the first critical assessments of Franko's contribution to the field by André Lepecki and Gay Morris, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography. Ultimately, this Reader encourages a wide scope of conversation and engagement, opening up core questions in ethics, embodiment, and performativity.
Choreomania by
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K�lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Consuming dance : choreography and advertising by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Contemporary Choreography by
Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.
Contemporary Performance Lighting by
This is the first major collection of critical responses to performance lighting and includes contributions from award-winning lighting designers, researchers and artists. Showcasing recent examples of work - with case studies of lighting practices in Britain, Europe, the US and China - combined with theoretical and analytical approaches to practice, this will enrich your understanding of the role and potential of light in performance and related creative practices. This volume explores three core themes and provides a framework for thinking through the role of light in performance: 1. Experience - considers both the audience's experience of light and the ways in which light influences the experience of performers 2. Creativity - examines both the creative, performative capacities of light in performance, as well as the creative practices of lighting designers 3. Meaning - offers an expanded view of performance aesthetics by examining the capacity of light to influence and generate meaning within performance. The case studies are drawn from a wide-array of lighting practice, including: Jennifer Tipton on the role of light as a structural language in performance; Jesper Kongshaug on the lighting of Copenhagen's Tivoli Gardens; Lucy Carter on her work in installation and dance; Psyche Chui on the productive fusion of Western lighting techniques with contemporary Chinese opera; Katharine Williams on the role of light in feminist political theatre made by RashDash; and Paule Constable on storytelling with light in a range of productions, including War Horse, The Curious Incident of the Dog in the Night Time and Angels in America.
Dance by
"This textbook covers the content GCSE students require to carry out all the coursework tasks and to prepare for the written paper for AQA GCSE performing arts: dance."--Back cover.
Dance : the art of production by
Every aspect of dance production is discussed, including choreography, lighting, and music.
Dance about Anything by
Dance About Anythinghelps K-12 teachers learn the creative process for developing movement and dance around a theme--and how to integrate dance with other subjects. The book follows a logical progression of movement activities, increasing in complexity from inspiration and dance design to exhibition of the integrated project. It provides all the materials for teachers to facilitate the creative and critical-thinking skills related to planning integrated projects: -Students explore the dance-making process through seven easy-to-follow tasks that take them from inspiration and choosing a theme to solving movement problems and making movement phrases, culminating with work that involves dance design, revisions, and performance. -Students integrate dance with other subject areas such as science, math, social studies, visual arts, theater, language arts, and music. -Students work through integrated projects involving multiple subjects around a common theme. They learn how to transfer the work habits and strategies they learn through dance making to their work in other subjects, and then they showcase their work. Dance About Anythingis organized into four parts. Part Ioutlines the creative process of choosing a theme for a dance and explains how movement phrases can be developed from almost any inspiration. Part IIlays out the remaining tasks and steps on the path to exhibition. Part IIIshows how to develop and implement integrated projects. It discusses practical concerns about who, what, how, when, and where and provides a step-by-step guide for project completion. Part IVdetails three ready-to-use integrated projects with themes (weather, community, and prejudice and human rights). These are semester-length projects and can be used in advocating for awareness of the value of dance, connecting with other subjects, and getting students to work together on a unifying theme. The included CD-ROM provides more than 65 reproducible forms that fuel students' creativity and aid teachers in assessment. Among the forms are 8 Inspiration Activity Cards and 8 Dance Designing Activity Cards that cover a variety of themes, including those of the three complete projects provided in the book. The book includes ideas for written and oral assessment of students' progress, and the CD-ROM provides teachers with assessment forms for doing so. In addition, a template of integrated projects is included that gives readers an opportunity to create their own integrated projects, such as those found in part IV of the book. Dance About Anythingprovides the information and guidance that teachers and students need in order to become dance architects, designing and building dances and integrated projects from start to finish.
The dance bible : the complete resource for aspiring dancers by
The Dance Bible is a book for beginners who have the passion to dance but are unsure how to transform their creative impulse into a career. Advises readers on modern dance, jazz, ballet, contemporary, non-western forms, and even street dance Describes and discuses training regimes and fundamental dance techniques Offers suggestions on how to develop one's own unique style of expression Dancers get advice on physical conditioning and learning to care for their body, on and off the stage Finally, the author offers detailed advice on how beginning dancers can effectively market their talent, maximize income, and sustain a successful career in the highly competitive world of dance.
Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
Dance Production and Management by
Everything from early conceptual work through performance and touring are covered in this how-to book for dance management. Dancers will create a fictional company and follow it through a myriad of steps and complexities necessary for a successful production and troupe. After establishing a mission statement; holding auditions; and considering the specific needs of music, sound, lighting, costuming, and make up, the manual provides would-be dance directors with basic theater terminology and the skills needed when planning marketing and public relations campaigns.
The Dancer Prepares by
Designed for beginning and intermediate courses, this accessible, easy-to-read text provides students with concrete, practical information on both the technical and creative aspects of modern dance. It also covers the basics of anatomy, including posture and injury concerns.
Dance Research Methodologies by
Dance Research Methodologies: Ethics, Orientations, and Practices captures the breadth of methodological approaches to research in dance in the fine arts, the humanities, the social sciences, and the natural sciences by bringing together researchers from around the world writing about a variety of dance forms and practices. This book makes explicit the implicit skills and experiences at work in the research processes by detailing the ethics, orientations, and practices fundamental to being a researcher across the disciplines of dance. Collating together approaches from key subdisciplines, this book brings together perspectives on dance practice, dance studies, dance education, dance science, as well as dance research in cross-, multi-, and interdisciplinary fields. Practice-based chapters cover methodological approaches that provide rich examples of how research design and implementation are navigated by practicing scholars. Dance Research Methodologies also includes a practical workbook that helps readers to decide upon, refine, and enact their research, as well as develop ways in which to communicate their process and outcomes. This vital textbook is a valuable resource for research faculty interested in interdisciplinary conversation and practice, emerging scholars honing their methodological approaches, graduate students engaged in research-based coursework and projects, and advanced undergraduates.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dance Teaching Methods and Curriculum Design by
- Explains, with sample unit plans, how to teach the basics of 10 popular dance forms for K-12 settings - Explains how to apply educational theories to dance - Presents dance education in context of the national standards for dance - Helps readers build portfolios that demonstrate their ability to create lesson plans, a unit plan, and a dance curriculum There''s a lot more to dance education than steps and dances. To be successful, dance educators must practice a variety of skills that go far beyond dancing. They must incorporate educational theories to meet state and national arts standards, establish a solid knowledge base of the dance form to be taught, and set up developmentally appropriate learning experiences. To help aspiring dance educators acquire the skills that will make them successful in the classroom, this book provides vital information on teaching methods in general, then shares specific applications for teaching each dance form. Dance Teaching Methods and Curriculum Design presents a conceptual model of dance education that embraces dance as an art form and disseminates it through learning experiences in dancing, dance making, and dance appreciation. Through this book, dance educators will broaden their understanding of the dance content that is appropriate for their students and their educational setting. Part I presents an overview of the teaching and learning process in dance, including the background information necessary to plan, organize, set up, and deliver an effective learning experience. It provides essential information about the national standards in dance and guides readers smoothly through the process of - identifying both dance content knowledge and teacher knowledge, - developing observation skills, - being aware of how students learn movement, - constructing a dance class, - choosing a presentational method, - addressing student behaviors in the classroom, - analyzing the learning environment, and - teaching for artistic development across various dance forms. Part II offers ideas for unit and curriculum development, design, and evaluation. Readers will learn how to create learning experiences, lesson plans, unit plans, and finally a dance curriculum. They will become familiar with four categories of dance that encompass 10 dance forms; they also will discover the application of movement, choreographic, and aesthetic principles to these dance forms. Readers will find step-by-step instructions for teaching beginning dance units in 10 different dance forms to offer a curriculum of experiences for students in preschool to college settings. This book contains many special features so that readers can access important information quickly: - Chapter objectives and summaries - Tables that compile information about different topics - Highlight boxes that draw attention to important information - Self-check lists that provide a quick way to understand a process or learn a new concept - It''s Your Turn activities that provide practical, interactive experiences in dance - 33 forms, including lesson plans, teaching evaluations, unit plans, block time plans (with detailed information about what to teach in each class), and scope and sequence forms that show the order in which to teach various dances and techniques - Ready-made rubrics that match the objectives for each of the sample unit plans for evaluation - Sample unit plans for 10 different dance forms, each containing a three-week unit of 15 progressive classes - An extensive list of book, music, and video resources for each dance unit - More than 120 photos and 66 illustrations that illustrate the various dance forms and techniques - Icons for movement, choreographic, and aesthetic principles as they apply to each dance form - Beyond Technique exercises that provide additional learning activities in dance making and dance appreciation for each sample unit - A culminating portfolio project that synthesizes all of the elements explored in the book into a practical product that prospective dance educators can present to potential employers Even the most experienced dance educators will appreciate the sample units for 10 different dance forms, divided into four categories: - Creative movement and creative dance - Recreational dance (including social dance, contra dance, folk dance, and square dance) - Concert dance (including ballet, modern dance, jazz, and tap) - Aerobic dance (dance fitness) Dance Teaching Methods and Curriculum Design provides a sound foundation in the art and science of dance pedagogy-for those who seek a rewarding career in teaching dance.
Dramaturgy: the Basics by
Dramaturgy: The Basics introduces the art of dramaturgy, explaining how dramaturgy works, what a dramaturg is, and how to appreciate their unique contribution to theatre-making. A wide-ranging account of the role of this vital element of theatre helps students and aspiring performance makers to apply dramaturgy to a full spectrum of theatrical disciplines. This guidebook teaches dramatic theories and script analysis as essential skills for aspiring dramaturgs and illustrates the various methods of reading for specific functions of dramaturgy. Dramaturgy: The Basics offers practical step-by-step instructions on how to practice production dramaturgy, dramaturgy of new work, translation, adaptation, devised theatre, site-specific theatre, literary management, criticism, editing, producing, and dramaturgical innovation, with detailed questions to consider at each stage of the process. This book aims to help students develop a dramaturgical mindset, enabling them to build a critical, inquisitive, and socially conscious perspective that is beneficial in all professions and relationships. Resource lists, further reading guides, and chapter summaries make this an outstanding guidebook. An essential read for anyone hoping to make, understand, or discuss theatre, Dramaturgy: The Basics provides a clear, accessible resource for approaching this integral but often misunderstood facet of theatre-making.
Fields in motion : ethnography in the worlds of dance by
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
Making Video Dance by
Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance. This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina's own screen dance practice, with reference to specific works that she has directed and which are available to view online New and revised practical exercises New illustrations specially drawn for this edition
The Oxford Handbook of Dance and Reenactment by
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch of choreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive as it relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historical knowledge and new media.
The Oxford Handbook of Dance and Wellbeing by
In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing. The Oxford Handbook of Dance and Wellbeing examines dance and related movement practices from the perspectives of neuroscience and health, community and education, and psychology and sociology to contribute towards an understanding of wellbeing, offer new insights into existing practices, and create a space where sufficient exchange is enabled. The handbook's research components include quantitative, qualitative, and arts-based research, covering diverse discourses, methodologies, and perspectives that add to the development of a complete picture of the topic. Throughout the handbook's wide-ranging chapters, the objective observations, felt experiences, and artistic explorations of practitioners interact with and are printed alongside academic chapters to establish an egalitarian and impactful exchange of ideas.
Philippine neo-ethnic choreography : a creative process by 
Preserving Dance Across Time and Space by
Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.
The Production Managers Toolkit by
- The Production Manager's Toolkit is a well-rounded look at the theatrical production management profession, discussing management techniques, communication skills, and relationship building tactics to create effective and successful Production Managers. - This is the first and most comprehensive book devoted to theatrical production management. - This second edition includes all new case studies, new chapters, and updated content throughout, showcasing a continued progressive approach to the job and the field.
Research methods in performance studies by
"Research Methods in Performance Studies offers a unique approach for readers to engage with performance research and methods in practice. It examines ways of making performance, researching performance cultures, researching performers who themselves are engaged in research, and conducting research in the context of enduring and emergent themes of performance studies inquiry"-- Provided by publisher.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Supporting Staged Intimacy by
This book is designed for all members of stage crew who are responsible for maintaining a respectful, inclusive work and artistic environment, and documenting administrative and artistic matters throughout the entire production process. The professional theatre industry desires to understand the process involved in utilizing Intimacy Directors or consultants: industry professionals want to know when Intimacy Directors or intimate staging are required and how to build a more supportive and consensual working environment in these scenarios. Empowers theatre artists with tools and techniques to assist in the creation of a supportive and consensual working environment, and recommended practices and protocols for maintaining intimate staging during the run of a production.
Theatre Across Borders by
Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance? How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey? Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner? Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico. Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores: - how different cultures conceive theatre and how the norm of one place is the experiment of another; - the ways in which theatre across the world mirrors its socio political and philosophical climate; - how, for thousands of years, theatre has been a tool to both disrupt and to heal; - and how, even within the many differences, there are universals from which we can all learn and how theatre does cross borders Of interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.
Unworking Choreography by
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
Dance Pre-Production Preparation
This course is the summary performance, choreography and teaching exhibition in collaboration with Benilde Experimental Dance Theater. You will produce a full-length dance production (min. 60 mins) that could include solos, duets, trios, a major group work and/or a chosen repertory.
For the Applied Dance Studies elective, this course will provide you with a guided practical experience as a co-teacher for Benilde Experimental Dance.
The Body of the People by
The Body of the People is the first comprehensive study of dance and choreography in East Germany. More than twenty years after the fall of the Berlin Wall, Jens Richard Giersdorf investigates a national dance history in the German Democratic Republic, from its founding as a Communist state that supplanted the Soviet zone of occupation in 1949 through the aftermath of its collapse forty years later, examining complex themes of nationhood, ideology, resistance, and diaspora through an innovative mix of archival research, critical theory, personal narrative, and performance analysis. Giersdorf looks closely at uniquely East German dance forms--including mass exercise events, national folk dances, Marxist-Leninist visions staged by the dance ensemble of the armed forces, the vast amateur dance culture, East Germany's version of Tanztheater, and socialist alternatives to rock 'n' roll--to demonstrate how dance was used both as a form of corporeal utopia and of embodied socialist propaganda and indoctrination. The Body of the People also explores the artists working in the shadow of official culture who used dance and movement to critique and resist state power, notably Charlotte von Mahlsdorf, Arila Siegert, and Fine Kwiatkowski. Giersdorf considers a myriad of embodied responses to the Communist state even after reunification, analyzing the embodiment of the fall of the Berlin Wall in the works of Jo Fabian and Sasha Waltz, and the diasporic traces of East German culture abroad, exemplified by the Chilean choreographer Patricio Bunster.
The Choreographic by
An investigation of dance and choreography that views them not only as artistic strategies but also as intrinsically theoretical and critical practices. The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters, steps, trembles, and spasms. In The Choreographic, Jenn Joy examines dance and choreography not only as artistic strategies and disciplines but also as intrinsically theoretical and critical practices. She investigates artists in dialogue with philosophy, describing a movement of conceptual choreography that flourishes in New York and on the festival circuit. Joy offers close readings of a series of experimental works, arguing for the choreographic as an alternative model of aesthetics. She explores constellations of works, artists, writers, philosophers, and dancers, in conversation with theories of gesture, language, desire, and history. She choreographs a revelatory narrative in which Walter Benjamin, Pina Bausch, Francis Alÿs, and Cormac McCarthy dance together; she traces the feminist and queer force toward desire through the choreography of DD Dorvillier, Heather Kravas, Meg Stuart, La Ribot, Miguel Gutierrez, luciana achugar, and others; she maps new forms of communicability and pedagogy; and she casts science fiction writers Samuel R. Delany and Kim Stanley Robinson as perceptual avatars and dance partners for Ralph Lemon, Marianne Vitali, James Foster, and Janet Cardiff and George Bures Miller. Constructing an expanded notion of the choreographic, Joy explores how choreography as critical concept and practice attunes us to a more productively uncertain, precarious, and ecstatic understanding of aesthetics and art making.
Dance and light : the partnership between choreography and lighting design by
Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.
Dance Composition by
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Global movements : dance, place, and hybridity by
Global Movements: Dance, Place, and Hybridity provides a theoretical and practical examination of the relationships between the global mobility of ideas and people, and its impact on dance and space. Using seven case studies, the contributors illustrate the mixture of dance styles that result from the global diffusion of cultural traditions and practices. The collection portrays a multitude of ways in which public and private spaces—stages, buildings, town squares as well as natural environments—are transformed and made meaningful by culturally diverse dances. Global Movements will be of interest to scholars of geography, dance, and global issues.
I Want To Be Ready : Improvised Dance as a Practice of Freedom by
"Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved." ---Fred Moten, Duke University "In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book." ---Barbara Browning, New York University "This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics." ---Randy Martin, Tisch School of Arts at New York University I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies. Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill. Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Moving without a body : digital philosophy and choreographic thoughts by
A radically empirical exploration of movement and technology and the transformations of choreography in a digital realm. Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system. Drawing on the radical empiricism of Gilles Deleuze and Alfred North Whitehead, she argues that this does not amount to a technical assessment of software's capacity to record motion but requires a philosophical rethinking of what movement itself is, or can become. Discussing the development of different audiovisual tools and the shift from analog to digital, she focuses on some choreographic realizations of this evolution, including works by Loie Fuller and Merce Cunningham. Throughout, Portanova considers these technologies and dances as ways to think--rather than just perform or perceive--movement. She distinguishes the choreographic thought from the performance: a body performs a movement, and a mind thinks or choreographs a dance. Similarly, she sees the move from analog to digital as a shift in conception rather than simply in technical realization. Analyzing choreographic technologies for their capacity to redesign the way movement is thought, Moving without a Body offers an ambitiously conceived reflection on the ontological implications of the encounter between movement and technological systems.
New German Dance Studies by
New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
The Production Managers Toolkit by
- The Production Manager's Toolkit is a well-rounded look at the theatrical production management profession, discussing management techniques, communication skills, and relationship building tactics to create effective and successful Production Managers. - This is the first and most comprehensive book devoted to theatrical production management. - This second edition includes all new case studies, new chapters, and updated content throughout, showcasing a continued progressive approach to the job and the field.
This course is the summary performance, choreography and teaching exhibition in collaboration with Benilde Experimental Dance Theater. You will produce a full-length dance production (min. 60 mins) that could include solos, duets, trios, a major group work and/or a chosen repertory.
For the Applied Dance Studies elective, this course will provide you with a guided practical experience as a co-teacher for Benilde Experimental Dance.
Choreographing Discourses by
Choreographing Discourses brings together essays originally published by Mark Franko between 1996 and the contemporary moment. Assembling these essays from international, sometimes untranslated sources and curating their relationship to a rapidly changing field, this Reader offers an important resource in the dynamic scholarly fields of Dance and Performance Studies. What makes this volume especially appropriate for undergraduate and graduate teaching is its critical focus on twentieth- and twenty-first-century dance artists and choreographers - among these, Oskar Schlemmer, Merce Cunningham, Kazuo Ohno, William Forsythe, Bill T. Jones, and Pina Bausch, some of the most high-profile European, American, and Japanese artists of the past century. The volume's constellation of topics delves into controversies that are essential turning points in the field (notably, Still/Here and Paris is Burning), which illuminate the spine of the field while interlinking dance scholarship with performance theory, film, visual, and public art. The volume contains the first critical assessments of Franko's contribution to the field by André Lepecki and Gay Morris, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography. Ultimately, this Reader encourages a wide scope of conversation and engagement, opening up core questions in ethics, embodiment, and performativity.
Consuming dance : choreography and advertising by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertisingindustry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as culturalproducts, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning.Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and thediscursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Contemporary Choreography by
Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.
Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
Dance Music Manual by
What are the differences between trance and chill out? How can you create compelling, professional-sounding original or remixed dance tracks? With Dance Music Manual, you'll get coverage of every aspect of dance music production--from designing sounds to compression, from effects to mixing and mastering--and go even further, with advice on publishing and promoting your tracks. No matter your level of experience, this book is packed with techniques and practical tips to help you achieve professional results, whether you're an aspiring dance music producer, DJ, remixer, recording engineer, musician, or composer. The companion website provides examples of synthesis programming, compression, effects, MIDI files and examples of the tracks discussed within this edition. The third edition includes up-to-date dance music coverage, including new chapters on arranging dance music, layering kicks, more on music theory, fundamentals of rhythm, building professional drum loops, gain structure, producing dubstep, and advice on the very latest production techniques. ng professional drum loops, gain structure, producing dubstep, and advice on the very latest production techniques.
Dance Music Manual by
Dance Music Manual,aimed at the novice and seasoned professional alike, takes the reader through the software and hardware needed to create original, captivating, and professional sounding music. Key features of Dance Music Manualinclude: How to create compelling, professional-sounding original or remixed dance tracks. The differences between different genres and how to produce them. How to expose your tracks to their chosen audience and equip you with the skills to develop your career as a dance music producer and engineer. Along with the book is a companion website, which provides examples of synthesis programming, compression, effects, MIDI files, and examples of the tracks discussed in this edition. The new and improved fourth edition covers processes and techniques used by music producers, masters, mixers, and DJs. Each page is full of facts presented in a manner that is easy to absorb and implement.
Dance Production and Management by
Everything from early conceptual work through performance and touring are covered in this how-to book for dance management. Dancers will create a fictional company and follow it through a myriad of steps and complexities necessary for a successful production and troupe. After establishing a mission statement; holding auditions; and considering the specific needs of music, sound, lighting, costuming, and make up, the manual provides would-be dance directors with basic theater terminology and the skills needed when planning marketing and public relations campaigns.
Dance Research Methodologies by
Dance Research Methodologies: Ethics, Orientations, and Practices captures the breadth of methodological approaches to research in dance in the fine arts, the humanities, the social sciences, and the natural sciences by bringing together researchers from around the world writing about a variety of dance forms and practices. This book makes explicit the implicit skills and experiences at work in the research processes by detailing the ethics, orientations, and practices fundamental to being a researcher across the disciplines of dance. Collating together approaches from key subdisciplines, this book brings together perspectives on dance practice, dance studies, dance education, dance science, as well as dance research in cross-, multi-, and interdisciplinary fields. Practice-based chapters cover methodological approaches that provide rich examples of how research design and implementation are navigated by practicing scholars. Dance Research Methodologies also includes a practical workbook that helps readers to decide upon, refine, and enact their research, as well as develop ways in which to communicate their process and outcomes. This vital textbook is a valuable resource for research faculty interested in interdisciplinary conversation and practice, emerging scholars honing their methodological approaches, graduate students engaged in research-based coursework and projects, and advanced undergraduates.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dramaturgy: the Basics by
Dramaturgy: The Basics introduces the art of dramaturgy, explaining how dramaturgy works, what a dramaturg is, and how to appreciate their unique contribution to theatre-making. A wide-ranging account of the role of this vital element of theatre helps students and aspiring performance makers to apply dramaturgy to a full spectrum of theatrical disciplines. This guidebook teaches dramatic theories and script analysis as essential skills for aspiring dramaturgs and illustrates the various methods of reading for specific functions of dramaturgy. Dramaturgy: The Basics offers practical step-by-step instructions on how to practice production dramaturgy, dramaturgy of new work, translation, adaptation, devised theatre, site-specific theatre, literary management, criticism, editing, producing, and dramaturgical innovation, with detailed questions to consider at each stage of the process. This book aims to help students develop a dramaturgical mindset, enabling them to build a critical, inquisitive, and socially conscious perspective that is beneficial in all professions and relationships. Resource lists, further reading guides, and chapter summaries make this an outstanding guidebook. An essential read for anyone hoping to make, understand, or discuss theatre, Dramaturgy: The Basics provides a clear, accessible resource for approaching this integral but often misunderstood facet of theatre-making.
Fields in Motion by
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
Making Video Dance by
Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance. This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina's own screen dance practice, with reference to specific works that she has directed and which are available to view online New and revised practical exercises New illustrations specially drawn for this edition
The Oxford Handbook of Dance and Reenactment by
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch ofchoreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive asit relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historicalknowledge and new media.
The Oxford Handbook of Dance and the Popular Screen by
The Oxford Handbook of Dance and the Popular Screen sets the agenda for the study of dance in popular moving images - films, television shows, commercials, music videos, and YouTube - and offers new ways to understand the multi-layered meanings of the dancing body by engaging withmethodologies from critical dance studies, performance studies, and film/media analysis. Through these arguments, the chapters demonstrate how dance on the popular screen might be read and considered through the different bodies and choreographies being shown.Questions the contributors consider include: How do dance and choreography function within the filmic apparatus? What types of bodies are associated with specific dances and how does this affect how dance(s) is/are perceived in the everyday? How do the dancing bodies on screen negotiate power,access, and agency? How are multiple choreographies of identity (e.g., race, class, gender, sexuality, and nation) set in motion through the narrative, dancing bodies, and/or dance style? What types of corporeal labors (dance training, choreographic skill, rehearsal, the constructed notion of"natural talent") are represented or ignored? What role does a specific film have in the genealogy of Hollywood dance film? How does the Hollywood dance film inform how dance operates in cultural meaning making?Whether looking at Bill "Bojangles" Robinson's tap steps in Stormy Weather, or Baby's leap into Johnny Castle's arms in Dirty Dancing, or even Neo's backwards bend in The Matrix, the book's arguments offer a powerful corrective to the lack of accessible scholarship on dance in the popularscreen.
Philippine neo-ethnic choreography : a creative process by 
The Production Manager's Toolkit by
"Our theater world is so much better with this book in it, and even better with Cary and Jay at the helm." -David Stewart, Director of Production for the Guthrie Theater The Production Manager's Toolkit is a comprehensive introduction to a career in theatrical and special event production for new and aspiring professionals, given by expert voices in the field. The book discusses management techniques, communication skills, and relationship building tactics to create effective and successful production managers. With a focus on management theory, advice from top production managers provide insights into budgeting, scheduling, meetings, hiring, maintaining safety, and more. Through interviews and case studies, the history and techniques of production management are explored throughout a variety of entertainment venues: theatre, dance, opera, and special events. The book includes references, tools, templates, and checklists; and a companion website contains downloadable paperwork and links to other useful resources such as unions, venues, and vendors. This book is written for student and professional production managers.
The Production Managers Toolkit by
- The Production Manager's Toolkit is a well-rounded look at the theatrical production management profession, discussing management techniques, communication skills, and relationship building tactics to create effective and successful Production Managers. - This is the first and most comprehensive book devoted to theatrical production management. - This second edition includes all new case studies, new chapters, and updated content throughout, showcasing a continued progressive approach to the job and the field.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Supporting Staged Intimacy by
This book is designed for all members of stage crew who are responsible for maintaining a respectful, inclusive work and artistic environment, and documenting administrative and artistic matters throughout the entire production process. The professional theatre industry desires to understand the process involved in utilizing Intimacy Directors or consultants: industry professionals want to know when Intimacy Directors or intimate staging are required and how to build a more supportive and consensual working environment in these scenarios. Empowers theatre artists with tools and techniques to assist in the creation of a supportive and consensual working environment, and recommended practices and protocols for maintaining intimate staging during the run of a production.
Theatre Across Borders by
Is there a fundamental connection between New York's Elevator Repair Service's 9-hour production of The Great Gatsby and a Kathakali performance? How can we come to appreciate the slowness of Kabuki theatre as much as the pace of the Whatsapp theatre of post-Arab Spring Turkey? Can we go beyond our own culture's contemporary definition of a 'good play' and think about the theatre in a deep and pluralistic manner? Drawing on his extensive experience working with theatre artists, students and thinkers across the globe - up to and including an hour-long audience with the Dalai Lama - playwright Abhishek Majumdar considers why we make theatre and how we see it in different parts of the world. His own work has taken him from theatre in Japan to dance companies in the Phillippines, writers in Lebanon and Palestine, theatre groups in Burkina Faso, war-torn areas like Kashmir and North Eastern India, and to China and Tibet, Argentina and Mexico. Via a far-reaching and provocative collection of essays that is informed by this wealth of experience, Majumdar explores: - how different cultures conceive theatre and how the norm of one place is the experiment of another; - the ways in which theatre across the world mirrors its socio political and philosophical climate; - how, for thousands of years, theatre has been a tool to both disrupt and to heal; - and how, even within the many differences, there are universals from which we can all learn and how theatre does cross borders Of interest to theatre makers everywhere - be they writers, actors, directors or designers - this book offers an oversight, as well as interrogation, into the place of theatre in the world today.
Unworking Choreography by
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dancerefers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographicworks within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within theart form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
This course is the summary performance, choreography and teaching exhibition in collaboration with Benilde Experimental Dance Theater. You will produce a full-length dance production (min. 60 mins) that could include solos, duets, trios, a major group work and/or a chosen repertory.
For the Applied Dance Studies elective, this course will provide you with a guided practical experience as a co-teacher for Benilde Experimental Dance.
The Body of the People by
The Body of the People is the first comprehensive study of dance and choreography in East Germany. More than twenty years after the fall of the Berlin Wall, Jens Richard Giersdorf investigates a national dance history in the German Democratic Republic, from its founding as a Communist state that supplanted the Soviet zone of occupation in 1949 through the aftermath of its collapse forty years later, examining complex themes of nationhood, ideology, resistance, and diaspora through an innovative mix of archival research, critical theory, personal narrative, and performance analysis. Giersdorf looks closely at uniquely East German dance forms--including mass exercise events, national folk dances, Marxist-Leninist visions staged by the dance ensemble of the armed forces, the vast amateur dance culture, East Germany's version of Tanztheater, and socialist alternatives to rock 'n' roll--to demonstrate how dance was used both as a form of corporeal utopia and of embodied socialist propaganda and indoctrination. The Body of the People also explores the artists working in the shadow of official culture who used dance and movement to critique and resist state power, notably Charlotte von Mahlsdorf, Arila Siegert, and Fine Kwiatkowski. Giersdorf considers a myriad of embodied responses to the Communist state even after reunification, analyzing the embodiment of the fall of the Berlin Wall in the works of Jo Fabian and Sasha Waltz, and the diasporic traces of East German culture abroad, exemplified by the Chilean choreographer Patricio Bunster.
The Choreographic by
An investigation of dance and choreography that views them not only as artistic strategies but also as intrinsically theoretical and critical practices. The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters, steps, trembles, and spasms. In The Choreographic, Jenn Joy examines dance and choreography not only as artistic strategies and disciplines but also as intrinsically theoretical and critical practices. She investigates artists in dialogue with philosophy, describing a movement of conceptual choreography that flourishes in New York and on the festival circuit. Joy offers close readings of a series of experimental works, arguing for the choreographic as an alternative model of aesthetics. She explores constellations of works, artists, writers, philosophers, and dancers, in conversation with theories of gesture, language, desire, and history. She choreographs a revelatory narrative in which Walter Benjamin, Pina Bausch, Francis Alÿs, and Cormac McCarthy dance together; she traces the feminist and queer force toward desire through the choreography of DD Dorvillier, Heather Kravas, Meg Stuart, La Ribot, Miguel Gutierrez, luciana achugar, and others; she maps new forms of communicability and pedagogy; and she casts science fiction writers Samuel R. Delany and Kim Stanley Robinson as perceptual avatars and dance partners for Ralph Lemon, Marianne Vitali, James Foster, and Janet Cardiff and George Bures Miller. Constructing an expanded notion of the choreographic, Joy explores how choreography as critical concept and practice attunes us to a more productively uncertain, precarious, and ecstatic understanding of aesthetics and art making.
Dance and light : the partnership between choreography and lighting design by
Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.
Dance Composition by
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dance [and] Theory by
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
Dancing the New World by
From Christopher Columbus to "first anthropologist" Friar Bernardino de Sahagun, fifteenth- and sixteenth-century explorers, conquistadors, clerics, scientists, and travelers wrote about the "Indian" dances they encountered throughout the New World. This was especially true of Spanish missionaries who intensively studied and documented native dances in an attempt to identify and eradicate the "idolatrous" behaviors of the Aztec, the largest indigenous empire in Mesoamerica at the time of its European discovery. Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse--the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri's pathfinding analysis of the vast colonial "dance archive" conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history--the European colonization of the Americas.
Körper als Archiv in Bewegung Choreografie als historiografische Praxis by
Wer schreibt die Tanzgeschichte und aufgrund von welchen Annahmen und Interessen? Wie findet Erinnerung Eingang in historiografische Prozesse und welche Rolle spielt dabei der Körper? Diese Fragen prägen seit den 1990er-Jahren die europäische Tanzszene und bilden Anlass für eine grundlegende Revision der Tanzgeschichtsschreibung. Ausgehend von Arbeiten u.a. von Boris Charmatz, Olga de Soto, Foofwa d'Imobilité und Thomas Lebrun, entwirft Julia Wehren das Konzept der »choreografischen Historiografien«. Sie hält der Flüchtigkeit des Tanzes seine Geschichtlichkeit entgegen und plädiert für eine Erweiterung des Archivs um den Körper in Bewegung.
New German Dance Studies by
New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
The Production Managers Toolkit by
- The Production Manager's Toolkit is a well-rounded look at the theatrical production management profession, discussing management techniques, communication skills, and relationship building tactics to create effective and successful Production Managers. - This is the first and most comprehensive book devoted to theatrical production management. - This second edition includes all new case studies, new chapters, and updated content throughout, showcasing a continued progressive approach to the job and the field.
Revolutionary Bodies by
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)--a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries. Learn more at the TOME website, available at: openmonographs.org. Revolutionary Bodies is the first English-language primary source-based history of concert dance in the People's Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China's dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
Staging Dance by
Staging Dance is a practical handbook that covers all aspects of putting on a dance production. It highlights the current diversity of dance activities, choosing examples from working dance groups and from individual dancers. The book includes sections on choreography, music and sound, designing and making sets and costumes, lighting design and technical implementation and stage management. Funding, planning and publicity are also covered. Staging Dance will prove invaluable not only to dance artists, but also those working along side them: musicians, designers, lighting technicians, administrators and directors.
Event Management, when compared to the dance profession, is a relatively young field. It is an area that is gaining popularity and now represents a significant career transition for retired dance professionals.
This introductory course will provide you with the practical skills and knowledge required to successfully plan, implement, organize, manage, monitor and evaluate an actual event and/or final project.
A complete step by step guide to successful event planning, organizing and management by 
Event Management by
Edited by a leading scholar in the field, this new title from Routledge's Critical Perspectives on Business and Management series is a four-volume collection of canonical and cutting-edge research in Event Management. The origins of the serious study of Event Management are comparatively recent, but the subject has evolved rapidly, often drawing on scholarship, research, and practice from a number of other disciplines and cognate areas--primarily, Sports Studies, Leisure Studies, and Hospitality Studies, but also Business Studies, Organization Studies, Management Studies, Political Science, and Sociology. Event Management is now a vibrant and dynamic field of study and research, and the sheer scale of the growth in its output makes this collection especially timely. A wide range of social-science journals have published Event Management-related material and this collection makes readily available foundational pieces of scholarship--as well as cutting-edge research--from these disparate, and sometimes less accessible sources, and from other publications, some of which are no longer in print. Event Management provides a complete overview of the core and emergent issues in the field with a particular focus on the business, economic, and governmental aspects of events, especially issues of strategy formation and operational management. As well as bringing together the key studies and journal articles that have shaped Event Management, the collection will be welcomed as the first mapping of an area that to date has lacked an interdisciplinary synthesis. The thematic organization of the collection, together with the editor's introduction and commentary on the collected texts, will make sense of the wide range of approaches, theories, and concepts that have informed Event Management. It is an essential work of reference, destined to be valued as a vital research resource by all scholars and students of the subject.
Event management : an Asian perspective by 
Event management : theory and practice by
Event Management: Theory and Practice is a new text that provides coverage of the most important competency units of Certificate III and Diploma of Events in the SIT07 Tourism, Hospitality and Events Training Package. A wide range of case studies, examples and event profiles from cultural, musical, sporting and corporate events provide students with a full and varied understanding of real-world events. These case studies include the Rainbow Serpent Music Festival, Moonlight Cinemas at the Royal Botanical Gardens and the 2000 Sydney Olympic Games. This contemporary and easy-to-read book also includes many vibrant photographs of actual events. The book takes students through the complete process of event management, starting with developing a concept, planning, organising and managing an event. It provides detailed content including the process of securing visas for international artists or profile speakers; comprehensive review of emerging areas such as environmental sustainability; and extensive legal considerations including artist and venue agreements.
Event management and public relations by 
Event Management for Dummies by
Your straightforward guide for planning and running an event Whether you want to break into this burgeoning industry, or you simply need to plan an event and don't know where to start, there's something for all would-be event planners in Event Management For Dummies. Packed with tips, hints and checklists, it covers all aspects of planning and running an event - from budgeting, scheduling and promotion, to finding the location, sorting security, health and safety, and much more. Open the book and find: Planning, budgeting and strategy Guests and target audience Promoting and marketing events Location, venue and travel logistics Food, drink, entertainment and themes Security, health and safety, permissions, insurance and the like Tips for building a career in event management
Event Planning and Management by
Event Planning and Management, second edition, is an ideal resource for those seeking a step by step formula to plan and deliver a successful event. With the vital balance of professional experience behind them, the authors teach the next generation of event planners with unrivalled knowledge, ensuring an effective event process from start to finish. This book delivers practical understanding of the theory and practice needed to activate each stage of planning, from initial venue selection, budgeting and programme content, to managing stakeholders and sponsors, promotion, risk assessment, safety and post-event evaluation. Fully revised, the second edition of Event Planning and Management expands on managing events on the day, and explores the PR and experiential marketing boom for live brand experiences. Including updated real-world case studies from around the globe, it also features an invaluable toolkit of templates, planning checklists and budget sheets. Accompanied by a host of downloadable resources, this book is the ideal end to end resource for both event planning modules and certifications, plus busy marketing and PR professionals facing the new wave of live brand and customer experiences.
Event Planning and Management by
The events industry is an exciting, innovative, diverse and highly challenging environment in which to work. Event Planning and Management offers a structured, practical approach to all types of events, from the initial planning, to final evaluating stages. It introduces the key models and theories but focuses on the practical side of building and working with a team, choosing a location, creating a programme, dealing with stakeholders and sponsors, promoting the event, essential financial and procurement considerations and finally evaluating the event. Each stage of the process is fully supported with online resources including templates and discussion questions to make up a complete event planner's toolkit. Balancing coverage of the key theory and models with essential practical guidance, tools and case studies from organizations such as London 2012 and the Prince's Trust, Event Planning and Management is an ideal handbook for students and practitioners alike. About the PR in Practice series: Published in collaboration with the Chartered Institute of Public Relations (CIPR), the PR in Practice series comprises accessible, practical introductions to day-to-day issues of public relations practice and management. The series' action-oriented approach keeps knowledge and skills up to date.
Event Portfolio Management by
Event Portfolio Management explores the phenomenon of the event portfolio as a policy tool for cities and destinations. Divided into two parts - 'Theory' and 'Practice' - the book critically analyses and summarises key underpinnings behind portfolio theory development and identifies key trends and issues in the event portfolio approach. It examines the processes of event portfolio development and management, leveraging, stakeholder networking and collaboration, portfolio design, risk assessment and evaluation. With a wide geographical reach, the book introduces the results of empirical research from different international case studies, including Auckland, Wellington and Dunedin in New Zealand, Canberra and Melbourne in Australia, and Manchester and Edinburgh in the UK. The Event Management Theory and Methods Series examines the extent to which mainstream theory is employed to develop event-specific theory, and to influence the very core practices of event management and event tourism. Each compact volume contains overviews of mainstream management theories and methods, examples from the events literature, case studies, and guidance on all aspects of planned-event management. The series introduces the theory, shows how it is being used in the events sector through a literature review, incorporates examples and case studies written by researchers and/or practitioners, and contains methods that can be used effectively in the real world.Series editor: Donald Getz PhD., Professor Emeritus, University of Calgary, Canada.This is an indispensable specialist text for events students, scholars and practitioners. With additional online resource material, the book is ideal for lecturers who teach event tourism and need theoretical foundations and case studies for their classes. It is a valuable source of reference for students undertaking events and tourism programmes. For destination managers and other industry professionals, the book provides a theoretical and practical guide to developing successful and sustainable portfolios of events. Vladimir Antchak, PhD., is Senior Lecturer in Applied Management at the University of Derby, UK. Vassilios Ziakas, PhD., is Associate Professor in Sport Management at Plymouth Marjon University, UK.Donald Getz, PhD., is Professor Emeritus at the University of Calgary, Canada and Visiting Professor at the University of Derby, UK.
Events and Sustainability by
Increasing concerns over climate and environmental change, the global economic and financial crisis and impacts on host communities, audiences, participants and destinations has reinforced the need for more sustainable approaches to events. Sustainability now features as part of the bid process for many mega-events, such as the Olympic Games, as well as significant regional and local events, where the event organisers are required by funding bodies and governments to generate broader outcomes for the locality. This book is the first to offer students a comprehensive introduction to the full range of issues and topics relevant to event sustainability including impacts, operating and policy environments, stimulating urban regeneration and creating lasting legacies, as well as practical knowledge on how to achieve a sustainable event. Taking a holistic approach drawing on multidisciplinary theory it offers insight into the economic, socio-cultural and environmental impacts and how these can be adapted or mitigated. Theory and practice are linked through integrated case studies based on a wide range of event types from mega events to community festivals to show impacts, best practice and how better sustainable practice can be achieved in the future. Learning objectives, discussion questions and further reading suggestions are included to aid understanding and further knowledge; additional resources for lecturers and students including power point slides, video and web links are available online. Events and Sustainability is essential reading for all events management students and future managers.
Events exposed : managing & designing special events by
Author Lena Malouf is a renowned expert in the special events industry. She has won countless accolades for her work, including a recent Lifetime Achievement Award from The Special Event, and has served in major leadership positions in several industry organizations, including as International President of the International Special Events Society and an advisory board member for The Special Event. This book will feature straightforward advice on operating a successful special events business, gleaned from Malouf's 40+ years in the event planning industry. The book will include guidance on developing a strategy, identifying potential clients, developing proposals, building an event budget, coordinating with contractors, and much more. And beyond the business components, the book will also include a section on designing successful events, including tabletop, ceiling, and wall decor, while a chapter on developing thematic concepts will illustrate how an event planner can successfully bring a theme to life. With full-color photos in two 8-page inserts and practical checklists throughout, this will be a must-have reference for industry professionals, special events students, and aspiring event planning professionals everywhere.
Events Management by
Events Management provides an introductory overview of the fundamentals in managing events from conception to delivery, highlighting both the theoretical and operational aspects, to prepare students for a career in events management and hospitality. Now in its Third Edition, the authors have included new chapters on Crowd Control and Crowd Dynamic; Expos, Conferences and Conventions; Brand Co-creation and Social Media, and have added new content on contemporary trends like the environmental and social impact of large scale events such as the Olympics. International case studies covering all manner of events are used throughout and include: The impact of the London 2012 and Rio 2016 Olympic Games Van Gogh Augmented Reality in Nuenen Sands EXPO and Convention Center, Las Vegas Glastonbury Music Festival Lame Horse Night Club, Russia The Leeds Caribbean Festival Suitable for Events Management students at Undergraduate and Postgraduate level.
Events Management by
Events Management is the must-have introductory text providing a complete A-Z of the principles and practices of planning, managing and staging events. The book: introduces the concepts of event planning and management presents the study of events management within an academic environment discusses the key components for staging an event, covering the whole process from creation to evaluation examines the events industry within its broader business context, covering impacts and event tourism provides an effective guide for producers of events contains learning objectives and review questions to consolidate learning. Each chapter features a real-life case study to illustrate key concepts and place theory in a practical context, as well as preparing students to tackle any challenges they may face in managing events. Examples include the Beijing Olympic Games, Google Zeitgeist Conference, International Confex, Edinburgh International Festival, Ideal Home Show and Glastonbury Festival. Carefully constructed to maximise learning, the text provides the reader with: a systematic guide to organizing successful events, examining areas such as staging, logistics, marketing, human resource management, control and budgeting, risk management, impacts, evaluation and reporting fully revised and updated content including new chapters on sustainable development and events, perspectives on events, and expanded content on marketing, legal issues, risk and health and safety management a companion website for lecturers and students which includes PowerPoint slides, extra case studies and multiple choice questions to aid both teaching and learning.
Events Management by
Electronic Inspection Copy available to instructors herePraise for the previous edition: ′This is an excellent publication that correctly reviews the external environment associated with events, both in the context of the theoretical and operational′ - Neil Robinson, Salford Business School, University of Salford, UK The new edition of this popular accessible text gives students a thorough and contemporary grounding in both the fundamentals and strategic responsibilities of successful event management. Purposefully broad in scope, the text combines theory with practical knowledge and terminology, ensuring readers develop a flexible and commercially-acute skill set. Topics covered range from law, marketing and finance to introductory guides to sound, lighting and multimedia equipment, providing students with the practical knowledge they need for a career in Events Management. Theory is brought to life in a range of case studies and examples throughout the text. As well as updated examples and legislation, this edition introduces new chapters on: Event entrepreneurship Project management and financing New Multimedia technology for events organisers Sustainable festivals and events Long term legacy and impacts The future of the industry An accompanying Companion Website provides students with discussion questions and video links. The website also provides an Instructor′s Manual and PowerPoint slides for lecturers. This text is an ideal resource for undergraduate students who are studying Events Management for the first time. Visit the Companion Website at www.sagepub.co.uk/raj
Events Management by
Written by a team of high profile, international authors, this exciting new text successfully combines theory and practice, making it a must-have for all students of Events Management. Events Management: An International Approach provides comprehensive coverage of all the most common types of events, preparing students for a future career in Events Management. Covering key issues such as fundraising, sponsorship and globalization, this text addresses the challenges and examines the realities of events management in an international context. A wide range of case studies and examples look at sporting, music, catering and fundraising events across the UK, Europe, Asia, Australia and the Middle East.
Events Management by
Contemporary events management is a diverse and challenging field. This introductory textbook fully explores the multidisciplinary nature of events management and provides the student with all the practical skills and professional knowledge they need in order to succeed in the events industry. It introduces every core functional area of events management, such as marketing, finance, project management, strategy, operations, event design and human resources, in a vast array of different event settings from sport to political events. This new edition has been updated to include: * New and updated content on developments in technology, risk management and event volunteering. * New and updated case studies that include emerging economies. * New industry voices by international practitioners. Every topic is brought to life through vivid case studies, personal biographies and examples of best practice from the real world of events management. Written by a team of authors with many years' experience of working in the events industry, Events Management: An Introduction is the essential course text for any events management programme.
Events Management by
Contemporary events management is a diverse and challenging field. This major new introductory textbook is the first to fully explore the multi-disciplinary nature of events management and to provide all the practical skills and professional knowledge students need to succeed in the events industry. The book covers every type of event studied on an Events Management course, including sports, music, the arts, corporate events, tourism, and the public and voluntary sectors. It introduces the key issues facing the contemporary events industry, from health, safety and risk management to sustainability to developing a market-oriented business, with every topic brought to life through case-studies, personal biographies and examples of best practice. Written by a team of authors with many years of industry experience, it introduces the practical skills required in every core area of events management, including marketing, finance, project management, strategy, operations, event design and human resources. A companion website for the book includes a dazzling array of additional features, including self-test questions, audio interviews with key industry figures, additional case-studies and PowerPoint slides for each chapter. Events Management: An Introductionis the essential course text for any events management program.
Events Marketing Management by
This textbook provides students with an essential introduction to the theoretical underpinnings and practicalities of managing the marketing of events. In order to market events effectively, it is vital to consider marketing of events from the organiser's perspective and to link it to that of the consumers attending events. As such, this is the first book on the topic which reflects the unique characteristics of marketing in the Events industry by exploring both sides of the marketing coin - the supply and the demand - in the specific context of events. The book takes the reader from core marketing mix principles to exploring the event marketing landscape to consumer experience and involvement with event marketing and finally strategies and tactics employed to manage the marketing activities related to events. The use of technology, importance of sponsorship and PR are also considered. International case studies are integrated throughout to show practical realities of marketing and managing events and a range of useful learning aids are incorporated to aid navigation throughout the book, spur critical thinking and further students' knowledge. This accessible and comprehensive account of Events Marketing and Management is essential reading for all students and future managers.
Event Studies by
Event Studiesis the only book devoted to developing knowledge and theory about planned events. This book focuses on event planning and management, outcomes, the experience of events and the meanings attached to them, the dynamic processes shaping events and why people attend them. Event Studiesdraws from a large number of foundation disciplines and closely related professional fields, to foster interdisciplinary theory focused on planned events. It brings together important discourses on events including event management, event tourism, and the study of events within various disciplines that are able to shed light on the roles, importance and impacts of events in society and culture. Since the first edition of this book there have been many important developments in this field and this second edition features: New sections have been added on: trends and issues in the world of planned events; examination of three discourses; event-related careers and professionalism; new theory on the event travel career trajectory; implications of social worlds and social media, and new theory on convergence in the forms and functions of events. Expert contributions and personal viewpoints from a number of respected events academics Updated Research Notes to connect readers to the vast and diverse current literature, methods and techniques pertaining to events. Instructor's Guide including PowerPoint Slides for each chapter at http://www.routledge.com/books/details/9780080969534/
Event Studies by
Event Studies is the only book devoted to developing knowledge and theory about planned events. It focuses on event planning and management, outcomes, the experience of events and the meanings attached to them, the dynamic processes shaping events and why people attend them. This title draws from a large number of foundation disciplines and closely related professional fields, to foster interdisciplinary theory focused on planned events. It brings together important discourses on events including event management, event tourism, and the study of events within various disciplines that are able to shed light on the roles, importance and impacts of events in society and culture. New to this edition: New sections on social and intangible influences, consumer psychology and legal environment, planning and policy framework to reflect recent developments in the field Extended coverage of philosophy and research methods and how they can best be used in event studies; social media as a marketing tool; and the class and cultural influences of events New and additional case studies throughout the book from a wide range of international events Companion website to include PowerPoint slides and updated Instructor's Manual including suggested lecture outlines and sequence, quizzes per chapter and essay questions.
Key Concepts in Event Management by
"I found this text to be exactly what we were looking for to give our students a good understanding of the contemporary issues that affect the Events industry. I have recommended this as essential reading. It is well written and the format makes it an easy read raising key issues and challenging theory." - Tanya Bellingham, School of Tourism & Hospitality, University of Plymouth "An essential events managment reference handbook which addresses a number of key issues within the industry. A very interesting read!" - Thomas Fletcher, Liverpool John Moores University In recent years we have seen an enormous growth of festivals and event activity and the literature within the field is consequently huge. In order to make sense of this rapid and dynamic development, students are dependent on a book that can lead them through the myriad of theoretical frameworks offered.This book naturally situates itself in the middle of this need, offering a comprehensive and illuminating account of the festival and event field. Written with academic rigour yet accessible at the same time, Quinn proves herself to be an outstanding communicator and stimulator of knowledge. International in content and timely in its up to date coverage of key topics, this will be an invaluable reference source for students from of Event Management, Hospitality Management, Tourism Management, and Sport and Leisure Management.
Special Events by
This text chronicles and champions the development, changes, and challenges faced by the global celebrations industry for event planners. New interviews are included with experienced event leaders to give a better understanding of the field. New chapters are included on green events, corporate social responsibility, and theoretical case studies. Event measurement, evaluation, and assessment topics are integrated throughout a number of the chapters. Over 200 new Web resources and appendices show how to save money, time, and improve the overall quality of an event. Event planners will also learn how technology may be harnessed to help them improve their events? financial, quality, environmental and other strategic outcomes.
Special Events by
Providing a comprehensive guide to understanding, planning, promoting, and producing special events, this seventh edition of Special Events, 7th Edition describes the theory and practice of all aspects of event management. Written for current and future event leaders, the text continues to expand its emphasis on the growing globalization of the profession, taking into account the skills leaders need to deal with other cultures, societies, and business practices to plan and deliver successful events. New coverage includes sustainability, technology, security/risk management, and the impact of social media on events and event marketing. 15 all-new case studies have been included, as well as a brief glossary of terms at the end of each chapter to further define the terms used in the chapter.
Successful Event Management by
This work is a guide to organizing major events such as festivals, parties, concerts, weddings, and conferences. It includes photocopiable forms that will help readers to plan and budget, and case studies and websites to learn from.
Sustainable Event Management by
Gatherings of people for a purpose always have and always will be a part of the human story. Those staging these events have a social and environmental responsibility to manage their impacts and enhance their positive lasting legacies. Written by a leader in the field, this book is a practical, step-by-step guide taking readers through the key aspects of how to identify, evaluate and manage event sustainability issues and impacts - for events of any style and scale, anywhere in the world. The product of tried-and-tested methods, coverage includes numerous examples and case studies from across the world, such as Boom (Portugal), Bonnaroo (USA), Hurricane (Germany), and Glastonbury (UK) Festivals. Readers are provided with checklists for action and tools for measuring performance. This updated second edition includes a detailed review of the new international standard ISO 20121 Event Sustainability Management Systemsalong with other recent standards and certifications. It expands detail on measuring and reporting event sustainability performance outcomes with explanation of the Global Reporting Initiative Event Organizers Sector Supplement performance indicators. This is the indispensable one-stop guide for event professionals and event management students who want to adjust their thinking and planning decisions towards sustainability, and who need a powerful, easy to use collection of tools to deliver events sustainably.
Event Management, when compared to the dance profession, is a relatively young field. It is an area that is gaining popularity and now represents a significant career transition for retired dance professionals.
This introductory course will provide you with the practical skills and knowledge required to successfully plan, implement, organize, manage, monitor and evaluate an actual event and/or final project.
Event Management by
Event management is a ubiquitous word in modern society. The word is used for small business breakfasts, large corporate shows and also for big international sport events, such as the Olympic Games. We all have an idea of what management is, but what is an event? This question and the theories behind the dynamic event industry are summarized in this book. Ultimately, the book combines a range of differing views about best practice and recommended behaviours; it identifies and recommends an event management model that potentially enables small-scale event managers to fully develop the potential of such events. The book reduces the gap between theory and practice and the framework of best practices can be applied to significantly improve the quality of managing similar events in the future. Biographische Informationen Sven Damm, Jahrgang 1981, war bereits als Kind fasziniert von Events und Veranstaltungen, was in seiner Vita deutliche Spuren hinterlassen hat. Neben dem Studium in Mannheim, Atlanta und zuletzt Auckland arbeitete der Autor stets sowohl bei Projekten als auch bei Events mit. Hierbei musste er immer wieder die Erfahrung machen, dass Best-Practice-Ansätze nur für besondere Events existieren. Für Event Manager von kleineren Events gibt es kaum Literatur, die Hinweise und Orientierung bietet. Aus dieser Erkenntnis heraus ist das vorliegende Buch entstanden. Es verbindet die Best-Practice-Ansätze von Mega Events mit den Herausforderungen kleinerer Events - was zu mehr Leistung und Orientierung führt. Sven Damm was born in 1981 in Germany. After his studies in Germany and America he left Europe to study towards his Master of Business in New Zealand. During his studies he worked at an cultural institution and organized events and concerts. It was during this time that he actively seeked to get a better understanding of the theories behind the dynamic event industry. This book summarizes his findings applied to a small event in New Zealand.
Event Management and Best Practices by
This IBM Redbooks publication presents a deep and broad understanding about event management with a focus on best practices. It examines event filtering, duplicate detection, correlation, notification, escalation, and synchronization. Plus it discusses trouble-ticket integration, maintenance modes, and automation in regard to event management.
Throughout this book, you learn to apply and use these concepts with IBM Tivoli Enterprise Console 3.9, NetView 7.1.4, and IBM Tivoli Switch Analyzer 1.2.1. Plus you learn about the latest features of these tools and how they fit into an event management system.
This book is intended for system and network administrators who are responsible for delivering and managing IT-related events through the use of systems and network management tools. Prior to reading this book, you should have a thorough understanding of the event management system in which you plan to implement these concepts.
Please note that the additional material referenced in the text is not available from IBM.
Festival and Events Management by
Festival and Events Management: an international perspective is a unique text looking at the central role of events management in the cultural, tourism and arts industries. With international contributions from industry and academia, the text looks at the following: * Events & cultural environments * Managing the arts & leisure experience * Marketing, policies and strategies of art and leisure management Chapters include exercises, and additional teaching materials and solutions to questions are provided as part of an accompanying online resource.
Key concepts in event management by
In recent years we have seen an enormous growth of festivals and event activity and the literature within the field is consequently huge. In order to make sense of this rapid and dynamic development, students are dependent on a book that can lead them through the myriad of theoretical frameworks offered.
This book naturally situates itself in the middle of this need, offering a comprehensive and illuminating account of the festival and event field. Written with academic rigour yet accessible at the same time, Quinn proves herself to be an outstanding communicator and stimulator of knowledge.
International in content and timely in its up to date coverage of key topics, this will be an invaluable reference source for students from Event Management, Tourism and Leisure studies. It will also be of great use for students from Business Studies, Marketing, Cultural Studies and Geography.
This course examines Philippine dance from an interdisciplinary perspective. You will gain a critical understanding of Philippine dance as a global phenomenon, its universality, as well as its cultural specificity.
You will examine Philippine dance as an encoded form of Philippine society's religious, artistic, political, and economic value. You will trace how colonialism, missionaries, trade routes, and Diasporas have led to the creation of new Philippine dance forms that are a synthesis of earlier forms. You will later consider questions of globalization, fusion, and authenticity.
Bayanihan : the national folk dance company of the Philippines : a memory of six continents by CCP encyclopedia of Philippine art by Dance composition for Philippine schools and colleges by The dances of the emerald isles : a great Philippine heritage by Defiant Daughters Dancing by Encyclopedia of Philippine art by The evolution of dance in Philippine culture by Filipino rites and rituals : to all Filipinos as they continue to awaken to their rich cultural heritage by Philippine dance : mainstream and crosscurrents by Philippine neo-ethnic choreography : a creative process by Sayaw : an essay on the American colonial and contemporary traditions and Philippine dance by Sayaw : an essay on the Spanish influence on Philippine dance by Sayaw : Philippine dances by Sibod : ideology and expressivity in Binanog dance, music, and folkways of the Panay Bukidnon by
In this book, Christine Muyco provides us with a magic key to enter a remarkable world where music, dance, and gesture are woven together to create a fabric of human meaning. - Elena Rivera Mirano
Treading through : 45 years of Philippine dance by
Treading Through is the first reader in Philippine dance, observed through forty-five years of viewing, reviewing, and doing. It is one observer's understanding of what, where, and how dance, and who makes it and why we dance.
This course examines Philippine dance from an interdisciplinary perspective. You will gain a critical understanding of Philippine dance as a global phenomenon, its universality, as well as its cultural specificity.
You will examine Philippine dance as an encoded form of Philippine society's religious, artistic, political, and economic value. You will trace how colonialism, missionaries, trade routes, and Diasporas have led to the creation of new Philippine dance forms that are a synthesis of earlier forms. You will later consider questions of globalization, fusion, and authenticity.
Body, Movement, and Culture by
In Body, Movement, and Culture, Sally Ann Ness provides an original interpretive account of three forms of sinulog dancing practiced in Cebu City in the Philippines: a healing ritual, a dance drama, and a "cultural" exhibition dance. Ness's examination of these dance forms yields rich insights into the cultural predicament of this Philippine city and the way in which kinesthetic and visual symbols interact to create meaning. Ness scrutinizes the patterns of movement, the use of the body and of objects, and the shaping of space common to all three versions of the sinulog. She then relates these elements to the fundamental ways the culture bearers of Cebu City experience their world. For example, she shows how each of the dance forms functions to reinforce class distinctions and to establish a code of authenticated "cultural" action. At the same time, Ness demonstrates, the dances manifest and actualize widely applied notions about the nature of "devotion," "sincerity," "naturalness," and "beauty." Throughout the text, Ness provides a close analysis of movement that is all too often missing from anthropological studies of dance. Most significantly, she works to relate the movements used in dance to everyday movement and to interpret the attitudes and values that are embodied in both choreographed and quotidian movement. Important and illuminating, Body, Movement, and Culture is of particular interest to students and scholars of anthropology, folklore, dance, and Asian studies.
The day the dancers stayed : performing in the Filipino/American diaspora by
Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances--and parodies of them--these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. In The Day the Dancers Stayed, scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification. Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
Places for Happiness by
Places for Happiness explores two of the most important performance-based activities in the Philippines: the processions and Passion Plays associated with Easter and the mass-dance phenomenon known as "street dancing." The scale of these handcrafted performances in terms of duration, time commitment, and productive labor marks the Philippines as one of the world's most significant and undervalued performance-centered cultures. Drawing on a decade of fieldwork, William Peterson examines how people come together in the streets or on temporary stages, celebrating a shared sense of community and creating places for happiness. The first half of the book focuses on localized and often highly idiosyncratic versions of the Passion of Christ. Peterson considers not only what people do in these events, but what it feels like to participate. The book's second half provides a window into the many expressions of "street dancing." Street dancing is inflected by localized indigenous and folk dance traditions that are reinforced at school and practiced in conjunction with religious civic festivals. Peterson identifies key frames that shape and contain the individual in the Philippines, while tracking how the local expands its expressive home by engaging in a dialogue with regional, national, and diasporic Filipino imaginaries. Ultimately Places for Happiness explores how community-based performance responds to and fulfills basic human needs. Many Filipinos rely on family members and immediate neighbors for support and sustenance, and community-based performance assumes a unique and leading role in defining, reinforcing, and celebrating shared belief systems. By bringing forth the internal, phenomenological, and embodied aspects of a range of community-based practices contributing to human happiness, the book offers a cultural framework that interweaves the individual experience with that of the collective, plotting out what resides inside the body through the coordinates of culture.
Improvisation and Composition 1
This course is an introduction to the creative process–understanding its nature and development. You will discover the inner way of experiencing the individual power of your body in movement, space and time through improvisational and reflective exercises. You will build your intuitive and kinesthetic knowledge as you explore new or unfamiliar ideas and begin to form movement material for your dance studies, guided by the fundamental theories of compositional structures and devices.
Using these basic tools of the craft, and using gathered data from research and observation, you will design a creative movement workshop tailored for a chosen advocacy group, within which you will discover the relevance of how service- oriented collaborations can further your own academic, social, and personal growth.
Journals and video documentation will play an important role in your learning process where you will record materials discussed in class, personal thoughts, peer analyses on the creative and critical process of choreography, in relation to your own experiences and environment/situation available to you at present. This course is a personal reflection as you discover and develop your authentic movement lexicon.
Choreography : a basic approach using improvisation by
Choreography: A Basic Approach Using Improvisationis the complete guide to understanding the entire process of choreography, from concept to stage production. Thousands of dancers and dance instructors have used the first two editions of this book to solve common challenges in choreography, improvise movement phrases, expand movements into dances, and organize dances into complete productions and concerts. This updated edition includes examples of how today's multimedia technology can be used to enhance choreography with special lighting effects, slide and PowerPoint projections, virtual dance performances, video conferencing, and motion capture. Each chapter contains movement exploration exercises, review and reflection questions, and application challenges that will help readers develop a better understanding of the choreographic concepts provided. And more than 70 high-quality photos provide a visual frame of reference and clarify key concepts. Choreography: A Basic Approach Using Improvisationbridges the theoretical and practical aspects of the choreographic process. It is an excellent reference for serious dancers, choreographers, dance instructors, and teachers who want to understand the creative process of transforming movement into dance.
Conditioning for Dance by
Even the best sense of rhythm, the most careful technical training, and the most astute dance intuition aren't enough to make a dancer truly excel; you also need focused strength, balance, and flexibility to execute the movements with power and grace. Conditioning for Dance improves your technique and performance in all dance forms by strengthening the body's core (abdominal and back muscles) while improving coordination, balance, and alignment and optimizing flexibility. The result is more lift without tension, deeper pliï¿Å"s, higher jumps with less effort, tighter turns, and improved extension and turnout. Conditioning for Dance is the result of years of practical experience combined with scientific and anatomical analysis. Author Eric Franklin is an internationally known dancer, teacher, choreographer, and writer. His innovative, proven techniques will help you execute key dance skills better as you -strengthen the muscles you use in dance by performing exercises with elastic resistance bands; -start and move in proper alignment using imagery; -improve your balance and release tension through playful exercises with small balls; -develop leg and torso power that translates to higher jumps and tighter turns; and -optimize your flexibility through touch, movement awareness, and imagery.The book features 102 imagery illustrations paired with dance-specific exercises to help you maximize body-mind conditioning and develop more fluid mobility, balance, and tension release. The book culminates with a 20-minute, full-body workout routine designed to help dancers warm up, condition, and refine their dance technique. You'll learn how to execute lifelong dance skills that give power without the risk of injuries. By working the muscles through movements and ranges of motion that approximate the demands of your chosen dance form, you directly enrich your performance capabilities. And as you strengthen the body's core, stretch to gain just the right amount of flexibility, and incorporate the power of the mind, you unleash your full artistic and physical potential.
Contact improvisation : moving, dancing, interaction : with an introduction to new dance by
Thomas Kaltenbrunner presents a comprehensive survey of contact improvisation, offering practical examples and ideas which have been tried and tested in his own workshops.
Creative Ballet Teaching by
How do teachers create a classroom environment that promotes collaborative and inquiry-based approaches to learning ballet? How do teachers impart the stylistic qualities of ballet while also supporting each dancer's artistic instincts and development of a personal style? How does ballet technique education develop the versatility and creativity needed in the contemporary dance environment? Creative Ballet Teaching draws on the fields of Laban/Bartenieff Movement Analysis (L/BMA), dance pedagogy, and somatic education to explore these questions. Sample lesson plans, class exercises, movement explorations, and journal writing activities specifically designed for teachers bring these ideas into the studio and classroom. A complementary online manual, Creative Ballet Learning, provides students with tools for technical and artistic development, self-assessment, and reflection. Offering a practical, exciting approach, Creative Ballet Teaching is a must-read for those teaching and learning ballet.
Creative Dance for Learning by
Making Kinesthetic Sense provides theoretical and practical guidance on teaching creative dance, particularly in educational settings. It is both a textbook for education courses and a resource for current teachers - both dance and nondance teachers. The authors speak from a passionate, lifelong commitment to arts education and over twenty years of experience as dance specialists in elementary schools and community settings. The authors' approach is heavily influenced by Barbara Mettler, Margaret H'Doubler, and Rudolph Laban, all legendary figures in the field of creative dance. Their theories are combined with the authors' own insights to explain dance theory in common language; provide methods of linking movement to academics;
Dance about Anything by
Dance About Anythinghelps K-12 teachers learn the creative process for developing movement and dance around a theme--and how to integrate dance with other subjects. The book follows a logical progression of movement activities, increasing in complexity from inspiration and dance design to exhibition of the integrated project. It provides all the materials for teachers to facilitate the creative and critical-thinking skills related to planning integrated projects: -Students explore the dance-making process through seven easy-to-follow tasks that take them from inspiration and choosing a theme to solving movement problems and making movement phrases, culminating with work that involves dance design, revisions, and performance. -Students integrate dance with other subject areas such as science, math, social studies, visual arts, theater, language arts, and music. -Students work through integrated projects involving multiple subjects around a common theme. They learn how to transfer the work habits and strategies they learn through dance making to their work in other subjects, and then they showcase their work. Dance About Anythingis organized into four parts. Part Ioutlines the creative process of choosing a theme for a dance and explains how movement phrases can be developed from almost any inspiration. Part IIlays out the remaining tasks and steps on the path to exhibition. Part IIIshows how to develop and implement integrated projects. It discusses practical concerns about who, what, how, when, and where and provides a step-by-step guide for project completion. Part IVdetails three ready-to-use integrated projects with themes (weather, community, and prejudice and human rights). These are semester-length projects and can be used in advocating for awareness of the value of dance, connecting with other subjects, and getting students to work together on a unifying theme. The included CD-ROM provides more than 65 reproducible forms that fuel students' creativity and aid teachers in assessment. Among the forms are 8 Inspiration Activity Cards and 8 Dance Designing Activity Cards that cover a variety of themes, including those of the three complete projects provided in the book. The book includes ideas for written and oral assessment of students' progress, and the CD-ROM provides teachers with assessment forms for doing so. In addition, a template of integrated projects is included that gives readers an opportunity to create their own integrated projects, such as those found in part IV of the book. Dance About Anythingprovides the information and guidance that teachers and students need in order to become dance architects, designing and building dances and integrated projects from start to finish.
Dance Composition Basics by
Text instruction can go only so far in teaching how to create dances. Dance Composition Basics picks up where other textbooks leave off, with a bound-in DVD that features professional choreographers and dancers in action. Designed for beginning college-level dance composition courses and dance educators at the middle and high school levels, this textbook and DVD package highlights selected portions of original dance compositions by two noted choreographers. The works of Alonzo King (Chants and Dreamer) and Dwight Rhoden (Verge) are recorded and analyzed to sequence the choreographic process. Students are able to witness a progression that takes them from conceiving and refining an idea to improvising and solving movement problems to shaping and performing dances. The methods featured in Dance Composition Basics can be applied to a variety of dance styles including ballet, modern, and jazz. Each of the 27 lessons serves as a starting point that encourages novice dancers to embark on their own attempts at choreography with more confidence. Structured to present concepts from simple to complex, the chapters cover the body, space, time, energy, and choreographic devices. Each chapter is divided into lessons based on the dance element or concept highlighted. The lessons challenge students to create solo, duet, trio, and group works. Each lesson includes the following components: -One choreographic concept -Video documentation of the choreographic concept -Vocabulary words -Introductory statement -Warm-up -Structured improvisations -Creative choreographic problems -Questions for discussion -Assessment rubrics The DVD supplements the written instruction in a progression that no textbook alone could achieve. It shows dancers as they solve movement problems, and it shows choreographers as they mold their works from conception to stage performance. DVD footage also captures the decision-making and problem-solving tactics used by each choreographer. With these concrete examples, students can form a basis of comparison when completing their own assignments. Dance Composition Basics is a practical introduction to the methods and tools used in composing dances that engages students in the process--the preferred method of learning and teaching dance composition today. Through real-world examples, this text and DVD package demonstrates the direct relationship of the activities learned in the dance composition class to the current practices used by professional choreographers.
Dancefilm : choreography and the moving image by
Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde,musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers.The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating newcategories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somaticintelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughlyinterdisciplinary.
Dance Imagery for Technique and Performance by
Whether used alone or as a companion to Dynamic Alignment Through Imagery, which establishes a foundation for the techniques described here, this unique guide shows you how to combine technical expertise with imagery skills to enrich your expressive repertoire. This versatile text and reference provides 583 imagery exercises designed to improve dance technique, artistic expression, and performance. More than 160 illustrations highlight images and exercises you can put to use immediately in your movements and choreography. Part I explores using imagery with improvisation. You'll find 195 exercises centered on the body's basic movement images. These improvisational exercises will encourage you to explore new inner landscapes to create and communicate different movement qualities. Part II provides 314 imagery exercises you can immediately use to improve technique. The book also provides guidelines for applying imagery within the dance class repertoire: - Floorwork movements - Standing, walking, running - Ballet barre exercises - Swings, arches, spirals - Upper-body gestures - Turns and pirouettes - Jumping - Partnering Part III provides imagery tools to enhance or prepare for a performance. You'll learn how to use imagery to convey information about steps and to clarify the intent and content of a movement. In addition, you'll find 40 imagery exercises that focus on active imagination and symbolism, the performance environment, and the audience in the creative process. Part IV presents 34 exercises to help restore and regenerate the body through guided imagery used with massage and touch. The book details the ideokinetic constructive rest position and Sweigard's nine lines of action. With Dance Imagery for Technique and Performance, you'll discover how to use the power of your imagination to enhance performances.
Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
Dance Movement Psychotherapy by
What can dance movement contribute to psychotherapy? This thoroughly updated edition of Dance Movement Therapy echoes the increased world-wide interest in dance movement therapy and makes a strong contribution to the emerging awareness of the nature of embodiment in psychotherapy. Recent research is incorporated, along with developments in theory and practice, to provide a comprehensive overview of this fast-growing field. Helen Payne brings together contributions from experts in the field to offer the reader a valuable insight into the theory and practice of dance movement therapy. The contributions reflect the breadth of developing approaches, covering subjects including: dance movement therapy with people with dementia group work with people with enduring mental health difficulties transcultural competence in dance movement therapy Freudian thought applied to authentic movement embodiment in dance movement therapy training and practice personal development through dance movement therapy. Dance Movement Therapy will be a valuable resource for anyone who wishes to learn more about the therapeutic use of creative movement and dance. It will be welcomed by students and practitioners in the arts therapies, psychotherapy, counselling and other health and social care professions.
Dancing : the pleasure, power, and art of movement by
Looks at the history of dance, dance around the world, and influential dancers and choreographers of the past and present.
Essentials of Dance Movement Psychotherapy by
Essentials of Dance Movement Psychotherapy contributes to the global interest in embodiment approaches to psychotherapy and to the field of dance movement psychotherapy specifically. It includes recent research, innovative theories and case studies of practice providing an inclusive overview of this ever growing field. As well as original UK contributions, offerings from other nations are incorporated, making it more accessible to the dance movement psychotherapy community of practice worldwide.  Helen Payne brings together well-known, experienced global experts along with rising stars from the field to offer the reader a valuable insight into the theory, research and practice of dance movement psychotherapy. The contributions reflect the breadth of developing approaches, covering subjects including: * combining dance movement psychotherapy with music therapy; * trauma and dance movement psychotherapy; * the neuroscience of dance movement psychotherapy; * the use of touch in dance movement psychotherapy; * dance movement psychotherapy and autism; * relational dance movement psychotherapy. Essentials of Dance Movement Psychotherapy will be a treasured source for anyone wishing to learn more about the psychotherapeutic use of creative movement and dance. It will be of great value to students and practitioners in the arts therapies, psychotherapy, counselling and other health and social care professions.
Exhausting Dance by
The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies. In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France) * Juan Dominguez (Spain) * Trisha Brown (US) * La Ribot (Spain) * Xavier Le Roy (France-Germany) * Vera Mantero (Portugal) and visual and performance artists: * Bruce Nauman (US) * William Pope.L (US). This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices. nbsp;
Improvised Dance by
This book elucidates the technical aspects of improvised dance performance and reframes the notion of labour in the practice from one that is either based on compositionally formal logic or a mysterious impulse, to one that addresses the (in)corporeal dimensions of practice. Mobilising the languages and conceptual frameworks of theories of affect, embodied cognition, somatics, and dance, this book illustrates the work of specialist improvisers who occupy divergent positions within the complex field of improvised dance. It offers an alternative narrative of the history and current practice of Western improvised dance centred on the epistemology of its (in)corporeal knowledges, which are elusive yet vital to the refinement of expertise. Written for both a disciplinary-specific and interdisciplinary audience, this book will interest dance scholars, students, and practising artists.
Inclusive Creative Movement and Dance by
Inclusive Creative Movement and Dancehelps teachers guide students with diverse abilities to express their feelings and ideas through creative movement experiences involving dance learning, dance making, and dance sharing. Of equal value to new and veteran teachers, this book provides in-depth coverage of inclusive dance instruction, including teaching strategies, practical learning experiences, movement problems for students to solve, and more: -Open-ended movement explorations and inclusion suggestions help teachers accommodate the different learning needs of their students. -Learning experiences help students understand the elements of movement and dance (body actions and shapes, awareness of space, moving to time, awareness of energy and force, and awareness of relationships). -Teachers can select individual learning experiences or present a series of units for creative movement and dance. -National Standards for Dance Education, goals, movement glossary, journal reflection assignments, and simple assessments are incorporated into each unit for easier assessment and accountability. -Interdisciplinary activities at the end of each unit connect creative movement with classroom subjects--reading, writing, grammar, geography, astronomy, earth science, math, visual art, drama, and music--as appropriate. This book is organized into three parts. Part Ipresents a framework to help teachers envision dance for all their students. Part IIprepares teachers to design inclusive dance experiences and extend them into performance and discussion. Part IIIis the book's heart and soul--more than 100 dance-learning experiences presented in five chapters, or units, that teachers can use in their classes for students of all ages and abilities. These chapters may be used either as separate units that each feature one of the five movement or dance elements for a thematic approach or as progressive units that build in the order presented in the book. Each chapter, or unit, in part III has three basic sections: -Planning information outlining the learners' outcome goals, movement vocabulary, specific National Standards in Dance Education met, and suggestions for adapting instruction for special needs -Dance-making opportunities through students' exploration, experimentation, and problem solving as they use movement language in multiple ways -Dance sharing and assessment opportunities using critical-thinking questions and writing assignments Inclusive Creative Movement and Danceeducates and empowers teachers to use dance in inclusive classrooms, to celebrate and value differences, and to help all students discover the uniquely personal art form of dance. The ultimate goal is to develop students as dancers, creators, performers, and viewers.
Kinesthetic city : dance and movement in Chinese urban spaces by
In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity. She locates her study in five Chinese urban sites - Shanghai, Taipei, Hong Kong, New York's Chinatown, and the SanGabriel Valley in Los Angeles - at momentous historical turning points to parse out key similarities and differences in the construction of Chineseness. The moving bodies she considers are not only those in performances by some of the most well-known Chinese dance companies in these cities, but alsoher own as she navigates urban Chinese spaces.By focusing primarily on kinesthesia - the body's awareness of motion - to gather information rather than more traditional modes of sight, sound, smell, touch, and taste, she highlights the importance of motion in the determination of space. In examining in these specific places at these precisehistorical moments, Kwan illuminates how moving bodies contribute to the production of those places and those moments. For Kwan, Chinese communities in diaspora provide particularly salient examples of how when and where our bodies are help to determine who we are. Whether engaged in otherwiseunremarkable walking or in highly choreographed acts of political protest, human movement exists in dialogue with the kinesthetic of these city spaces, helping Chinese communities make meaning of themselves away from mainland China.As a whole, Kinesthetic City offers dance studies ways to extend movement analysis to study not only concert, folk or social dance, but also quotidian movement and urban flow.
The Laban Sourcebook by
Rudolf Laban (1879 - 1958) was a pioneer in dance and movement, who found an extraordinary range of application for his ideas; from industry to drama, education and therapy.　 Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements. The Laban Sourcebook offers a comprehensive account of Laban's writings. It includes extracts from his five books in English and from his four works in German, written in the 1920s and translated here for the first time.　 This book draws on archival research in England and Germany to chart the development of Laban's groundbreaking ideas through a variety of documents, including letters, articles, transcripts of interviews, and his unpublished Effort and Recovery.　　 It covers: The beginning of his career in Germany and Switzerland in the 1910s. His astonishing rise to fame in Germany in the 1920s as a dance teacher, choreographer and creator of public dance events. Following his move to England in 1938, the application of his ideas to drama, education, industry, and therapy. Each extract has a short preface providing contextual background, and highlighting and explaining key terms. Passages have been selected and are introduced by many of the world's leading Laban scholars.
Lesson Plans for Creative Dance by
Children love to express themselves through movement--and with this great new resource, you can guide them through a range of actions and dances that will help them develop both physically and mentally. Lesson Plans for Creative Dance: Connecting With Literature, Arts, and Music is a resource for physical educators, classroom teachers, and dance specialists as well as a useful supplement to college level elementary education courses. Author Sally Carline has tested and refined the creative movement activities that she has prepared for educators and for preservice teachers, and she includes background material that will ground you in understanding how to best teach and incorporate movement activities in a variety of classes and settings. Lesson Plans for Creative Dance supplies you with * lesson plans that incorporate Laban movement concepts and extend children's movement vocabulary; * a progression of learning that creates a rich, extended experience for students; * 28 dances with music for students through age 12; and * ways to incorporate dance with various types of literature, art, and music. Part I presents guidelines for assessing creative dance based on Rudolf Laban's analysis of human movement. You learn about body, dynamic, spatial, and relationship awareness and gain insight into using rubrics to evaluate your students. You also learn how to help children warm up properly, channel their energy, and improve their footwork and rhythmic skills. Part I will help you incorporate dance with action words, action rhymes, and other poetry as well as with visuals and rhythm in a variety of settings. Part II offers 28 age-appropriate, ready-to-use dances that include a variety of lesson progressions as your students acquire and develop movement skills. You will be able to teach dance skills and incorporate other creative elements and concepts to give your students an understanding of the many ways in which a skill can be performed. Through Lesson Plans for Creative Dance, you can work on several ideas within the same lesson and continue to develop those ideas in future lessons. You can also incorporate ideas from language arts, social studies, art, music, and science to facilitate children's learning and increase their enjoyment of various subjects. This lesson planner will help you take your movement education to the next level, help your students acquire skills and knowledge, and bring meaning and joy to your creative dance sessions.
Making Video Dance by
Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance. This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina's own screen dance practice, with reference to specific works that she has directed and which are available to view online New and revised practical exercises New illustrations specially drawn for this edition
Movement Improvisation by
In this outstanding text, Georgette Schneer, former director of the Harlem Dance and Theatre Company, shares the knowledge she has gained in more than four decades of teaching dance. Future dance educators will learn about the many benefits of movement improvisation, the principles involved in teaching it, and the techniques used to stimulate it.
The Oxford Handbook of Improvisation in Dance by
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while it has long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets. Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency and collective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience, cognition, and technologies.
Partnering Dance and Education by
Dance education is at a critical juncture in the United States. Even though it has gained wide acceptance as a valuable educational discipline and has achieved such victories as inclusion in the National Education Goals, its future remains uncertain. Educational reform, budget cuts, and conflicting views on the relevance of arts education all bring into question how--and if--dance should be taught in our schools. In Partnering Dance and Education, Dr. Judith Lynne Hanna presents a compelling argument for making dance central to every student's education. She examines current trends and issues in education to show how dance can be successfully justified and taught in today's changing educational environment. Rich with examples from arts magnet schools, arts organization offerings, dance company programs, public school instruction, and programs for at-risk youth, the book addresses difficult questions, including: - Is dance education in and of itself worthwhile? - What are the ways of providing dance education? - Who should teach dance in public schools? - Why and how should we connect dance to other bodies of knowledge? - What can be learned in, about, and through dance? - Does dance education benefit at-risk youth? - Do we teach gender roles in dance education? - What are the advantages and problems with cultural diversity in dance education? Divided into two parts, Partnering Dance and Educationis full of information and insights that readers will find both illuminating and thought provoking. Part I recognizes dance as a discipline in its own right with a distinct body of knowledge. Chapters discuss the benefits and methods of providing dance education, ways dance education can develop within the education reform movement, and who should teach dance. Part II addresses how dance education, while meaningful in itself, has broader relevance. Chapters discuss how dance can be used to teach academic and workplace skills, help at-risk youth, promote national identity while preserving cultural diversity, and help people cope with stress. It explains how children's dance during free play can be used as a teaching tool, and it looks at the role of dance in teaching students about gender. A special appendix poses challenging discussion questions for students and teachers. An extensive dance resources appendix includes suggested readings, as well as the addresses and phone numbers of leading dance organizations, programs, and schools.
Physics and the Art of Dance by
Physics and the Art of Dance gives all who enjoy dance - whether as dancers, students, teachers, or fans - an opportunity to understand what happens when human bodies move in the remarkable ways we call dance. How, for instance, do dancers create the illusion of defying gravity? Or ofstarting to spin when in the air with no source of force to act on their bodies? You may observe some dancers using their arms in a way that allows some to jump higher than others. What is that technique, and why does it work?In this second edition, author Ken Laws - a physicist with years of professional dance training - teams with veteran dance instructor Arleen Sugano to provide new step-by-step experiments for dancers. "What you see" sections describe the way physical principles form the framework within which somemovements exist. The complementary "What you do" sections allow dancers to experience how those physical analyses can provide them a more efficient means of learning how to carry out those movements. Throughout, the book shows how movements are first artistic expressions, and secondly movements ofthe body within the framework of easy-to-understand physical principles.Dancers and dance instructors will find in this book an efficient means of improving technical proficiency and growing professional and aesthetic development. For physics and science teachers, the book provides a new and compelling way to draw people into the world of science. And observers andfans of dance will marvel over the beautiful time-stop photography by renowned dance photographers Martha Swope and Gene Schiavone.
A Sense of Dance by
A comprehensive introduction to dance as an art form for new dancers.
A sense of dance : exploring your movement potential by
A Sense of Dance: Exploring Your Movement Potential, Second Edition, is written for true beginners--students who are exploring the art form for the first time and are not likely to describe themselves as dancers. Through this text, students discover that dance is an accessible art form that can bring greater self-awareness and self-confidence. It helps new dancers learn how to express themselves through dance. This second edition, based on an already-successful textbook, features three new chapters that add even more depth to the topics covered. The chapters address the power of dance through time and place, culture, and community; a sense of style; and patterns of coordination. Like the first edition, this empowering text uses an interactive approach to invite students to learn about dance through everyday experiences, personal observations, and guided experiences. The following are some of the special elements in the text: - "Inside Insights" encourage students to reflect on interesting observations that may affect their movement and expression. -"Try This Experiment" exercises are guided physical explorations of concepts in the text that help students become more kinesthetically aware of their movements and discover new ways of moving. -"Think About It" sections require students to reflect on how they can apply the information presented. These considerations provide good material for journal entries. -"Your Turn to Dance" provides two opportunities per chapter for students to work in small groups to discover movement possibilities, solve problems, and hone their observation and evaluation skills. These become springboards for choreography that reinforces the concepts in the chapter--and provide another adventure of exploring movement potential. The author uses a basic movement vocabulary that you can use to describe and evaluate movement possibilities, improve sensitivity when working in groups, develop critical-thinking skills, and express ideas and emotions through movement. The book also contains these features designed to help students personalize and interact with the content: -Short quizzes -Highlight boxes -Self-assessment exercises -Updated, easy-reference index Whatever your students' level of artistic awareness, this engaging text will inspire innovation and help you guide students in the discovery of their own creativity and sense of dance.
Teaching Dance Studies by
Teaching Dance Studies is a practical guide, written by college professors and dancers/choreographers active in the field, introducing key issues in dance pedagogy. Many young people graduating from universities with degrees - either PhDs or MFAs - desire to teach dance, either in college settings or at local dance schools. This collection covers all areas of dance education, including improvisation/choreography; movement analysis; anthropology; theory; music for dance; dance on film; kinesiology/injury prevention; notation; history; archiving; and criticism. Among the contributors included in the volume are: Bill Evans, writing on movement analysis; Susan Foster on dance theory; Ilene Fox on notation; Linda Tomko addresses new approaches to teaching the history of all types of dance; and Elizabeth Aldrich writing on archiving.
Your move : a new approach to the study of movement and dance by
Your Move: A New Approach to the Study of Movement and Dance establishes a fresh and original framework for looking at dance. In examining the basic elements of dance - the Alphabet of Movement - and using illustrations of movement technique and notation symbols it provides a new way to see, to teach and to choreograph dance. This book gives a list of primary actions upon which all physical activity is gased, focusing on both the functional and expressive sides of movement. It draws upon the author's broad experience in ballet, modern and ethnic dance to reinterpret movement and to shed new light on the role of movement in dance. Your Move is an important book not only for dancers but also for instructors in sport and physical therapy. Each copy of Your Move comes complete with exercise sheets, which can also be purchased separately. A teacher's guide has also been designed providing notes on each chapter, approaches to the exploration of movement, interpretation of the reading studies, additional information of motif description and answers to the exercise sheets. An optional audio cassette, with music written and recorded especially for use with the book, is also available.
Improvisation and Composition 1
This course is an introduction to the creative process–understanding its nature and development. You will discover the inner way of experiencing the individual power of your body in movement, space and time through improvisational and reflective exercises. You will build your intuitive and kinesthetic knowledge as you explore new or unfamiliar ideas and begin to form movement material for your dance studies, guided by the fundamental theories of compositional structures and devices.
Using these basic tools of the craft, and using gathered data from research and observation, you will design a creative movement workshop tailored for a chosen advocacy group, within which you will discover the relevance of how service- oriented collaborations can further your own academic, social, and personal growth.
Journals and video documentation will play an important role in your learning process where you will record materials discussed in class, personal thoughts, peer analyses on the creative and critical process of choreography, in relation to your own experiences and environment/situation available to you at present. This course is a personal reflection as you discover and develop your authentic movement lexicon.
Choreographie, Improvisation, Exploration by
Tanzpraxis gewinnt in der Forschung ebenso an Bedeutung wie sie selbst zur Forschung avanciert. Choreographie, Improvisation und Exploration erweitern herkömmliche diskursive Methoden der Wissensgenerierung und Wissensvermittlung um aisthetische Dimensionen der Bewegung, des Leiblichen, Sinnlichen und Affektiven. Dieser interdisziplinär angelegte Band eröffnet einen Einblick in die facettenreiche Vielfalt von Forschungsansätzen, die unmittelbar aus der Tanzpraxis hervorgehen oder auf tänzerische Praxen zurückgreifen. Die Beiträge stellen theoretische und methodische Grundlegungen, historische Bezüge sowie Erkenntnisgewinn exemplarisch an künstlerisch-kreativen, pädagogischen, therapeutischen und disziplinenüberschreitenden Projekten vor.
Composing while dancing : an improviser's companion by
Composing while Dancing: An Improviser's Companion examines the world of improvisational dance and the varied approaches to this art form. By introducing the improvisational strategies of twenty-six top contemporary artists of movement improvisation, Melinda Buckwalter offers a practical primer to the dance form. Each chapter focuses on an important aspect of improvisation including spatial relations, the eyes, and the dancing image. Included are sample practices from the artists profiled, exercises for further research, and a glossary of terms. Buckwalter gathers history, methods, interviews, and biographies in one book to showcase the many facets of improvisational dance and create an invaluable reference for dancers and dance educators.
Dance Circles : Movement, Morality and Self-fashioning in Urban Senegal by
Senegal has played a central role in contemporary dance due to its rich performing traditions, as well as strong state patronage of the arts, first under French colonialism and later in the postcolonial era. In the 1980s, when the Senegalese economy was in decline and state fundingwithdrawn, European agencies used the performing arts as a tool in diplomacy. This had a profound impact on choreographic production and arts markets throughout Africa. In Senegal, choreographic performers have taken to contemporary dance, while continuing to engage with neo-traditional performance, regional genres like the sabar, and the popular dances they grew up with. A historically informed ethnography of creativity, agency, and the fashioning of selves through the different life stages in urban Senegal, this book explores the significance of this multiple engagement with dance in a context of economic uncertainty and rising concerns over morality in the public space."
Dance Composition by
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Dance Movement Therapy by
The complexity and diversity of dance movement therapy is both clarified and celebrated in the contributions to this book which documents pioneering practice in a variety of settings in the UK. Experienced dance movement therapists from many different theoretical orientations and working with a range of clients, from the very young to the very old, come together to reveal their thinking, working methods and techniques. Dance Movement Therapy: Theory and Practiceoffers practising dance movement therapists new ideas and approaches, students an insight into their subject's versatility and adaptability, and other mental health workers, allied educators and professionals a clear picture of the nature and importance of dance movement therapy.
Dance Movement Therapy by
`This book is a very useful starting point for trainees in DMT, or for those training or practicing in other arts therapies or allied professions who would like an overview of theories and methods in DMT. For more experienced DMT practitioners and researchers, this book provides an introduction to theories of creativity and the notion of the movement metaphor as a basis for DMT theory and practice. There is constant dialogue and contextualizing between Meekum's theory and approach, psychological theories that have influenced the development of DMT, case studies, and the historical development of DMT. What is important in this book is the acknowledgement that DMT is a unique psychotherapy practice with a distinctive theory and methodology based on the intrinsic interaction between movement, the creative process, and psychology' - Body, Movement and Dance in Psychotherapy `Along with the "how" and "why" of psychotherapy, Bonnie Meekums provides realistic examples of people whose lives have benefited from dance movement therapy. It is my honour to recommend this book' - Dianne Dulicai, President of the American Dance Therapy Association `It is a very accessible book - it's an introduction to Dance Movement Therapy, ideal for students who have started DMT training, people who work in related fields (eg other arts therapies) or anyone who is interested in DMT. However, the book goes beyond the introduction in Bonnie's attempt to develop a new framework. It encourages practising DMTs to question their own approach introducing a different terminology to describe the creative process.... It is food for thought and for discussions in supervision' - e-motion `Dr Meekums surpasses her goal of contributing to the development of DMT; her book serves as a catalyzing guide for all health care professionals who seek creative processes in healing.... Meekums provides an innovative framework for DMT, and offers adequate references and recommendations for further study, research and evidence-based practice. I enthusiastically recommend this book to creative arts therapists, allied practitioners and especially to practicing and interning dance movement therapists as a professional resource and guide' - Maria Brignola Lee, The Arts in Psychotherapy Dance Movement Therapy is a concise, practical introduction to a form of therapy, which has the body-mind relationship at its centre. Movement, with both its physical and metaphorical potential, provides a unique medium through which clients can find expression, reach new interpretations and ultimately achieve a greater integration of their emotional and physical experience. In the book, Bonnie Meekums maps the origins of Dance Movement Therapy (DMT) and its relationship to other more traditional forms of therapy. Outlining a new model for DMT, she describes the creative process, which develops in cycles throughout each session and over the course of therapy. The stages in this creative, psychotherapeutic process are described as: - preparation - incubation - illumination - and evaluation Illustrated throughout with vivid case examples, the book defines the role of the therapist in working with clients to bring about change. This is a practical and accessible guide, which will help new trainees become orientated within the field of DMT. It also has much to offer practising psychotherapists who wish to develop more holistic and creative ways of meeting their clients' needs.
Dancing Age(ing) : Rethinking Age(ing) in and through Improvisation Practice and Performance by
How can contemporary dance contribute to a critical discourse on age and ageing? Built on the premise that age(ing) is something we practice and perform as individuals and as a society, Susanne Martin asks for and develops strategies that allow dance artists to do age(ing) differently. As a whole, this project is an artistic research inquiry, which draws on and contributes to dance practice. The study develops, discusses, and stages practices and performances of age(ing) that offer alternatives to stereotypical and normative age(ing) narratives, which are not only part of dance but also of everyday culture.
Dramaturgy in motion : at work on dance and movement performance by
Dramaturgy in Motion innovatively examines the work of the dramaturg in contemporary dance and movement performance. Katherine Profeta, a working dramaturg for more than fifteen years, shifts the focus from asking "Who is the dramaturg?" to "What does the dramaturg think about?" Profeta explores five arenas for the dramaturg's attention--text and language, research, audience, movement, and interculturalism. Drawing on her extended collaboration with choreographer and visual artist Ralph Lemon, she grounds her thinking in actual rehearsal-room examples and situates practice within theoretical discourse about contemporary dramaturgy. Moving between theory and practice, word and movement, question and answer until these distinctions blur, she develops the foundational concept of dramaturgical labor as a quality of motion. Dramaturgy in Motion will be invaluable to practitioners and scholars interested in the processes of creating contemporary dance and movement performance--particularly artists wondering what it might be like to collaborate with a dramaturg and dramaturgs wondering what it might be like to collaborate on movement performance. The book will also appeal to those intrigued by the work of Lemon and his collaborators, to which Profeta turns repeatedly to unfold the thorny questions and rich benefits of dramaturgical labor.
I Want to Be Ready by
"Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved." ---Fred Moten, Duke University "In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book." ---Barbara Browning, New York University "This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics." ---Randy Martin, Tisch School of Arts at New York University I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies. Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill. Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Kinesthetic city : dance and movement in Chinese urban spaces by
In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity. She locates her study in five Chinese urban sites--Shanghai, Taipei, Hong Kong, New York's Chinatown, and the San Gabriel Valley in Los Angeles--at momentous historical turning points to parse out key similarities and differences in the construction of Chineseness. The moving bodies she considers are not only those in performances by some of the most well-known Chinese dance companies in these cities, but also her own as she navigates urban Chinese spaces.By focusing primarily on kinesthesia--the body's awareness of motion--to gather information rather than more traditional modes of sight, sound, smell, touch, and taste, she highlights the importance of motion in the determination of space. In examining in these specific places at these precise historical moments, Kwan illuminates how moving bodies contribute to the production of those places and those moments. For Kwan, Chinese communities in diaspora provide particularly salient examples of how when and where our bodies are help to determine who we are. Whether engaged in otherwise unremarkable walking or in highly choreographed acts of political protest, human movement exists in dialogue with the kinesthetic of these city spaces, helping Chinese communities make meaning of themselves away from mainland China.As a whole, Kinesthetic City offers dance studies ways to extend movement analysis to study not only concert, folk or social dance, but also quotidian movement and urban flow.
Movement and Dance in Early Childhood by
`This original and fascinating approach to children's movement development is highly recommended reading for tutors, practitioner and students alike' - Under Five `Movement and Dance in Early Childhood offers a clear and accessible entry into the world of movement and dance and the possibilities that exist for children, their families and the wider educational community' - Every Child `Eminently readable and accessible. Whether the reader is versed in movement understanding or a beginner, by the end of the book they should be a much better movement observer, teacher and handler' - Marion North, Principal and Chief Executive, Laban Centre for Movement and Dance In this unique and innovative book on movement and dance development from birth to eight years, the author draws on her depth of knowledge and practical experience in helping children to become skilled, creative and imaginative in a wide range of movement-oriented activities. The book seeks to help early childhood educators and parents in very practical ways and provides guidance based on a sound theoretical understanding. Originally published as Helping Children Learn Through a Movement Perspective, this book has been updated in the light of recent research. The author extends her investigation of how young children learn in and through movement. There is an expanded chapter on dance, which suggests strategies for working with young children and examines ways in which young children take on the roles of dance-makers, performers and appreciators. An additional chapter shows ways in which the expressive and artistic aspects of children's movement can be appropriately located and includes exemplars for dance at Key Stage 1 and the early phases of Key Stage 2.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Sharing the dance : contact improvisation and American culture by
nbsp;nbsp;nbsp;nbsp;In Sharing the Dance, Cynthia Novack considers the development of contact improvisation within its web of historical, social, and cultural contexts.nbsp; Thisnbsp; book examines the ways contact improvisers (and their surrounding communities) encode sexuality, spontaneity, and gender roles, as well as concepts of the self and society in their dancing. nbsp;nbsp;nbsp;nbsp;While focusing on the changing practice of contact improvisation through two decades of social transformation, Novack’s work incorporates the history of rock dancing and disco, the modern and experimental dance movements of Merce Cunningham, Anna Halprin, and Judson Church, among others, and a variety of other physical activities, such as martial arts, aerobics, and wrestling.
Tanzpraxis in der Forschung - Tanz Als Forschungspraxis by
Tanzpraxis gewinnt in der Forschung ebenso an Bedeutung wie sie selbst zur Forschung avanciert. Choreographie, Improvisation und Exploration erweitern herkömmliche diskursive Methoden der Wissensgenerierung und Wissensvermittlung um aisthetische Dimensionen der Bewegung, des Leiblichen, Sinnlichen und Affektiven. Dieser interdisziplinär angelegte Band eröffnet einen Einblick in die facettenreiche Vielfalt von Forschungsansätzen, die unmittelbar aus der Tanzpraxis hervorgehen oder auf tänzerische Praxen zurückgreifen. Die Beiträge stellen theoretische und methodische Grundlegungen, historische Bezüge sowie Erkenntnisgewinn exemplarisch an künstlerisch-kreativen, pädagogischen, therapeutischen und disziplinenüberschreitenden Projekten vor.
Improvisation and Composition 2 (with Service Learning)
This course will examine in more detail the principles and theories of dance composition with emphasis on more complex choreographic devices. You will learn the process of developing material and giving it compositional structures. You will sharpen both intellectual and practical understanding of the craft of choreography; its cycles, progressions and stages of development as you create dance studies using two or more bodies (duets, trios, quartets). The most important part of this course is discovering your choreographic voice.
Using gathered data from research and observation, you will design a creative movement study based on a chosen advocacy, within which you will discover the relevance of how service oriented collaborations can further your own academic, social, and personal growth.
Journals will play an important role in your learning process where you will record material discussed in class, personal thoughts, peer analyses on the creative process of choreography, and your personal thoughts on the critical process of choreography as well as your class experiences and their possible impact on the community as well as your own development as an artist and human being.
The Art of Making Dances by
Written just before the author's death in 1958, this book is an autobiography in art, a gathering of experiences in performance, and a lucid and practical source book on choreography.
Balanchine and Kirstein's American Enterprise by
In 1933 choreographer George Balanchine and impresario Lincoln Kirstein embarked on an elusive quest to found a ballet company and school in the United States. Though their efforts would eventually result in the creation of the New York City Ballet and the School of American Ballet, the first decade of their collaborative efforts was anything but assured. Tracing the tangled histories of two of the most important figures in twentieth-century dance, Balanchine and Kirstein's American Enterprise offers a fresh perspective on a pivotal period in cultural history. Deeply researched using sources only made available in recent years, the book challenges the mythologies surrounding the early years of the Balanchine-Kirstein enterprise. It also reveals the full extent of Kirstein's essential role and offers reconstructive analysis of lost works, as well as new and surprising details regarding some of Balanchine's most iconic ballets, including Serenade, Apollo, and Concerto Barocco. This history involved artists including Richard Rodgers, Martha Graham, George Gershwin, Katherine Dunham, Vera Zorina, and Igor Stravinsky, as well as dozens of lesser known players whose contributions have yet to be fully acknowledged. Capturing the full sweep of Balanchine and Kirstein's collaborative work across multiple genres and institutions, this book reveals their partnership in all of its exciting and ungainly complexity, showing how the 1930s Balanchine was not the artist that he would eventually become, and how the same was true of the institutions that he and Kirstein jointly created.
Beyond Words by
Beyond Words presents a range of illuminating approaches to examining every day social interactions, to help the reader understand human movement in new ways. Carol-Lynne Moore and Kaoru Yamamoto build on the principles that they expertly explored in the first edition of the book, maintaining a focus on the processes of movement as opposed to discussions of static body language. The authors combine textual discussion with a new set of website-hosted video instructions to ensure that readers develop an in-depth understanding of nonverbal communication, as well as the work of its most influential analyst, Rudolf Laban. This fully-revised, extensively illustrated second edition includes a new introduction by the authors. It presents a fascinating insight into this vital field of study, and will be an invaluable resource for scholars and practitioners in many activities, from performing and martial arts, athletics, to therapeutic and spiritual practices, conflict resolution, business interactions, and intercultural relations.
Building dances : a guide to putting movements together by
This text aims to help teachers introduce, develop and assess the basics of choreography. Accompanied by a card deck that provides 224 movement ideas, this reference takes the reader step-by-step through the choreographic process. The book provides: sample lesson plans; guidelines for the teaching skills involoved; suggestions for organizing the movements; ideas for stylizing and individualizing dances; 112 dance cards; 9 dance construction models for designing dances; age-appropriate adaptions; student assessment forms and sample criteria; summaries; and a glossary that explains important dance terms in everyday language.
Choreographing Discourses by
Choreographing Discourses brings together essays originally published by Mark Franko between 1996 and the contemporary moment. Assembling these essays from international, sometimes untranslated sources and curating their relationship to a rapidly changing field, this Reader offers an important resource in the dynamic scholarly fields of Dance and Performance Studies. What makes this volume especially appropriate for undergraduate and graduate teaching is its critical focus on twentieth- and twenty-first-century dance artists and choreographers - among these, Oskar Schlemmer, Merce Cunningham, Kazuo Ohno, William Forsythe, Bill T. Jones, and Pina Bausch, some of the most high-profile European, American, and Japanese artists of the past century. The volume's constellation of topics delves into controversies that are essential turning points in the field (notably, Still/Here and Paris is Burning), which illuminate the spine of the field while interlinking dance scholarship with performance theory, film, visual, and public art. The volume contains the first critical assessments of Franko's contribution to the field by André Lepecki and Gay Morris, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography. Ultimately, this Reader encourages a wide scope of conversation and engagement, opening up core questions in ethics, embodiment, and performativity.
Choreography by
Featuring movement exploration exercises that illustrate choreographic principles, this text shows how to solve common choreography problems, design and shape movements, and organize dance performances. It also addresses how to understand choreographic principles and use critical thinking skills.
Choreography : a basic approach using improvisation by
Choreography: A Basic Approach Using Improvisationis the complete guide to understanding the entire process of choreography, from concept to stage production. Thousands of dancers and dance instructors have used the first two editions of this book to solve common challenges in choreography, improvise movement phrases, expand movements into dances, and organize dances into complete productions and concerts. This updated edition includes examples of how today's multimedia technology can be used to enhance choreography with special lighting effects, slide and PowerPoint projections, virtual dance performances, video conferencing, and motion capture. Each chapter contains movement exploration exercises, review and reflection questions, and application challenges that will help readers develop a better understanding of the choreographic concepts provided. And more than 70 high-quality photos provide a visual frame of reference and clarify key concepts. Choreography: A Basic Approach Using Improvisationbridges the theoretical and practical aspects of the choreographic process. It is an excellent reference for serious dancers, choreographers, dance instructors, and teachers who want to understand the creative process of transforming movement into dance.
Choreomania by
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K�lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Consuming dance : choreography and advertising by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Contemporary Choreography by
Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.
The dance bible : the complete resource for aspiring dancers by
The Dance Bible is a book for beginners who have the passion to dance but are unsure how to transform their creative impulse into a career. Advises readers on modern dance, jazz, ballet, contemporary, non-western forms, and even street dance Describes and discuses training regimes and fundamental dance techniques Offers suggestions on how to develop one's own unique style of expression Dancers get advice on physical conditioning and learning to care for their body, on and off the stage Finally, the author offers detailed advice on how beginning dancers can effectively market their talent, maximize income, and sustain a successful career in the highly competitive world of dance.
Dance composition for Philippine schools and colleges by Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
Dancers and Choreographers by
Covers ballet and modern dance as it developed across the US, England, Canada and Australia. Entries reference all English-language periodicals in which the dancer or choreographer appears. Birth and death dates are also given for each dancer when known, plus dates in which the dancer flourished.
Dancers talking dance : critical evaluation in the choreography class by
Dancers Talking Dancedescribes how to teach students to formulate critical responses to the dances they see, create, and perform. Written for teachers and dancers at all levels, the book outlines a five-step, systematic approach to critical evaluation. To bring the approach to life the author interweaves practical, how-to examples with explanations of the theories underlying each step. Readers will learn how to help students observe, describe, analyze, write, and talk more effectively about dances and other works of art. These skills will enhance students' choreography and improvisation experiences. Dancers Talking Dancefeatures many practical tools to help readers use the book to develop the critical process: - Think on it ideas for writing and discussion - Teaching/learning principles - Teacher hints - Chapter summaries - Chapter objectives - Sample assignments - References Part I provides an overview of philosophical and pedagogical issues and perspectives on critical evaluation and its role in dance education. In Part II, the author outlines the ORDER approach to critical evaluation: - Observation - Reflection - Discussion - Evaluation - Recommendations for revisions He explains each step in the ORDER approach and provides writing and discussion ideas designed to stimulate teacher and student thinking about the critical process and how it works. The book also offers numerous hints to help teachers communicate the approach in their classes. Part III presents practical suggestions for implementing the ORDER approach in beginning- and advanced-level choreography classes. The author interweaves practical activities with theoretical considerations to help students better understand the critical process. Teachers will also learn how to handle anticritical beliefs and disagreements that arise among students in critical discussions. With Dancers Talking Dance, teachers can help students hone their critical skills and become more articulate, creative, and confident dancers.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Fields in Motion by
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
Fifty Contemporary Choreographers by
First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
Further Steps 2 by
Further Steps 2nbsp;brings together New York's foremost choreographersnbsp;- among them MacArthur 'Genius' award winners Meredith Monk and Bill T. Jonesnbsp;- to discuss the past, present and future of dance in the US. In a series of exclusive and enlightening interviews, this diverse selection of artists discuss the changing roles of race, gender, politics, and the social environment on their work. Bringing her own experience of the New York dance scene to her study, Constance Kreemer traces the lives and works of the following choreographers: Lucinda Childs, Douglas Dunn, Molissa Fenley, Rennie Harris, Bill T. Jones, Kenneth King, Nancy Meehan, Meredith Monk, Rosalind Newman, Gus Solomons jr, Doug Varone, Dan Wagoner, Mel Wong and Jawole Zollar.
Honest bodies : revolutionary modernism in the dances of Anna Sokolow by
Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow illustrates the ways in which Sokolow's choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s-1960s in the United States, Mexico, and Israel. Drawing upon extensive archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow's statements for workers' rights, anti-racism, and the human condition through her choreography for social change alongside her dancing and teaching for Martha Graham. Tracing a catalog of dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies the Negro Cultural Committee, New York State Committee for the Communist Party, Federal Theatre Project, Nuevo Grupo Mexicano de Cl�sicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow's work in conjunction with developments in ethnic definitions, diaspora, and nationalism in the US, Mexico, and Israel.
Improvised Dance by
This book elucidates the technical aspects of improvised dance performance and reframes the notion of labour in the practice from one that is either based on compositionally formal logic or a mysterious impulse, to one that addresses the (in)corporeal dimensions of practice. Mobilising the languages and conceptual frameworks of theories of affect, embodied cognition, somatics, and dance, this book illustrates the work of specialist improvisers who occupy divergent positions within the complex field of improvised dance. It offers an alternative narrative of the history and current practice of Western improvised dance centred on the epistemology of its (in)corporeal knowledges, which are elusive yet vital to the refinement of expertise. Written for both a disciplinary-specific and interdisciplinary audience, this book will interest dance scholars, students, and practising artists.
The Intimate Act of Choreography by
A comprehensive book that covers all aspects of choreography from the most fundamental techniques to highly sophisticated artistic concerns. The Intimate Act of Choreography presents the what and how of choreography in a workable format that begins with basics- - time, space, force -- and moves on to the more complex issues faced by the intermediate and advanced choreographer -- form, style, abstraction, compositional structures, and choreographic devices. The format of the book evolved from the idea that improvisation is a good way to learn choreography. This approach is in harmony with widely accepted dance philosophies that value the unique quality of each individual's creativity. After discussing a concept, the authors provide improvisations, and choreographic studies that give the student a physical experience of that concept. The language is stimulating an innovative, rich in visual images that will challenge the choreographer to explore new directions in movement. The book is for serious dance students and professionals who are interested in both the practical and theoretical aspects of the art, dancers who are just starting to choreograph, and teachers who are seeking fresh ideas and new approaches to use with young choreographers. (A Teacher's Addendum offers suggestions on how to use the material in the classroom.) It is a guide, a text, and an extensive resource of every choreographic concept central to the art form.
Invisible connections : dance, choreography and internet communities by
The first and only book to focus on dance on the Internet, Sita Popat's fascinating Invisible Connections examines how Internet and communication technologies offer dance and theatre new platforms for creating and performing work, and how opportunities for remote interaction and collaboration are available on a scale never before imaginable. Drawing upon the work of practioners and theorists in the arts, communications and technology theorists and , Invisible Connections makes special reference to Popat's series of Internet-based choreography projects from with online communities around the globe, and explores: * methods by which such technologies can facilitate creative collaborations between performers and viewers * how sharing creative processes between online communities can enrich the artistic palette and provide arts-based learning * how the Cartesian duality of the mind-body split is challenged by the physicality of dancing and choreography together online. With its dual aspect approach, from the author as an artist/researcher and the appendix being written by a software designer, the historical perspective on performance on the internet coupled with the writing makes this a must read book for any student of performance, dance or communication studies.
Making Video Dance by
Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance. This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina's own screen dance practice, with reference to specific works that she has directed and which are available to view online New and revised practical exercises New illustrations specially drawn for this edition
Philippine neo-ethnic choreography : a creative process by 
Playable bodies : dance games and intimate media by
What happens when machines teach humans to dance? Dance video games transform players' experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. Drawing on five years of research with players, game designers, and choreographers for the Just Dance and Dance Central games, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, and emerging surveillance technologies. Author Kiri Miller tracks the circulation of dance gameplay and related body projects across media platforms to reveal how dance games function as intimate media, configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.
Preserving Dance Across Time and Space by
Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Unworking choreography : the notion of the work in dance by
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dancerefers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographicworks within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within theart form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
When men dance : choreographing masculinities across borders by
While dance has always been as demanding as contact sports, intuitive boundaries distinguish the two forms of performance for men. Dance is often regarded as a feminine activity, and men who dance are frequently stereotyped as suspect, gay, or somehow unnatural. But what really happens whenmen dance?When Men Dance offers a progressive vision that boldly articulates double-standards in gender construction within dance and brings hidden histories to light in a globalized debate. A first of its kind, this trenchant look at the stereotypes and realities of male dancing brings together contributionsfrom leading and rising scholars of dance from around the world to explore what happens when men dance. The dancing male body emerges in its many contexts, from the ballet, modern, and popular dance worlds to stages in Georgian and Victorian England, Weimar Germany, India and the Middle East. Themen who dance and those who analyze them tell stories that will be both familiar and surprising for insiders and outsiders alike.
William Forsythe and the Practice of Choreography by
William Forsythe's reinvigoration of classical ballet during his 20-year tenure at the Ballett Frankfurt saw him lauded as one of the greatest choreographers of the postwar era. His current work with The Forsythe Company has gone even further to challenge and investigate fundamental assumptions about choreography itself. William Forsythe and the Practice of Choreography presents a diverse range of critical writings on his work, with illuminating analysis of his practice from an interdisciplinary perspective. The book also contains insightful working testaments from Forsythe's collaborators, as well as anbsp;contribution from the choreographer himself. With essays covering all aspects of Forsythe's past and current work, readers are provided with an unparalleled view into the creative world of this visionary artist, as well asnbsp;a comprehensive resource for students, scholars, and practitioners of ballet and contemporary dance today.
Improvisation and Composition 2 (with Service Learning)
This course will examine in more detail the principles and theories of dance composition with emphasis on more complex choreographic devices. You will learn the process of developing material and giving it compositional structures. You will sharpen both intellectual and practical understanding of the craft of choreography; its cycles, progressions and stages of development as you create dance studies using two or more bodies (duets, trios, quartets). The most important part of this course is discovering your choreographic voice.
Using gathered data from research and observation, you will design a creative movement study based on a chosen advocacy, within which you will discover the relevance of how service oriented collaborations can further your own academic, social, and personal growth.
Journals will play an important role in your learning process where you will record material discussed in class, personal thoughts, peer analyses on the creative process of choreography, and your personal thoughts on the critical process of choreography as well as your class experiences and their possible impact on the community as well as your own development as an artist and human being.
The Choreographic by
An investigation of dance and choreography that views them not only as artistic strategies but also as intrinsically theoretical and critical practices. The choreographic stages a conversation in which artwork is not only looked at but looks back; it is about contact that touches even across distance. The choreographic moves between the corporeal and cerebral to tell the stories of these encounters as dance trespasses into the discourse and disciplines of visual art and philosophy through a series of stutters, steps, trembles, and spasms. In The Choreographic, Jenn Joy examines dance and choreography not only as artistic strategies and disciplines but also as intrinsically theoretical and critical practices. She investigates artists in dialogue with philosophy, describing a movement of conceptual choreography that flourishes in New York and on the festival circuit. Joy offers close readings of a series of experimental works, arguing for the choreographic as an alternative model of aesthetics. She explores constellations of works, artists, writers, philosophers, and dancers, in conversation with theories of gesture, language, desire, and history. She choreographs a revelatory narrative in which Walter Benjamin, Pina Bausch, Francis Alÿs, and Cormac McCarthy dance together; she traces the feminist and queer force toward desire through the choreography of DD Dorvillier, Heather Kravas, Meg Stuart, La Ribot, Miguel Gutierrez, luciana achugar, and others; she maps new forms of communicability and pedagogy; and she casts science fiction writers Samuel R. Delany and Kim Stanley Robinson as perceptual avatars and dance partners for Ralph Lemon, Marianne Vitali, James Foster, and Janet Cardiff and George Bures Miller. Constructing an expanded notion of the choreographic, Joy explores how choreography as critical concept and practice attunes us to a more productively uncertain, precarious, and ecstatic understanding of aesthetics and art making.
Contemporary PerforMemory : Dancing through Spacetime, Historical Trauma, and Diaspora in the 21st Century by
Contemporary PerforMemory looks at dance works created in the 21st century by choreographers identifying as Afro-European, Jewish, Black, Palestinian, and Taiwanese-Chinese-American. It explores how contemporary dance-makers engage with historical traumas such as the Shoah and the Maafa to reimagine how the past is remembered and how the future is anticipated. The new idea of perforMemory arises within a lively blend of interdisciplinary theory, interviews, performance analysis, and personal storytelling. Scholar and artist Layla Zami traces unexpected pathways, inviting the reader to move gracefully across disciplines, histories, and geographies.
Dance and light : the partnership between choreography and lighting design by
Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.
Dance Composition by
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dance [and] Theory by
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the »next generation«.
Dancing the New World by
From Christopher Columbus to "first anthropologist" Friar Bernardino de Sahagun, fifteenth- and sixteenth-century explorers, conquistadors, clerics, scientists, and travelers wrote about the "Indian" dances they encountered throughout the New World. This was especially true of Spanish missionaries who intensively studied and documented native dances in an attempt to identify and eradicate the "idolatrous" behaviors of the Aztec, the largest indigenous empire in Mesoamerica at the time of its European discovery. Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse--the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri's pathfinding analysis of the vast colonial "dance archive" conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history--the European colonization of the Americas.
Emerging bodies : the performance of worldmaking in dance and choreography by
The concept of »worldmaking« is based on the idea that 'the world' is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing 'dance worlds': through artistic practice, discourse and media, choreographic form and dance material. The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral - an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal »world of dance«, but rather a multitude of interrelated dance worlds with more emerging every day.
Global movements : dance, place, and hybridity by
Global Movements: Dance, Place, and Hybridity provides a theoretical and practical examination of the relationships between the global mobility of ideas and people, and its impact on dance and space. Using seven case studies, the contributors illustrate the mixture of dance styles that result from the global diffusion of cultural traditions and practices. The collection portrays a multitude of ways in which public and private spaces—stages, buildings, town squares as well as natural environments—are transformed and made meaningful by culturally diverse dances. Global Movements will be of interest to scholars of geography, dance, and global issues.
The Intimate Act of Choreography by
A comprehensive book that covers all aspects of choreography from the most fundamental techniques to highly sophisticated artistic concerns. The Intimate Act of Choreography presents the what and how of choreography in a workable format that begins with basics- - time, space, force -- and moves on to the more complex issues faced by the intermediate and advanced choreographer -- form, style, abstraction, compositional structures, and choreographic devices. The format of the book evolved from the idea that improvisation is a good way to learn choreography. This approach is in harmony with widely accepted dance philosophies that value the unique quality of each individual's creativity. After discussing a concept, the authors provide improvisations, and choreographic studies that give the student a physical experience of that concept. The language is stimulating an innovative, rich in visual images that will challenge the choreographer to explore new directions in movement. The book is for serious dance students and professionals who are interested in both the practical and theoretical aspects of the art, dancers who are just starting to choreograph, and teachers who are seeking fresh ideas and new approaches to use with young choreographers. (A Teacher's Addendum offers suggestions on how to use the material in the classroom.) It is a guide, a text, and an extensive resource of every choreographic concept central to the art form.
Pina Bausch's dance theater : company, artistic practices and reception by
Pina Bausch and Dance Theater. The Art of Translating offers new and ground-breaking perspectives on the work of the Tanztheater Wuppertal. The development and performance of its oeuvre, the passing on of choreographic material and reactions by the public are presented as complex, interdependent, and reciprocal processes of translation. For the very first time, this book focuses on the artistic research involved in the company's international co-productions and features extensive empirical material in form of interviews with dancers, collaborators, and spectators, as well as ethnographic insights. This book introduces a praxeology of cultural and aesthetic translation as a viable key concept for research into dance and art.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Revolutionary bodies : Chinese dance and the socialist legacy by
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)--a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries. Learn more at the TOME website, available at: openmonographs.org. Revolutionary Bodies is the first English-language primary source-based history of concert dance in the People's Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China's dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
Staging Dance by
Staging Dance is a practical handbook that covers all aspects of putting on a dance production. It highlights the current diversity of dance activities, choosing examples from working dance groups and from individual dancers. The book includes sections on choreography, music and sound, designing and making sets and costumes, lighting design and technical implementation and stage management. Funding, planning and publicity are also covered. Staging Dance will prove invaluable not only to dance artists, but also those working along side them: musicians, designers, lighting technicians, administrators and directors.
This course provides a structured approach that enables you to understand the historical, creative, artistic, and aesthetic aspects of musical theater in relation to American history. You will progressively master vocal and dramatic skills necessary for an effective performance of the genre. You will not only gain knowledge of the social and cultural impact of the musical theater art form on society; but you will also achieve a personal understanding of the discipline through guided rehearsals, auditions, performances, and a term–end presentation.
150 Years of Popular Musical Theatre by
From the Parisian operettas of Jacques Offenbach in the 1850s to such current blockbuster musicals as Les Misérables and Rent, musical theatre has given joy to audiences throughout the world. This lively book--an illustrated history of popular musical theatre--provides a compendium of fascinating details about the origins and development of the genre over a century and a half. Andrew Lamb moves from country to country, showing how different cultures interpreted and were influenced by different types of musical theatre. He examines, for example, the development of the European operetta style from French and Viennese works to such less-well-known schools as the Spanish zarzuela. He also traces the evolution of English-language works from the comic operas of Gilbert and Sullivan and American vaudevilles and extravaganzas to the latest Broadway and West End musicals. For each significant work he provides a brief description of the plot and references to the principal musical numbers. While his focus is on composers, librettists, and lyricists, he also gives information about principal performers, directors, and other creative influences. In a masterful way he conveys the differences between works of the same composer and works by various composers, and shows how they reflect changing cultural tastes and musical and dramatic conventions. Displaying a deep and wide-ranging expertise, this authoritative book is an invaluable resource for all lovers of the musical theatre. ]]>
All that jazz : the life and times of the musical Chicago by
In 1975, the Broadway musical Chicago brought together a host of memes and myths - the gleefully subversive character of American musical comedy, the reckless glamour of the big-city newspaper, the mad decade of the 1920s, the work of Bob Fosse and Gwen Verdon (two of the greatest talents in the musical's history), and the Wild West gangsterville that was the city of Chicago itself. The tale of a young woman who murders her departing lover and then tricks the jury into letting her off, Chicago seemed too blunt and cynical at first. Everyone agreed it was show biz at its brilliant best, yet the public still preferred A Chorus Line, with its cast of innocents and sentimental feeling. Nevertheless, the 1996 Chicago revival is now the longest-running American musical in history, and the movie version won the Best Picture Oscar. As author Ethan Mordden looks back at Chicago's various moving parts - including the original 1926 play that started it all, a sexy silent film directed by Cecil B. DeMille, a talkie remake with Ginger Rogers, the musical itself, and at last the movie of the musical - we see how the American theatre serves as a kind of alternative news medium, a town crier warning the public about the racy, devious interior contradictions of American society. Opinionated, witty, and rich in backstage anecdotes, All That Jazz brings the American Musical to life in all its artistry and excitement.
The Art of Theatre by
THE ART OF THEATRE: THEN AND NOW, Third Edition, explores issues of cultural diversity and creativity, presents a full day-in-the-life of theatre, and offers comprehensive coverage of theatre history. The authors make timely and relevant connections between theatre and the familiar world of television and film to help students understand how the living art of theatre relates to and influences today's screen entertainment. For flexibility in instruction, THE ART OF THEATRE is available in two versions. This full version contains 17 chapters, six of which cover theatre history in both Western and non-Western contexts, and concludes with a chapter on "The Musical". THE ART OF THEATRE: A CONCISE INTRODUCTION features 12 chapters and a briefer treatment of theatre's history, and also features a chapter on "The Musical".
Auditioning for Musical Theatre by
Auditioning for Musical Theatre demystifies the process of giving the best possible professional audition for a role in a musical. It is the result of Denny Berry's own experience, sitting "behind the audition desk" for 30 years of professional Broadway auditions, as well as teaching newcomers and coaching established actors. The book coaches performers on how to be their best selves--and avoid the pitfalls of nerves and poor preparation. To do so, it offers: An in-depth, practical approach to a professional audition that gives readers detailed suggestions about how to identify their vocal strengths, choose the material most suited to it, and present the entirety of their "product" with confidence. Rules to guide the actor through the audition process, along with sample homework assignments. A comprehensive list of musical material, genres, and commonly-referred-to categories of songs designed to help auditioners select the right material for any given audition. The book is intended for the talented newcomer as well as the experienced actor who wants to deliver a more effective audition. Ultimately, Auditioning for Musical Theatre takes the reader through the parts of auditioning that they can control, and helps them tailor every situation to show their individual best.
Big deal : Bob Fosse and dance in the American musical by
Bob Fosse (1927-1987) is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era--a group that included Jerome Robbins, Gower Champion, Michael Kidd, and Harold Prince--to equal his Broadway success in films. Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza with a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final efforts, the film Star 80 and the musical Big Deal, written and directed by Fosse, were rejected by audiences and critics. A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of mentors George Abbott and Jerome Robbins on his work. It examines how each of the important women in his adult life--all dancers--impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
Broadway Musicals by
It has been said that the New York Times theatre critics can make or break a show. Over the last century its six leading critics; Brooks Atkinson, Howard Taubman, Clive Barnes, Walter Kerr, Frank Rich, and Ben Brantley, have offered the most authoritative and influential commentary on musical theatre and documented our love affair with the Broadway musical. This extensive compendium includes the original reviews from the 150 most important musicals, selected by chief theatre critic Ben Brantley and accompanied by archival photographs from the productions and select feature coverage. Organized chronologically, the book begins in the early 1900s, when Gilbert and Sullivan and the Zeigfield Follies laid the groundwork for the flowering of the musical. Traveling into the golden age of theatre, we see divas rise on the stage; Ethel Merman, Julie Andrews, Carol Burnett, as well as legendary directors, lyricists, and choreographers; Rodgers and Hart, Cole Porter, Bob Fosse and Sondheim and Prince, to name a few. Iconic shows that have seen celebrated revivals will include expanded sections to track the show's evolution over time, as in the seminal role of Rose in Gypsy, which has been played by such luminaries as Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peter and Patti Lupone. New York Times critic Ben Brantley gives context to the treasure trove of reviews through a thoughtful introduction and essays that guide the reader through each decade, along with some commentary on seminal shows.
The Cambridge Companion to African American Theatre by
This Companion provides a comprehensive overview of African American theatre, from the early nineteenth century to the present day. Along the way, it chronicles the evolution of African American theatre and its engagement with the wider community, including discussions of slave rebellions on the national stage, African Americans on Broadway, the Harlem Renaissance, African American women dramatists, and the 'New Negro' and 'Black Arts' movements. Leading scholars spotlight the producers, directors, playwrights and actors whose efforts helped to fashion a more accurate appearance of Black life on stage, and reveal the impact of African American theatre both within the United States and further afield. Chapters also address recent theatre productions in the context of political and cultural change and ask where African American theatre is heading in the twenty-first century.
The Cambridge Companion to the Musical by
This Companion is an accessible survey of one of the most popular forms of musical performance. Written especially for students and theatergoers, it offers a guide to the history and development of the musical in England and America, and worldwide. Starting with the early history of the musical, the volume examines the latest works and innovations, and includes information on the singers, audience and critical reception, and traditions. The book contains a chronology, reading lists and photos from key productions.
The Cambridge Companion to the Musical by
Tracing the development of the musical on both Broadway and in London's West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception, and traditions. All of the chapters from the first edition remain - several in substantially updated forms - and five completely new chapters have been added, covering: ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions.
The Cambridge Introduction to Theatre Directing by
This Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Korsunovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.
A Concise History of Theatre by
Focuses on the cultural significance of theatre This streamlined, engaging text helps students understand the events, places and people that have influenced the history of theatre. Learning Goals Upon completing this book, readers will be able to: Identify the major time periods and geographic areas associated with the history of theatre Distinguish relevant characteristics of theatre in diverse times and places. Describe the underlying cultural, economic, and political environments as they affected theatre in different times and places. Associate major participants who made theatre within their historical and regional context.
Creating Musical Theatre by
Creating Musical Theatre features interviews with the directors and choreographers that make up today's Broadway elite. From Susan Stroman and Kathleen Marshall to newcomers Andy Blankenbuehler and Christopher Gattelli, this book features twelve creative artists, mostly director/choreographers, many of whom have also crossed over into film and television, opera and ballet. To the researcher, this book will deliver specific information on how these artists work; for the performer, it will serve as insight into exactly what these artists are looking for in the audition process and the rehearsal environment; and for the director/choreographer, this book will serve as an inspiration detailing each artist's pursuit of his or her dream and the path to success, offering new insight and a deeper understanding of Broadway today. Creating Musical Theatre includes a foreword by four-time Tony nominee Kelli O'Hara, one of the most elegant and talented leading ladies gracing the Broadway and concert stage today, as well as interviews with award-winning directors and choreographers, including- Rob Ashford (How to Succeed in Business Without Really Trying); Andy Blankenbuehler (In the Heights); Jeff Calhoun (Newsies); Warren Carlyle (Follies); Christopher Gattelli (Newsies); Kathleen Marshall (Anything Goes); Jerry Mitchell (Legally Blonde); Casey Nicholaw (The Book of Mormon); Randy Skinner (White Christmas); Susan Stroman (The Scottsboro Boys); Sergio Trujillo (Jersey Boys); and Anthony Van Laast (Sister Act).
Dramaturgy in the making : a user's guide for theatre practitioners by
Dramaturgy in the Making maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice - institutional dramaturgy, production dramaturgy and dance dramaturgy - with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own 'dramaturgical toolbox'. In tracing the development of the role of the dramaturg, the author explores the contribution of Lessing, Brecht and Tynan, foundational figures who shaped the practice. She excavates the historical and theoretical contexts for each strand of the work, uniquely offering a history of dance dramaturgy and its associated theories. Based on extensive research, the volume features material from the author's interviews with fifty eminent professionals from Europe and North America, including- Robert Blacker, Jack Bradley, DD Kugler, Ruth Little and Hildegard De Vuyst. Through these, a detailed and precise insight is provided into dramaturgical processes at organisations such as the Akram Khan Company, les ballets C de la B (Gent), the National Theatre and the Royal Court (London), the Schaub'hne (Berlin) and The Sundance Institute Theatre Lab (Utah), among others. Dramaturgy in the Making will prove indispensable to anyone working in theatre or wanting to better understand the dramaturgical processes in performance-making today. The book features a foreword by Geoff Proehl, author of Toward a Dramaturgical Sensibility- Landscape and Journey.
The Essential Theatre by
Whether you are a theatre major looking forward to a career in the arts or a non-major interested in an overview to increase your appreciation as an audience member, THE ESSENTIAL THEATRE, 11th Edition, provides an engaging, insightful, and informative resource that will enrich your theatre experience throughout your life. Written by highly respected teachers and theatre historians, the text has earned its reputation as one of the most comprehensive, authoritative surveys of the theatre. Its vibrant treatment of theatre practice--past and present--catalogs the origins of theatre through postmodernism and performance art. The Eleventh Edition includes an all-new chapter devoted to musical theatre, new "Then and Now" boxes that link theatre history to present-day, and numerous new photos--including photos of actors you will quickly recognize from film and television.
A History of the American Musical Theatre by
From the diverse proto-theatres of the mid-1800s, though the revues of the '20s, the 'true musicals' of the '40s, the politicisation of the '60s and the 'mega-musicals' of the '80s, every era in American musical theatre reflected a unique set of socio-cultural factors.　 Nathan Hurwitz uses these factors to explain the output of each decade in turn, showing how the most popular productions spoke directly to the audiences of the time. He explores the function of musical theatre as commerce, tying each big success to the social and economic realities in which it flourished.　 This study spans from the earliest spectacles and minstrel shows to contemporary musicals such as Avenue Q and Spiderman. It traces the trends of this most commercial of art forms from the perspective of its audiences, explaining how staying in touch with writers and producers strove to stay in touch with these changing moods.　 Each chapter deals with a specific decade, introducing the main players, the key productions and the major developments in musical theatre during that period.
The Musical Theatre Composer As Dramatist by
Dramaturgy is at the heart of any musical theatre score, proving that song and music combined can collectively act as drama. The Musical Theatre Composer as Dramatist: A Handbook for Collaboration offers techniques for approaching a musical with the drama at the centre of the music. Written by a working composer of British musical theatre, this original and highly practical book is intended for composers, students of musical theatre and performing arts and their collaborators. Through detailed case studies, conceptual frameworks and frank analysis, this book encourages the collaboration between the languages of music and drama. It offers a shared language for talking about music in the creation of musical theatre, as well as practical exercises for both composers and their collaborators and ways of analysing existing musical theatre scores for those who are versed in musical terminology, and those who are not. Speaking directly to the contemporary artist, working examples are drawn from a wide range of musicals throughout Part One, before a full case study analysis of Matilda the Musical brings all the ideas together in Part Two. Part Three offers a range of practical exercises for anyone creating new musicals, particularly composers and their collaborators.
Musical Theatre for Dummies by
Discover what goes on behind the curtains of your favorite musical Do you want to know more about the fascinating history of Broadway musicals, the stars of yesterday and today, and what goes on behind the curtain of a musical production? In Musical Theatre For Dummies, Broadway insider and host of Sirus/XM Radio's ON BROADWAY channel Seth Rudetsky takes you backstage and reveals everything you want to know (and what you didn't know you wanted to know) about life in the theatre. How did musical theatre begin? How did Broadway stars become stars? How can you launch your own musical theatre path, whether in a school musical, community theatre, or on a path toward Broadway? Get answers to all these questions along with tons more insight from the unofficial "mayor of Broadway." Learn the history of musical theater and discover the stories of shows that have run for years ... or closed before opening night! Trace the development of productions, from the initial idea all the way through opening night and beyond Discover what it takes to make a musical come together, from pit musicans, stage managers, and swings to designers, casting directors, and more. Get insider advice on the skills you need to perform in professional or amateur musical theater productions Whether you're completely new to musical theatre or have a few Tony awards displayed over your fireplace, this is the book for you. Enjoy real-life anecdotes shared with the author by Broadway's biggest stars as you become a musical theater know-it-all.
Musicals : the complete illustrated story of the world's most popular live entertainment by
An update to Kurt Ganzl's hugely popular Musicals, first published in 1995. The musical today stands where it always has - at the centre of a truly popular culture. How it got there is told in Musicals which charts each significant turn in the genre's glorious development, through some 300 photographs and incisive, informative text, including feature spreads on the milestones of musical theater, their creators and innovators, and the famous venues in Paris, Vienna, London and New York associated with them. Also included are spreads of musicals that have successfully made the transition from the stage to the wide screen, such as The Sound of Music, My Fair Lady, Guys and Dolls and West Side Story. To bring it bang up to date, the text has been revised with an extra sixteen pages added, looking at the most popular musicals of the past five years including The Lion King, Beauty and the Beast and Rent.
Musical Theatre Auditions and Casting by
Musical theatre is a tough and over-crowded industry. Yet, despite the huge competition, many performers find auditioning difficult with little knowledge of what the directors, creative teams and producers are looking for, or how to win the panel over with their unique talent. As a leading international casting director, Neil Rutherford has seen thousands of hopefuls audition over the years. Uniquely, he also understands what it is like to audition from his years as a professional actor in musical theatre. This book provides a unique perspective on the musical theatre audition process and how to improve the chances of landing a role. With wit, humour and insight, Neil Rutherford guides the reader through the crucial elements of musical theatre auditions, opening up the process of casting and auditioning to the thousands of hopefuls trying to secure work in this industry every year, as well as anyone involved in musical theatre. With a foreword by Tony-award-winning director Bartlett Sher, the book also contains contributions from some of the world's leading directors and musical directors, including Sir Richard Eyre and Jerry Mitchell, adding further valuable insight from those at the centre of the musical theatre world. This book is a vital tool for anyone hoping to improve their audition chances and survive in the world of musical theatre.
Music As a Chariot by
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept¿namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul¿a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
Sing out, Louise! : 150 Broadway musical stars remember 50 years by
Offering an inside look on Broadway, this work is based on interviews with Broadway performers, including Julie Andrews, Barbara Cook, Carol Channing, Lauren Bacall, Katherine Hepburn, Tony Randall, and Gwen Verdon. It provides a glimpse at the passion and commitment, the jealousy and heartbreak, that have made their recollections, from trying to get cast in a Broadway show, to keeping their job after successful audition and performing in troubled shows to understudying a star. The book includes discussions of Broadway in the age of Andrew Lloyd Webber, the star system, and today's life in musical theatre as well as its promising and dynamic future.
Sound and Music for the Theatre by
For every phase of theatrical production, Sound and Music for the Theatre traces the entire process of sound design from initial concept through closing night. The book discusses the early evolution of a sound design that supports the play, from researching sources for music and effects to negotiating a contract. It shows how to organize the construction of the sound design elements, how the designer functions in a rehearsal, and how to set up and train an operator to run sound equipment for a theatrical production. This instructive information is interspersed with "war stories¿ describing real-life problems with solutions that sound designers and composers can apply in their own work. The new third edition still retains its focus on aesthetics, techniques, and process. However, it goes beyond to offer a brand new forum on sound reinforcement, unique information on computer-assisted playback systems, and a comprehensive perspective on using technology to build and execute shows.
Staging British South Asian Culture by
Staging British South Asian Culture: Bollywood and Bhangra in British Theatre looks afresh at the popularity of forms and aesthetics from Bollywood films and bhangra music and dance on the British stage. From Andrew Lloyd Webber's Bombay Dreams to the finals of Britain's Got Talent, Jerri Daboo reconsiders the centrality of Bollywood and bhangra to theatre made for or about British South Asian communities. Addressing rarely discussed theatre companies such as Rifco, and phenomena such as the emergence of large- scale Bollywood revue performances, this volume goes some way towards remedying the lack of critical discourse around British South Asian theatre. A timely contribution to this growing field, Staging British South Asian Culture is essential reading for any scholar or student interested in exploring the highly contested questions of identity and representation for British South Asian communities.
Theatre and Dance by
This succinct and engaging text explores the interdependence between theatre and dance. Making a compelling case for the significance of resisting genre distinctions in the arts, Kate Elswit demonstrates why and how the ampersand between theatre and dance needs to be understood as the rule, rather than the exception. This illuminating guide focuses on the interconnected ecosystems of practice that constitute performance history, the expansion of theatre and dance forms on contemporary North American and European stages, and the disciplinary methods that scholars use today to understand such practices, both past and present. Accessible and affordable, this is an ideal resource for theatre students and lovers everywhere.
Theatre and Voice by
How can we rethink the importance of voice in performance? How can we understand voice simultaneously as music and text, as sound and body, or as both personal and political? This book explores voice across genres, media and cultures, inviting the reader to reassess established ways of analysing, enjoying and listening to voice. Using a wide range of case studies integrated with critical and philosophical frameworks, it makes audible the multiple ways in which voice contributes to how we perform identities. From opera and musical theatre to live art and immersive audio walks, Konstantinos Thomaidis presents voice as plural, elusive and ripe for reinvention.
Theory for Theatre Studies: Sound by
Sound provides a lively and engaging overview of relevant critical theory for students and researchers in theatre and performance studies. Addressing sound across history and through progressive developments in relevant technologies, the volume opens up the study of theatrical production and live performance to understand conceptual and pragmatic concerns about the sonic. By way of developed case studies (including Aristophanes's The Frogs, Shakespeare's The Tempest, Cocteau's The Human Voice, and Rimini Protokoll's Situation Rooms), readers can explore new methodologies and approaches for their own work on sound as a performance component. In an engagement with the burgeoning interdisciplinary field of sound studies, this book samples exciting new thinking relevant to theatre and performance studies. Part of the Theory for Theatre Studies series which introduces core theoretical concepts that underpin the discipline, Sound provides a balance of essential background information and new scholarship, and is grounded in detailed examples that illuminate and equip readers for their own sonic explorations. Volumes follow a consistent three-part structure: a historical overview of how the term has been understood within the discipline; more recent developments illustrated by substantive case studies; and emergent trends and interdisciplinary connections. Volumes are supported by further online resources including chapter overviews, illustrative material and guiding questions. Online resources to accompany this book are available at: https://bloomsbury.com/uk/theory-for-theatre-studies-sound-9781474246460/
This course provides a structured approach that enables you to understand the historical, creative, artistic, and aesthetic aspects of musical theater in relation to American history. You will progressively master vocal and dramatic skills necessary for an effective performance of the genre. You will not only gain knowledge of the social and cultural impact of the musical theater art form on society; but you will also achieve a personal understanding of the discipline through guided rehearsals, auditions, performances, and a term–end presentation.
Composed theatre : aesthetics, practices, processes by
A unique contribution to an emerging field, Composed Theatre explores musical strategies of organization as viable alternative means of organizing theatrical work. In addition to insightful essays by a stellar group of international contributors, this volume also includes interviews with important practitioners, shedding light on historical and theoretical aspects of composed theatre.
From plantation to paradise? : cultural politics and musical theatre in French slave colonies, 1764-1789 by
In 1764 the first printing press was established in the French Caribbean colonies, launching the official documentation of operas and plays performed there, and marking the inauguration of the first theatre in the colonies. A rigorous study of pre-French Revolution performance practices in Guadeloupe, Martinique, and Saint-Domingue (now Haiti), Powers's book examines the elaborate system of social casting in these colonies; the environments in which nonwhite artists emerged; and both negative and positive contributions of the Catholic Church and the military to operas and concerts produced in the colonies. The author also explores the level of participation of nonwhites in these productions, as well as theatre architecture, décor, repertoire, seating arrangements, and types of audiences. The status of nonwhite artists in colonial society; the range of operas in which they performed; their accomplishments, praise, criticism; and the use of créole texts and white actors/singers à visage noirs (with blackened faces) present a clear picture of French operatic culture in these colonies. Approaching the French Revolution, the study concludes with an examination of the ways in which colonial opera was affected by slave uprisings, the French Revolution, the emergence of "patriotic theatres," and their role in fostering support for the king, as well as the impact on subsequent operas produced in the colonies and in the United States.
Gestures of Music Theatre: the Performativity of Song and Dance by
Gestures of Music Theater: The Performativity of Song and Dance offers new, cutting-edge essays focusing on song and dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theater, opera, theater, and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner-Prize-winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. The book's contributors derive methodologies from many disciplines. Resisting discrete discipline-based enquiry, they share methodologies and performance repertoires with discipline-based scholarship from theater studies, musicology, and cultural studies, among other approaches. Together, they view these as neighboring voices whose dialogue enriches the study of contemporary music theater.
The Great White Way : race and the Broadway musical by
Broadway musicals are one of America's most beloved art forms and play to millions of people each year. But what do these shows, which are often thought to be just frothy entertainment, really have to say about our country and who we are as a nation? The Great White Way is the first book to reveal the racial politics, content, and subtexts that have haunted musicals for almost one hundred years from Show Boat (1927) to The Scottsboro Boys (2011). Musicals mirror their time periods and reflect the political and social issues of their day. Warren Hoffman investigates the thematic content of the Broadway musical and considers how musicals work on a structural level, allowing them to simultaneously present and hide their racial agendas in plain view of their audiences. While the musical is informed by the cultural contributions of African Americans and Jewish immigrants, Hoffman argues that ultimately the history of the American musical is the history of white identity in the United States. Presented chronologically, The Great White Way shows how perceptions of race altered over time and how musicals dealt with those changes. Hoffman focuses first on shows leading up to and comprising the Golden Age of Broadway (1927-1960s), then turns his attention to the revivals and nostalgic vehicles that defined the final quarter of the twentieth century. He offers entirely new and surprising takes on shows from the American musical canon--Show Boat (1927), Oklahoma! (1943), Annie Get Your Gun (1946), The Music Man (1957), West Side Story (1957), A Chorus Line (1975), and 42nd Street (1980), among others. New archival research on the creators who produced and wrote these shows, including Leonard Bernstein, Jerome Robbins, Stephen Sondheim, and Edward Kleban, will have theater fans and scholars rethinking forever how they view this popular American entertainment.
Independent Theatre in Contemporary Europe by
Over the past 20 years European theatre underwent fundamental changes in terms of aesthetic focus, institutional structure and in its position in society. The impetus for these changes was provided by a new generation in the independent theatre scene. This book brings together studies on the state of independent theatre in different European countries, focusing on the fields of dance and performance, children and youth theatre, theatre and migration and post-migrant theatre. Additionally, it includes essays on experimental musical theatre and different cultural policies for independent theatre scenes in a range of European countries.
The Legacy of Opera : Reading Music Theatre as Experience and Performance by
The Legacy of Opera: Reading Music Theatre as Experience and Performance is the first volume in a series of books compiled by the Music Theatre Working Group of the International Federation for Theatre Research. The series explores the widening of the meaning of the term "music theatre" to reflect new ways of thinking about this creative practice beyond the genres circumscribed by discourses of theatre studies and musicology. Specifically it interrogates the experience of music theatre and its performance energies for contemporary audiences who engage with the emergence of new expressive idioms, new performative paradigms, new technologies and new ways of thinking. The Legacy of Opera considers some of the ways in which opera's influence has informed our understanding of and approach to the musical stage, from the multiple perspectives of the ideological, historical, corporeal and artistic. With contributions from international scholars in music theatre, its chapters explore both canonic and experimental examples of music theatre, spanning a period from the seventeenth century to the present day.
Musical Theatre Auditions and Casting by
Musical theatre is a tough and over-crowded industry. Yet, despite the huge competition, many performers find auditioning difficult with little knowledge of what the directors, creative teams and producers are looking for, or how to win the panel over with their unique talent. As a leading international casting director, Neil Rutherford has seen thousands of hopefuls audition over the years. Uniquely, he also understands what it is like to audition from his years as a professional actor in musical theatre.This book provides a unique perspective on the musical theatre audition process and how to improve the chances of landing a role. With wit, humour and insight, Neil Rutherford guides the reader through the crucial elements of musical theatre auditions, opening up the process of casting and auditioning to the thousands of hopefuls trying to secure work in this industry every year, as well as anyone involved in musical theatre. With a foreword by Tony-award-winning director Bartlett Sher, the book also contains contributions from some of the world's leading directors and musical directors, including Sir Richard Eyre and Jerry Mitchell, adding further valuable insight from those at the centre of the musical theatre world. This book is a vital tool for anyone hoping to improve their audition chances and survive in the world of musical theatre.
Musical Theatre Realism and Entertainment by
In Musical Theatre, Realism and Entertainment, Millie Taylor explores the ways in which musical theatre reaches out to and involves its audiences. Taylor investigates how pleasure is stimulated by vocal, musical and spectacular performances.
Music As a Chariot by
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept--namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul--a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
Music Theory Through Musical Theatre by
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles thetheoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offersmusical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes.The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill ina world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enablesbetter dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
The New Music Theater by
Alternatives to grand opera and the popular musical can be traced at least as far back as the 1912 premiere of Schoenberg's "Pierrot Lunaire." Yet this ongoing history has never been properly sorted out, its complex ideas and philosophy as well as musical and theatrical achievements never brought fully to light. The New Music Theater is the first comprehensive attempt in English to cover this still-emerging art form in its widest range. This book provides a wealth of examples and descriptions not only of the works themselves, but of the concepts, ideas, and trends that have gone into the evolution of what may be the most central performance art form of the post-modern world. Authors Salzman and Desi consider the subject of music theatre from a social as well as artistic point of view, exploring how theatre works in culture, and how music works in the theatre. Illuminating their discussion with illustrations from current artists and their works, The New Music Theater both describes where we have been and points the way to the future of this all-encompassing art form.
A New Perpsective on the Role of Musicality in the Theatre by
Music continues to be immensely influential in key developments of theatrical practices. In this study of musicality in the theatre, David Roesner offers a revised view of the nature of the relationship between music and theatre. The theoretical scope of the book is developed from a wide range of case studies, some of which are re-readings of the classics of theatre history (Appia, Meyerhold, Artaud, Beckett), while others introduce or rediscover less-discussed practitioners such as Joe Chaikin, Thomas Bernhard, Elfriede Jelinek, Michael Thalheimer and Karin Beier.
Nothing Like a Dame: Conversations with the Great Women of Musical Theater by
In Nothing Like a Dame, theater journalist Eddie Shapiro opens a jewelry box full of glittering surprises, through in-depth conversations with twenty leading women of Broadway. He carefully selected Tony Award-winning stars who have spent the majority of their careers in theater, leaving aside those who have moved on or occasionally drop back in. The women he interviewed spent endless hours with him, discussing their careers, offering insights into the iconic shows, changes on Broadway over the last century, and the art (and thrill) of taking the stage night after night. Chita Rivera describes the experience of starring in musicals in each of the last seven decades; Audra McDonald gives her thoughts on the work that went into the five Tony Awards she won before turning forty-one; and Carol Channing reflects on how she has revisited the same starring role generation after generation, and its effects on her career. Here too is Sutton Foster, who contemplates her breakout success in an age when stars working predominately in theater are increasingly rare. Each of these conversations is guided by Shapiro's expert knowledge of these women's careers, Broadway lore, and the details of famous (and infamous) musicals. He also includes dozens of photographs of these players in their best-known roles. This fascinating collection reveals the artistic genius and human experience of the women who have made Broadway musicals more popular than ever-a must for anyone who loves the theater.
The production manager's toolkit : successful production management in theatre and the performing arts by
"Our theater world is so much better with this book in it, and even better with Cary and Jay at the helm." -David Stewart, Director of Production for the Guthrie Theater The Production Manager's Toolkit is a comprehensive introduction to a career in theatrical and special event production for new and aspiring professionals, given by expert voices in the field. The book discusses management techniques, communication skills, and relationship building tactics to create effective and successful production managers. With a focus on management theory, advice from top production managers provide insights into budgeting, scheduling, meetings, hiring, maintaining safety, and more. Through interviews and case studies, the history and techniques of production management are explored throughout a variety of entertainment venues: theatre, dance, opera, and special events. The book includes references, tools, templates, and checklists; and a companion website contains downloadable paperwork and links to other useful resources such as unions, venues, and vendors. This book is written for student and professional production managers.
Sound and Music for the Theatre by
Covering every phase of a theatrical production, this fourth edition of Sound and Music for the Theatre traces the process of sound design from initial concept through implementation in actual performances. The book discusses the early evolution of sound design and how it supports the play, from researching sources for music and effects, to negotiating a contract. It shows you how to organize the construction of the sound design elements, how the designer functions in a rehearsal, and how to set up and train an operator to run sound equipment. This instructive information is interspersed with 'war stores' describing real-life problems with solutions that you can apply in your own work, whether you're a sound designer, composer, or sound operator.
Sound and Music for the Theatre by
For every phase of theatrical production, Sound and Music for the Theatre traces the entire process of sound design from initial concept through closing night. The book discusses the early evolution of a sound design that supports the play, from researching sources for music and effects to negotiating a contract. It shows how to organize the construction of the sound design elements, how the designer functions in a rehearsal, and how to set up and train an operator to run sound equipment for a theatrical production. This instructive information is interspersed with "war stories¿ describing real-life problems with solutions that sound designers and composers can apply in their own work. The new third edition still retains its focus on aesthetics, techniques, and process. However, it goes beyond to offer a brand new forum on sound reinforcement, unique information on computer-assisted playback systems, and a comprehensive perspective on using technology to build and execute shows.
The St Gall Passion Play by
The early-fourteenth-century St Gall Passion Play comes from the Central Rhineland. Unfortunately its music (over one hundred Latin and German chants) is given in the manuscript only as brief incipits, without any musical notation. This interdisciplinary study reconstructs the musical stratum of the play. It is the first full-scale musical reconstruction of a large German Passion play in recent times, using the latest available scholarly data in drama, liturgy and music. It draws conclusions about performance practice and forces, and offers a sound basis for an authentic performance of the play. The study applies musical and liturgical data to the problem of localizing the play (the first time this has been systematically attempted), and assesses how applicable this might be to other plays. It presents a detailed study of the distinctive medieval liturgical uses of three German dioceses, Mainz, Speyer and Worms. The comparative approach suggests how the music of other plays might be reconstructed and understood, and shows that a better understanding of the music of medieval drama has much to teach us about other aspects of the genre. The book should be of interest to literary scholars, theatre historians, musicologists, liturgical scholars, and those involved in the performance of early drama.
Theatre History Studies 2012, Vol. 32 by
Theatre History Studies, currently edited by Rhona Justice-Malloy, is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-American Theatre Conference (MATC), a regional body devoted to theatre scholarship and practice. The conference encompasses the states of Illinois, Iowa, Nebraska, Kansas, Missouri, Minnesota, North Dakota, South Dakota, Wisconsin, Indiana, Michigan, and Ohio. The purpose of the conference is to unite persons and organizations within the region with an interest in theatre and to promote the growth and development of all forms of theatre. nbsp; nbsp; Contributors Penny Farfan / Victor Holtcamp / Lisa Jackson-Schebetta / Richard L. Poole / Bill Rauch / Thomas Robson / Marlis Schweitzer / Virginia Scott / Christine Woodworth
Theatre Symposium, Vol. 22 by
That theatre is a business remains a truth often ignored by theatre insiders and consumers of the performing arts alike. The essays in Theatre Symposium, Volume 22 explore theatre as a commercial enterprise both historically and as a continuing part of the creation, production, and presentation of contemporary live performance. The eleven contributors to this fascinating collection illuminate many aspects of commercial theatre and how best to examine it. George Pate analyzes the high-stakes implication of a melodramatic legal battle. Christine Woodworth recounts the difficulties encountered by British actresses near the turn of the twentieth century, while Boone J. Hopkins considers newly found images of Margo Jones along with the commercial appeal they represent. The volume continues with articles that follow developments with ties to commercial theatre, such as the interplay between Broadway companies and regional theatres, musical productions in communist Poland, and the influence of Korean popular culture on theatre and the unique production arrangements that have resulted. Other essays investigate alternative concepts related to commercial themes with regard to audience interaction and the burgeoning world of geek theatre. Edited by David S. Thompson, this latest publication by the largest regional theatre organization in the United States collects the most current scholarship on theatre history and theory.
This course will introduce you to the spoken language of Ballet which aims to enhance your comprehension, communication, and pronunciation skills of ballet terminology. LECTUR1 will provide you with a solid grounding in basic French grammar. It will develop an awareness of the language’s basic structures, and to act as a useful overview to French and Francophone culture. Lectur1 focuses on developing fundamental oral skills in French.
Berlitz French in 30 Days by
This newly designed, beginner-level French audio course is ideal for language learners looking for a fun and effective course with short, manageable daily lessons. Lessons are in a fun, diary-like format, designed to fit seamlessly into your daily schedule. The audio CD runs for 60 minutes and the contents can be easily downloaded to your iPod or MP3 player. Following through the lessons transports you to life in France where you will learn how to meet and greet people, carry out everyday tasks, and find and start work. Exercises and examples progressively build a solid foundation of essential grammar and vocabulary alongside knowledge of the country and its culture.
Collins French dictionary by
Clear and concise language notes provide information on common grammatical errors and confusable words, while handy culture notes explain cultural differences. French verbs are cross-referenced to comprehensive verb tables, helping you find all the French verb forms you need. Text is colour-coded and very easy to navigate.
Collins French dictionary by
This dictionary provides beginners of French with the easiest way to learn the language. Its features include full coverage of core vocabulary in both French and English, thousands of examples to show how to use the translations and all essential set expressions. The layout is clear and user-friendly.
Complete French Grammar by
Build your confidence in your French skills with practice, practice, practice! From present tense regular verbs to double object pronouns, this comprehensive guide and workbook covers all those aspects of French grammar that you might find a little intimidating or hard to remember. Practice Makes Perfect: Complete French Grammar focuses on the practical aspects of French as it's really spoken, so you are not bogged down by unnecessary technicalities. Each unit features crystal-clear explanations, numerous realistic examples, and dozens of engaging exercises in a variety of formats--including multiple choice, fill-in sentences and passages, sentence rewrites, and creative writing--perfect for whatever your learning style. Whenever possible, explanations include comparisons you to understand the basic logic behind the rules and to remember correct usage. This new edition includes: Time-saving vocabulary panels that eliminate having to look words up Advice on how to avoid common mistakes A detailed answer key for quick, easy progress checks Offering a winning formula for getting a handle on French grammar right away, Practice Makes Perfect: Complete French Grammar your ultimate resource for learning to speak French the way the native speakers do.
Correct Your French Blunders by
A witty, fast-paced guide to eliminating those annoying and frustrating French bloopers Mixing genders, inverting subjects and objects, and trusting false cognates are just a few of the blunders English-speaking French-language learners commonly make. In Correct Your French Blunders, veteran French teacher Véronique Mazet identifies these and other common trouble spots and clearly explains the reasons behind them. You will discover how grammar patterns of French differ from those of English and why trying to translate word for word, structure for structure, from English, can lead to big trouble. You will learn to break bad habits and correct your mistakes while developing a much more natural feel for French language patterns with the help of: More than 1,000 highlighted examples of common blunders to avoid A free app available on iTunes for interactive practice for obliterating those blunders Numerous examples and practical exercises Quick-reference panels for checking correct tense forms A "Hall of Shame" compendium of bad errors to recognize and correct
Du Tac Au Tac : Managing Conversations in French (with Premium Web Site, 4 Terms (24 Months) Printed Access Card) by
Improve your French conversation skills with DU TAC AU TAC: MANAGING CONVERSATIONS IN FRENCH! The communicative strategies used in this French text help you reactivate, strengthen, and build on what you already know so that you can improve your French communication skills with ease. Each chapter is organized around what you need to know to interact with native speakers: how to initiate, maintain, and close conversations; how to communicate and respond to feelings and emotions; how to express opinions; and how to give and get information.
Essential French Grammar by
Essential French Grammar isa student-friendly French grammar designed to give learners a firm foundation on which to build a real understanding of both spoken and written French. Clear explanations of grammar are supported by contemporary examples, lively cartoon drawings and a variety of exercises. Key features of each chapter: each grammar point explained initially with reference to English parallels between English and French provided where relevant 'Key points' box and tables that summarise grammar concepts real-life language examples in French, with English translations a variety of exercises to reinforce learning a contemporary primary source or literary extract to illustrate grammar in context.　 A glossary of grammatical terms in French and English, useful verb tables, and a key to the exercises are also provided, making this an ideal resource for both independent and class-based learners. Essential French Grammaris an innovative reference grammar and workbook for intermediate and advanced undergraduate students of French. (CEFR levels A2 to B2, ACTFL Novice High to Intermediate High) t;/P> a contemporary primary source or literary extract to illustrate grammar in context.　 A glossary of grammatical terms in French and English, useful verb tables, and a key to the exercises are also provided, making this an ideal resource for both independent and class-based learners. Essential French Grammaris an innovative reference grammar and workbook for intermediate and advanced undergraduate students of French. (CEFR levels A2 to B2, ACTFL Novice High to Intermediate High)
French by
Lonely Planet: The world's leading travel guide publisher Many visitors to France get around without speaking a word of French, but just a few phrases go a long way in making friends, inviting service with a smile, and ensuring a rich and rewarding travel experience - you could discover a cosy vineyard off the tourist track, experience a sublime meal, or grab that great shopping bargain. Essential phrases to meet all your travel needs How to get local recommendations Easy-to-use pronunciation guides Expert tips to boost your confidence Lonely Planet gets you to the heart of a place. Our job is to make amazing travel experiences happen. We visit the places we write about each and every edition. We never take freebies for positive coverage, so you can always rely on us to tell it like it is. Authors: Written and researched by Lonely Planet, Michael Janes, Jean-Bernard Carillet, and Jean-Pierre Masclef. About Lonely Planet: Started in 1973, Lonely Planet has become the world's leading travel guide publisher with guidebooks to every destination on the planet, as well as an award-winning website, a suite of mobile and digital travel products, and a dedicated traveller community. Lonely Planet's mission is to enable curious travellers to experience the world and to truly get to the heart of the places they find themselves in. TripAdvisor Travelers' Choice Awards 2012 and 2013 winner in Favorite Travel Guide category 'Lonely Planet guides are, quite simply, like no other.' - New York Times 'Lonely Planet. It's on everyone's bookshelves; it's in every traveller's hands. It's on mobile phones. It's on the Internet. It's everywhere, and it's telling entire generations of people how to travel the world.' - Fairfax Media (Australia)
French B for the IB Diploma Second Edition by
Exam board: International Baccalaureate Level: IB Diploma Subject: French First teaching: September 2018 First exams: Summer 2020 Develop competent communicators who can demonstrate a sound conceptual understanding of the language with a flexible course that ensures thorough coverage of the updated French B Guide and is designed to meet the needs of all IB students at Standard and Higher Level. - Empower students to communicate confidently by exploring the five prescribed themes through authentic texts and skills practice at the right level, delivered in clear learning pathways. - Ensure students are able to produce coherent written texts and deliver proficient presentations with grammar and vocabulary introduced in context and in relation to appropriate spoken and written registers. - Improve receptive skills with authentic written texts, audio recordings spoken at a natural pace, and carefully crafted reading and listening tasks. - Promote global citizenship, intercultural understanding and an appreciation of Francophone cultures through a wide range of text types and cultural material from around the world. - Deliver effective practice with a range of structured tasks within each unit that build reading, listening, speaking and writing skills. - Establish meaningful links to TOK and CAS, and identify learner profile attributes in action. The audio for the Student Book is FREE to download from www.hoddereducation.com/ibextras
French Conversation by
Learn how to speak French fluently and spontaneously Practice Makes Perfect: French Conversation gives you helpful instruction on correct pronunciation, grammar, syntax, and word usage, keeping in mind the typical problems of native English speakers like you. Each section includes a series of exercises that gives you extra practice in using new concepts and encourages you to construct personalized conversations. The lessons will reassure even grammar-phobic learners that you can achieve a confident speaking style. Offering a winning formula for getting a handle on speaking French right away, Practice Makes Perfect: French Conversation offers: Engaging dialogues illustrate practical conversational situations Example phrases or sentences clarify each point A variety of exercises for practice, with an answer key that provides instant feedback and reference Practical and high-frequency vocabulary used throughout
French for the IB MYP 4&5 (Phases 1-2): by Concept by
Develop your skills to become an inquiring learner; ensure you navigate the MYP framework with confidence using a concept-driven and assessment-focused approach to French, presented in global contexts. - Develop conceptual understanding with key MYP concepts and related concepts at the heart of each chapter. - Learn by asking questions for a statement of inquiry in each chapter. - Prepare for every aspect of assessment using support and tasks designed by experienced educators. - Understand how to extend your learning through research projects and interdisciplinary opportunities. - Think internationally with chapters and concepts set in global contexts Contents 1. Quelle est mon identité culturelle? 2. Qu'est ce qu'il y a autour de moi? 3. Pourquoi faire la fete? 4. A quoi sert l'école? 5. Qu'est-ce que tu aimes manger? 6. Tu fais du sport? 7. Quels sont tes loisirs? 8. Suis-je responsible de mon environement? 9. Es-tu curieux? 10. Comment communique-t-on? 11. Es-tu une victim de la consommation? 12. Qu'est-ce qui définit nos relations?
French Grammar for Dummies by
The easy way to master French grammar French Grammar For Dummies is a logical extension andcomplement to the successful language learning book, French ForDummies. In plain English, it teaches you the grammatical rulesof the French language, including parts of speech, sentenceconstruction, pronouns, adjectives, punctuation, stress and verbtenses, and moods. Throughout the book, you get plenty of practiceopportunities to help you on your goal of mastering basic Frenchgrammar and usage. Grasp the grammatical rules of French including parts ofspeech, sentence construction, and verb tenses Enhance your descriptive speech with adverbs, adjectives, andprepositions Benefit from plenty of practice opportunities throughout thebook Use the French language confidently and correctly Whether you're a student studying French or a professionallooking to get ahead of the pack by learning a second language,French Grammar For Dummies is your hands-on guide to quicklyand painlessly master the written aspect of this popularlanguage.
French Grammar in Context by
French Grammar in Context presents a unique and exciting approach to learning grammar. Authentic texts from a rich variety of sources, literary and journalistic, are used as the starting point for the illustration and explanation of key areas of French grammar. Each point is consolidated with a wide range of written and spoken exercises. Grammar is presented not as an end in itself, but as a tool essential to enjoying French, understanding native speakers and communicating effectively with them. Literary texts and poems are taken from renowned French authors such as Albert Camus, Zola, André Malraux, Alain Robbe-Grillet, Stendhal and Jacques Prévert. News sources include Libération, Le Point, Marianne, and Le Monde Diplomatique, in addition to articles from regional papers such as Ouest-France and La Voix du Nord. Lifestyle articles are included from magazines such as Elle. This fourth edition has been updated to include new extracts from writers such as Christiane Rochefort , Raymond Queneau and Roch Carrier. In addition to extra exercises within the book, this new edition is supported by a companion website that offers a wealth of additional interactive exercises to practise and reinforce the material covered. French Grammar in Context is aimed at intermediate and advanced students and is ideal for both independent and class-based study.
French in Action by
French in Action is a model for video-based language instruction, and the new edition updates the text and workbook for today's students. Since it was first published, French in Action: A Beginning Course in Language and Culture--The Capretz Method has been widely recognized in the field as a model for video-based foreign-language instructional materials. The third edition has been revised by Pierre Capretz and Barry Lydgate and includes new, contemporary illustrations throughout and more-relevant information for today's students in the Documents sections of each lesson. A completely new feature is a journal by the popular character Marie-Laure, who observes and humorously comments on the political, cultural, and technological changes in the world between 1985 and today. The new edition also incorporates more content about the entire Francophone world. In use by hundreds of colleges, universities, and high schools, French in Action remains a powerful educational resource, and the third edition updates the course for a new generation of learners. ]]>
Lonely Planet French Phrasebook & Dictionary by
Lonely Planet: The world's #1 phrasebook publisher* Lonely Planet French Phrasebook & Dictionary is your handy passport to culturally enriching travels with the most relevant and useful French phrases and vocabulary for all your travel needs. Ask about tucked-away vineyards, bargain with local famers at the market or order wine like a professional; all with your trusted travel companion. With language tools in your back pocket,you can truly get to the heart of wherever you go, so begin your journey now! Get More From Your Trip with Easy-to-Find Phrases for Every Travel Situation! - Feel at ease with essential tips on culture, manners, idioms and multiple meanings - Order with confidence, explain food allergies, and try new foods with the menu decoder - Save time and hassles with vital phrases at your fingertips - Never get stuck for words with the 3500-word two-way, quick-reference dictionary - Be prepared for both common and emergency travel situations with practical phrases and terminology - Meet friends with conversation starter phrases - Get your message across with easy-to-use pronunciation guides Inside Lonely Planet French Phrasebook & Dictionary : - Full-colour throughout - User-friendly layout organised by travel scenario categories - Survival phrases inside front cover for at-a-glance on-the-fly cues - Convenient features - 5 Phrases to Learn Before You Go - 10 Ways to Start a Sentence - 10 Phrases to Sound like a Local - Listen For - phrases you may hear - Look For - phrases you may see on signs - Shortcuts - easy-to-remember alternatives to the full phrases - Q&A - suggested answers to questions asked - Covers - Basics - time, dates, numbers, amounts, pronunciation, reading tips, grammar rules - Practical - travel with kids, disabled travellers, sightseeing, business, banking, post office, internet, phones, repairs, bargaining, accommodation, directions, border crossing, transport - Social - meeting people, interests, feelings, opinions,going out, romance, culture, activities, weather - Safe Travel - emergencies, police, doctor, chemist, dentist, symptoms, conditions - Food - ordering, at the market, at the bar, dishes, ingredients The Perfect Choice: Lonely Planet French Phrasebook & Dictionary , a pocket-sized comprehensive language guide, provides on-the-go language assistance; great for language students and travellers looking to interact with locals and immerse themselves in local culture. - Looking for just the basics? Check out Lonely Planet's Fast Talk French, a pocket-sized, essential language guide designed to get you talking quickly; perfect for a quick trip experience. - Looking for an auditory guide to pronunciations? Check out Lonely Planet's French Phrasebook & Audio CD. Authors: Written and researched by Lonely Planet, Michael Janes, Jean-Pierre Masclef, Jean-Bernard Carillet. About Lonely Planet: Started in 1973, Lonely Planet is the world's leading travel guide publisher with guidebooks to every destination on the planet, and has been connecting travellers and locals for over 25 years with phrasebooks for 120 languages, more than any other publisher! With an award-winning website, a suite of mobile and digital travel products, and a dedicated traveller community, Lonely Planet enables curious travellers to experience the world and to truly get to the heart of the places they find themselves. The world awaits! *#1 phrasebook publisher. Source: Nielsen Bookscan UK, US & AUS
Practice Make Perfect French Vocabulary by
Master the words and phrases necessary for handling everyday situations Practice Makes Perfect: French Vocabulary helps you develop your vocabulary by providing practice in word-building and encouraging you to analyze new words for an ever-increasing vocabulary. Each chapter of this comprehensive book focuses on a theme, such as family or travel, so you can build your language skills in a systematic manner. As you lay the foundation for an increasing vocabulary, you are able to perfect your new words with plenty of exercises and gain the confidence to communicate well in French. Practice Makes Perfect: French Vocabulary offers you: More than 120 exercises Concise grammatical explanations A new chapter on contemporary vocabulary An answer key to gauge your comprehension With help from this book, you can easily speak or write in French about: Different occupations and jobs * French holidays and traditions * Taking the train * Growing your own garden * Where it hurts on your body * Your house * Your family and friends * What you studied in school * Your favorite TV show * Your family's background . . . and much more!
Practice Makes Perfect: Intermediate French Grammar by
Master French grammar through hands-on exercises and practice, practice, practice! Practice Makes Perfect: Intermediate French Grammar helps you take your grammar skills to a higher level and gives you the confidence to speak and write in your new language. This workbook leads you through French grammar using concise, easy-to-understand language, keeping you focused on achieving your goal of total fluency. Practice Makes Perfect: Intermediate French Grammar is packed with: Example sentences that illustrate and clarify each grammatical point Hundreds of exercises in formats suited to your learning style Practical and high-frequency French vocabulary Master these tricky subjects: Prepositions and prepositional phrases * Idiomatic uses of irregular verbs * Negative and interrogative structures * Imparfait and passe compose * The subjunctive mood * Relative pronouns
Side-By-Side French and English Grammar, 3rd Edition by
A simple approach for learning French grammar by comparing it to your first language, English! Side-by-Side French and English Grammar present explanations of the essential elements of French grammar alongside their English-language equivalents. This method allows you to build on what you already know; not only do you learn French grammar but also enjoy the added benefit of strengthening your grammar skills in your native tongue! Each lesson clearly explains functions and uses of the different parts of speech and includes abundant examples for each entry. Because the vocabulary is limited to frequently used words, you can concentrate more on a sentence's structure instead of becoming tangled in its meaning. A "Quick Check" section summarizes main ideas in each section and helps you retain the most important information. This third edition features a new exercise section to further reinforce what you have learned.
· Vous!: the Global French Experience, Enhanced by
� VOUS! is a complete introductory French program that makes learning French easier through its flexible and accessible approach. Now in its second edition, this innovative text integrates the best aspects of theories in second-language acquisition and focuses on the skills crucial to the learning and use of a foreign language in order to provide students with a comprehensive introduction to French language and culture. The program incorporates high-frequency vocabulary that is of interest to today's students, grammar explanations that are complete and comprehensible, a focus on all skills, task-based activities that simulate what students will do during their first travel- or study-abroad experience, and high-interest cultural topics that invite cross-cultural comparisons. The new, enhanced second edition of � VOUS! offers streamlined, visually enhanced grammar presentations that enable professors and students to immediately benefit from classroom activities that focus on using the language in contextualized situations.
This course will introduce you to the spoken language of Ballet which aims to enhance your comprehension, communication, and pronunciation skills of ballet terminology. LECTUR1 will provide you with a solid grounding in basic French grammar. It will develop an awareness of the language’s basic structures, and to act as a useful overview to French and Francophone culture. Lectur1 focuses on developing fundamental oral skills in French.
A Comprehensive French Grammar by
Characterized by clear and accessible explanations, numerous examples and sample sentences, a new section on register and tone, and useful appendices covering topics including age and time, A Comprehensive French Grammar, Sixth Edition is an indispensable tool for advanced students of French language and literature. A revised edition of this established, bestselling French grammar Includes a new section on register and medium and offers expanded treatment of French punctuation Features numerous examples and sample sentences, and useful appendices covering topics including age, time, and dimension, all available in an easily-navigable format Written by renowned French scholar, Glanville Price
Constructions in French by
The book Constructions in French is the first collected volume to focus on French syntax from a constructionist perspective. It has been written with two kinds of readers in mind: for readers interested in the relationship between the French linguistic tradition and cognitive linguistics, and for readers who would like to examine how constructional analysis can be applied to a variety of French language phenomena. The eleven papers illustrate the insights generated by combining lexicalist and constructionist approaches, focusing on syntax as a dynamic system and using corpus data from a variety of speech genres. The contributions provide new findings about French usage trends (in linguistics and in psycholinguistics), including insights into new, nonstandard and little studied constructions.
French All-In-One for Dummies, with CD by
Your comprehensive guide to speaking, reading, and writing inFrench French is a beautiful language but can be quite difficult tolearn. Whether you need to learn the language for a French class,or for business or leisure travel, French for Dummies All-In-Onemakes it easier. With nearly 800 pages, French All-in-One For Dummies isfor those readers looking for a comprehensive guide to help themimmerse themselves in the French language. Culls vital information from several Dummies titles, offeringyou a comprehensive, all-encompassing guide to speaking and usingFrench Includes French Canadian content and enhanced practicedopportunities Its accompanying audio CD provides you with en effective toolto start speaking French right away Both new students of French and experienced speakers can benefitfrom the wealth of information that has been included in FrenchAll-in-One For Dummies. CD-ROM/DVD and other supplementary materials are not included aspart of the e-book file, but are available for download afterpurchase.
French As Language of Intimacy in the Modern Age by
For centuries, French was the language of international commercial and diplomatic relations, a near-dominant language in literature and poetry, and was widely used in teaching. It even became the fashionable language of choice in the eighteenth and nineteenth centuries for upper class Dutch, Russians, Italians, Egyptians, and others for personal correspondence, travel journals, and memoirs. This book is the first to take a close look at how French was used in that latter context: outside of France, in personal and private life. It gathers contributions from historians, literary scholars, and linguists and covers a wide range of geographical areas.
French Grammar for Dummies by
The easy way to master French grammar French Grammar For Dummies is a logical extension and complement to the successful language learning book, French For Dummies. In plain English, it teaches you the grammatical rules of the French language, including parts of speech, sentence construction, pronouns, adjectives, punctuation, stress and verb tenses, and moods. Throughout the book, you get plenty of practice opportunities to help you on your goal of mastering basic French grammar and usage. Grasp the grammatical rules of French including parts of speech, sentence construction, and verb tenses Enhance your descriptive speech with adverbs, adjectives, and prepositions Benefit from plenty of practice opportunities throughout the book Use the French language confidently and correctly Whether you're a student studying French or a professional looking to get ahead of the pack by learning a second language, French Grammar For Dummies is your hands-on guide to quickly and painlessly master the written aspect of this popular language.
French Verbs by
Knowing and understanding verbs is often the key to a language. Concentrate and study on French verbs using this 6 page laminated guide designed for quick access, easy review and focus on what many learners see as their most difficult hurdle. A student reviewing often will boost their grades and if that student is a traveler, the native speakers will appreciate the extra effort to understand and communicate in their language. Suggested uses: o Students - a very lightweight, inexpensive grade-booster that can be slipped between your notebook pages for quick and easy answers o Teachers - Inexpensive classroom tool, whether you have a few for those students struggling or a whole class set that can last your entire career with the durable lamination o Travelers - Being flat, laminated and with conjugations being easy to find, if you have moved beyond one word translations and are striving to speak correctly, this is a great travel buddy
Practising French Grammar by
The new edition of Practising French Grammar offers a set of varied and accessible exercises for developing a deep practical awareness of French as it is spoken and written today. It can be used alone or as the ideal companion to the new edition of the widely acclaimed French Grammar and Usage by Roger Hawkins and Richard Towell. The new edition benefits from the addition of a glossary of grammatical terms and a variety of new and updated exercises designed to stimulate even the most grammar-shy student. Lively, authentic texts and activities, as well as jokes and cartoons, help students to expand their vocabulary, and their ability to speak French. Practising French Grammar provides summaries of key grammatical points at the beginning of each exercise, as well as model answers to the exercises and translations of difficult words making it ideal for use both in class and by independent learners.
The Prosthetic Tongue by
Of all the cultural "revolutions" brought about by the development of printing technology during the sixteenth century, perhaps the most remarkable but least understood is the purported rise of European vernacular languages. It is generally accepted that the invention of printing constitutes an event in the history of language that has profoundly shaped modernity, and yet the exact nature of this transformation--the mechanics of the event--has remained curiously unexamined. In The Prosthetic Tongue, Katie Chenoweth explores the relationship between printing and the vernacular as it took shape in sixteenth-century France and charts the technological reinvention of French across a range of domains, from typography, orthography, and grammar to politics, pedagogy, and poetics. Under François I, the king known in his own time as the "Father of Letters," both printing and vernacular language emerged as major cultural and political forces. Beginning in 1529, French underwent a remarkable transformation, as printers and writers began to reimagine their mother tongue as mechanically reproducible. The first accent marks appeared in French texts, the first French grammar books and dictionaries were published, phonetic spelling reforms were debated, modern Roman typefaces replaced gothic scripts, and French was codified as a legal idiom. This was, Chenoweth argues, a veritable "new media" moment, in which the print medium served as the underlying material apparatus and conceptual framework for a revolutionary reinvention of the vernacular. Rather than tell the story of the origin of the modern French language, however, she seeks to destabilize this very notion of "origin" by situating the cultural formation of French in a scene of media technology and reproducibility. No less than the paper book issuing from sixteenth-century printing presses, the modern French language is a product of the age of mechanical reproduction.
The Structure of Modern Standard French : A Student Grammar by
This book is an advanced student's grammar of French that integrates traditional grammar with knowledge and insights from modern linguistics. Maj-Britt Mosegaard Hansen takes a structural approach to French grammar: she provides clear descriptions of grammatical rules based explicitly on syntactic structure, and places descriptive emphasis on instances where the grammatical structures of French differ from those used in corresponding contexts in English. The firstpart of the book provides an introduction to French sentence structure, before the following parts examine the grammar of verbs, nominals, particles, and clauses and sentences.The Structure of Modern Standard French will be a valuable resource for students of French at undergraduate level and beyond. It assumes some prior knowledge of French grammar but is designed to be accessible to those with no background in linguistics.
Understanding Core French Grammar by
This book contains an explanatory treatment of the core areas of difficulty for the English speaking learner of French. It deals with the key issues in tense formation and use and verbal structures and processes such as negation, passives and subjunctives along with a highly exemplified treatment of pronouns and a section dealing with adjectives and other elements of the grammar.It fills a gap between general text books of French in which grammatical issues are frequently treated piecemeal and scattered throughout the book in between more communicative information on one hand and exhaustive reference grammars aimed at graduate and research students on the other which would be beyond the level of intellectual maturity of most school children and some non-specialist undergraduates.It has the advantage of treating each grammatical issue in detail but without being too long-winded, explaining the systems and processes which underlie the facts of the language. The emphasis is on explanation and not merely the listing of facts, enabling the learner to master the system and become an independent user of the language. It could be used highly successfully either as a classroom aid alongside the more usual textbooks which are organized typically around topics and themes in society or for self-study for the committed individual learner of any age. There are extensive exercises and answers for all topics covered.
This course examines world dance from an interdisciplinary perspective. You will gain a critical understanding of dance as a global phenomenon, its universality, as well as its cultural specificity.
You will examine dance as an encoded form of a society's religious, artistic, political, and economic value. You will trace how migration, missionaries, trade routes, and Diasporas have led to the creation of new dance forms like "Bollywood" and "Tribal" that are a synthesis of earlier forms. You will later consider questions of globalization, fusion, and authenticity.
The Aging Body in Dance by
What does it mean to be able to move? The Aging Body in Dance brings together leading scholars and artists from a range of backgrounds to investigate cultural ideas of movement and beauty, expressiveness and agility. Contributors focus on Euro-American and Japanese attitudes towards aging and performance, including studies of choreographers, dancers and directors from Yvonne Rainer, Martha Graham, Anna Halprin and Roemeo Castellucci to Kazuo Ohno and Kikuo Tomoeda. They draw a fascinating comparison between youth-oriented Western cultures and dance cultures like Japan's, where aging performers are celebrated as part of the country's living heritage. The first cross-cultural study of its kind, The Aging Body in Dance offers a vital resource for scholars and practitioners interested in global dance cultures and their differing responses to the world's aging population.
American dance : the complete illustrated history by
The most comprehensive, beautiful book ever to be published on dance in America. "We look at the dance to impart the sensation of living in an affirmation of life, to energize the spectator into keener awareness of the vigor, the mystery, the humor, the variety, and the wonder of life. This is the function of the American dance." Groundbreaking choreographer Martha Graham deeply understood the power and complexity of dance--particularly as it evolved in her home country. American Dance, by critic and journalist Margaret Fuhrer, traces that richly complex evolution. From Native American dance rituals to dance in the digital age, American Dance explores centuries of innovation, individual genius and collaborative exploration. Some of its stories - such as Fred Astaire dancing on the ceiling or Alvin Ailey founding the trailblazing company that bears his name - will be familiar to anyone who loves dance. The complex origins of tap, for instance, or the Puritan outrage against "profane and promiscuous dancing" during the early years of the United States, are as full of mystery and humor as Graham describes. These various developments have never before been presented in a single book, making American Dance the most comprehensive work on the subject to date. Breakdancing, musical-theater dance, disco, ballet, jazz, ballroom, modern, hula, the Charleston, the Texas two-step, swing--these are just some of the forms celebrated in this riveting volume Hundreds of photographs accompany the text, making American Dance as visually captivating as the works it depicts.
The anatomy of dance discourse : literary and philosophical approaches to dance in the later Graeco-Roman world by
Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period andexplores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius.The volume is divided into two Parts: while the second Part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of culturalexpression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not onlyto the highly encoded genre of pantomime, which dominated the stage in the Roman empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volumedefends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers orspectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.
Beginning Hip-Hop Dance by
Beginning Hip-Hop Dance is a part of Human Kinetics' Interactive Dance Series. The series includes resources for ballet, modern, tap, jazz, musical theater, and hip-hop dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a collection of guides to learning, performing, and viewing dance. ............................................................................................................................................................. Since its development in the United States in the 1970s, hip-hop has grown to become a global dance phenomenon. In Beginning Hip-Hop Dance, students gain a strong foundation and learn the fundamentals of hip-hop techniques as they venture into the exciting world of this dance genre. Written by dance educator, historian, and scholar E. Moncell Durden, Beginning Hip-Hop Dance gives students the opportunity to explore hip-hop history and techniques, foundational information, and significant works and artists; understand the styles and aesthetics of hip-hop dance as a performing art and cultural art form; and learn about the forms of hip-hop dance, such as locking, waacking, popping and boogaloo, and house. The text comes with a web resource that includes 56 video clips to support student learning and aid in the practice of the techniques. The web resource also offers extended learning activities and prompts for e-journaling to help students understand how the dance form relates to their overall development as a dancer; glossary terms with and without definitions so students can check their knowledge; and chapter review quizzes to help students assess their knowledge and understanding of hip-hop dance and its history, artists, styles, and aesthetics. (The web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) As students move through the book, they will learn the BEATS method of exploring hip-hop through body, emotion, action, time, and space. This method opens up the creative and expressive qualities of the movements and helps students to appreciate hip-hop as an art form. Students will also learn how to critique a dance performance and create their own personal style of movement to music. Beginning Hip-Hop Dance is a comprehensive resource that provides beginning dance students--dance majors, minors, or general education students with an interest in dance--a solid foundation in this contemporary cultural dance genre. It intertwines visual, auditory, and kinesthetic modes of learning and offers students the techniques and knowledge to build onto the movements that are presented in the book and video clips. Beginning Hip-Hop Dance is the ideal introduction to this exciting dance genre.
Big deal : Bob Fosse and dance in the American musical by
Bob Fosse (1927-1987) is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era--a group that included Jerome Robbins, Gower Champion, Michael Kidd, and Harold Prince--to equal his Broadway success in films. Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza with a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final efforts, the film Star 80 and the musical Big Deal, written and directed by Fosse, were rejected by audiences and critics. A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of mentors George Abbott and Jerome Robbins on his work. It examines how each of the important women in his adult life--all dancers--impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
Choreomania : dance and disorder by
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K#65533;lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Consuming Dance by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Dance in the Field by
This international collection on dance ethnography - the first of its kind - comprises original contributions on fieldwork in dance and human movement. Based on extensive fieldwork experience, it explores the major theoretical approaches, methods and concerns of dance and movement research from anthropological and ethnochoreological perspectives. The result underlines the existing and continuing growth in dance ethnography which will also be of interest to those in dance studies, anthropology, cultural studies, folklore, ethnomusicology and sociology.
Dance on Its Own Terms by
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The chapters emphasize dance history and core disciplinary knowledge in three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dancing in the English style : consumption, Americanisation and national identity in Britain, 1918-50 by
Dancing in the English style explores the development, experience, and cultural representation of popular dance in Britain from the end of the First World War to the early 1950s. It describes the rise of modern ballroom dancing as Britain's predominant popular style, as well as the opening of hundreds of affordable dancing schools and purpose-built dance halls. It focuses in particular on the relationship between the dance profession and dance hall industry and the consumers who formed the dancing public. Together these groups negotiated the creation of a 'national' dancing style, which constructed, circulated, and commodified ideas about national identity. At the same time, the book emphasizes the global, exploring the impact of international cultural products on national identity construction, the complexities of Americanisation, and Britain's place in a transnational system of production and consumption that forged the dances of the Jazz Age.
Europe Dancing by
Europe Dancing examines the dance cultures and movements which have developed in Europe since the Second World War. Nine countries are represented in this unique collaboration between European dance scholars. The contributors chart the art form, and discuss the outside influences which have shaped it. This comprehensive book explores: * questions of identity within individual countries, within Europe, and in relation to the USA * the East/West cultural division * the development of state subsidy for dance * the rise of contemporary dance as an 'alternative' genre * the implications for dance of political, economic and social change. Useful historical charts are included to trace significant dance and political events throughout the twentieth century in each country. Never before has this information been gathered together in one place. This book is essential reading for everyone interested in dance and its growth and development in recent years.
Fields in motion : ethnography in the worlds of dance by
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
History of Dance by
History of Dance, Second Edition, offers readers a panoramic view of dance from prehistory to the present. The text covers the dance forms, designs, artists, costumes, performing spaces, and accompaniments throughout the centuries and around the globe. Its investigative approach engages students in assignments and web projects that reinforce the learning from the text, and its ancillaries for both teachers and students make it easy for students to perceive, create, and respond to the history of dance. New to This Edition History of Dance retains its strong foundations from the first edition while adding these new and improved features: * An instructor guide with media literacy assignments, teaching tips, strategies for finding historical videos, and more * A test bank with hundreds of questions for creating tests and quizzes * A presentation package with hundreds of slides that present key points and graphics * A web resource with activities, extensions of chapter content, annotated links to useful websites, and study aids * Developing a Deeper Perspective assignments that encourage students to use visual or aesthetic scanning, learn and perform period dances, observe and write performance reports, develop research projects and WebQuests (Internet-based research projects), and participate in other learning activities * Experiential learning activities that help students dig deeper into the history of dance, dancers, and significant dance works and literature * Eye-catching full-color interior that adds visual appeal and brings the content to life Also new to this edition is a chapter entitled "Global Interactions: 2000-2016," which examines dance in the 21st century. Resources and Activities The web resources and experiential learning activities promote student-centered learning and help students develop critical thinking and investigative skills.Teachers can use the experiential learning activities as extended projects to help apply the information and to use technology to make the history of dance more meaningful. Three Parts History of Dance is presented in three parts. Part I covers early dance history, beginning with prehistoric times and moving through ancient civilizations in Greece, Crete, Egypt, and Rome and up to the Renaissance. Part II explores dance from the Renaissance to the 20th century, including a chapter on dance in the United States from the 17th through 19th centuries. Part III unfolds the evolution of American dance from the 20th century to the present, examining imported influences, emerging modern dance and ballet, and new directions for both American ballet and modern dance. Chapters Each chapter focuses on the dancers and choreographers, the dances, and significant dance works and literature from the time period. Students will learn how dance design has changed through the ages and how new dance genres, forms, and styles have emerged and continue to emerge. The chapters also include special features, such as History Highlight sidebars and Time Capsule charts, to help students placee dancers, events, and facts in their proper context and perspective. Vocabulary words appear at the end of each chapter, as do questions that prompt review of the chapter's important information. The text is reader-friendly and current, and it is supported by the national standards in dance, arts education, social studies, and technology education. Through History of Dance, students will acquire a well-rounded view of dance from the dawn of time to the present day. This influential text offers students a foundation for understanding and a springboard for studying dance in the 21st century.
Making ballet American : modernism before and beyond Balanchine by
George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold neoclassical style that is celebrated as the first American manifestation of the art form. In Making Ballet American, author Andrea Harris challenges this narrative by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet. Situating American ballet within a larger context of modernisms, the book examines critical efforts to craft new, modernist ideas about the relevance of classical dancing for American society and democracy. Through cultural and choreographic analysis, it illustrates the evolution of modernist ballet during a turbulent historical period. Ultimately, the book argues that the Americanization of Balanchine's neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a far more complicated story that pivots on the question of modern art's relationship to America and the larger world.
Milestones in Asian American Theatre by
This introduction to Asian American theatre charts ten of the most pivotal moments in the history of the Asian diaspora in the USA and how those moments have been reflected in theatre. Designed for weekly use on Asian American theatre courses, ten chosen milestones move chronologically from the earliest contact between Japan and the West through the impact of the Vietnam War and the resurgent "yellow peril" hysteria of COVID-19. Each chapter emphasizes common questions of how racial identities and relationships are understood in everyday life as well as represented on the theatrical stage and in popular culture. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.
Milestones in Dance History by
This introduction to world dance charts the diverse histories and stories of dancers and artists through ten key moments that have shaped the vast spectrum of different forms and genres that we see today. Designed for weekly use in dance history courses, ten chosen milestones move chronologically from the earliest indigenous rituals and the dance crazes of Eastern trade routes, to the social justice performance and evolving online platforms of modern times. This clear, dynamic framework uses the idea of migrations to chart the shifting currents of influence and innovation in dance from an inclusive set of perspectives that acknowledge the enduring cultural legacies on display in every dance form. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.
The Oxford Handbook of Dance and Reenactment by
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch ofchoreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive asit relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historicalknowledge and new media.
The Oxford Handbook of Dance and Wellbeing by
In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing. The Oxford Handbook of Dance and Wellbeing examines dance and related movement practices fromthe perspectives of neuroscience and health, community and education, and psychology and sociology to contribute towards an understanding of wellbeing, offer new insights into existing practices, and create a space where sufficient exchange is enabled. The handbook's research components includequantitative, qualitative, and arts-based research, covering diverse discourses, methodologies, and perspectives that add to the development of a complete picture of the topic. Throughout the handbook's wide-ranging chapters, the objective observations, felt experiences, and artistic explorations ofpractitioners interact with and are printed alongside academic chapters to establish an egalitarian and impactful exchange of ideas.
The Oxford Handbook of Improvisation in Dance by
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while ithas long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets.Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency andcollective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience,cognition, and technologies.
Preserving Dance Across Time and Space by
Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.
Rethinking Dance History by
The need to 'rethink' and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book's contributions into: * Why Dance History? - the ideas, issues and key conversations that underpin any study of the history of theatrical dance. * Researching and Writing - discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making - from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Theatre and Dance by
This succinct and engaging text explores the interdependence between theatre and dance. Making a compelling case for the significance of resisting genre distinctions in the arts, Kate Elswit demonstrates why and how the ampersand between theatre and dance needs to be understood as the rule, rather than the exception. This illuminating guide focuses on the interconnected ecosystems of practice that constitute performance history, the expansion of theatre and dance forms on contemporary North American and European stages, and the disciplinary methods that scholars use today to understand such practices, both past and present. Accessible and affordable, this is an ideal resource for theatre students and lovers everywhere.
Undergraduate Research in Dance by
Undergraduate Research in Dance: A Guide for Studentssupplies tools for scaffolding research skills alongside examples of undergraduate research in dance scholarship. Dance can be studied as an expressive embodied art form with physical, cognitive, and affective domains, and as an integral part of society, history, and vast areas of interdisciplinary content. To this end, the guidance provided by this book will equip future dance professionals with the means to move the field of dance forward. Chapters 1-9 guide students through the fundamentals of research methods, providing a foundation to help students get started in understanding research protocols and processes. Students will learn skills such as how to choose a research topic, refine research questions, conduct literature reviews, cite sources, synthesize and analyze data, develop conclusions and results, and present their findings. Chapters 10-19 detail forms of undergraduate research in a rich diversity of fields within dance that are taught in many collegiate dance programs including dance therapy, history, science, psychology, education, and technology, in addition to public scholarship, choreography, and interdisciplinary topics. The book also includes a final chapter which provides annotated online resources, and many of its chapters are supported by examples of abstracts of capstone projects, senior theses, and conference presentations by undergraduate researchers across the United States. Suitable for both professors and students, Undergraduate Research in Danceis an ideal reference book for any course that has a significant opportunity for the creation of new knowledge, or as an essential interdisciplinary connection between dance and other disciplines.
World Dance Cultures by
From healing, fertility and religious rituals, through theatrical entertainment, to death ceremonies and ancestor worship, World Dance Cultures introduces an extraordinary variety of dance forms practiced around the world. This highly illustrated textbook draws on wide-ranging historical documentation and first-hand accounts, taking in India, Bali, Java, Cambodia, China, Japan, Hawai'i, New Zealand, Papua New Guinea, Africa, Turkey, Spain, Native America, South America, and the Caribbean. Each chapter covers a certain region's distinctive dances, pinpoints key issues and trends from the form's development to its modern iteration, and offers a wealth of study features including: Case Studies - zooming in on key details of a dance form's cultural, historical, and religious contexts 'Explorations' - first-hand descriptions of dances, from scholars, anthropologists and practitioners 'Think About' - provocations to encourage critical analysis of dance forms and the ways in which they're understood Discussion Questions - starting points for group work, classroom seminars or individual study Further Study Tips - listing essential books, essays and video material. Offering a comprehensive overview of each dance form covered with over 100 full color photos, World Dance Cultures is an essential introductory resource for students and instructors alike.
This course examines world dance from an interdisciplinary perspective. You will gain a critical understanding of dance as a global phenomenon, its universality, as well as its cultural specificity.
You will examine dance as an encoded form of a society's religious, artistic, political, and economic value. You will trace how migration, missionaries, trade routes, and Diasporas have led to the creation of new dance forms like "Bollywood" and "Tribal" that are a synthesis of earlier forms. You will later consider questions of globalization, fusion, and authenticity.
The Body of the People by
The Body of the People is the first comprehensive study of dance and choreography in East Germany. More than twenty years after the fall of the Berlin Wall, Jens Richard Giersdorf investigates a national dance history in the German Democratic Republic, from its founding as a Communist state that supplanted the Soviet zone of occupation in 1949 through the aftermath of its collapse forty years later, examining complex themes of nationhood, ideology, resistance, and diaspora through an innovative mix of archival research, critical theory, personal narrative, and performance analysis. Giersdorf looks closely at uniquely East German dance forms--including mass exercise events, national folk dances, Marxist-Leninist visions staged by the dance ensemble of the armed forces, the vast amateur dance culture, East Germany's version of Tanztheater, and socialist alternatives to rock 'n' roll--to demonstrate how dance was used both as a form of corporeal utopia and of embodied socialist propaganda and indoctrination. The Body of the People also explores the artists working in the shadow of official culture who used dance and movement to critique and resist state power, notably Charlotte von Mahlsdorf, Arila Siegert, and Fine Kwiatkowski. Giersdorf considers a myriad of embodied responses to the Communist state even after reunification, analyzing the embodiment of the fall of the Berlin Wall in the works of Jo Fabian and Sasha Waltz, and the diasporic traces of East German culture abroad, exemplified by the Chilean choreographer Patricio Bunster.
Dance and Politics by
This book examines the political power of dance, particularly its transgressive potential. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement, dabke in Palestine and dance as a protest against human rights abuse in Israel, the book explores moments in which the form succeeds in transgressing politics as articulated in words. Close readings and critical analysis grounded in radical democratic theory combine to show how interpreting political dance as 'interruption' can unsettle conceptions of both politics and dance.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Europe Dancing by
Europe Dancing examines the dance cultures and movements which have developed in Europe since the Second World War. Nine countries are represented in this unique collaboration between European dance scholars. The contributors chart the art form, and discuss the outside influences which have shaped it. This comprehensive book explores: * questions of identity within individual countries, within Europe, and in relation to the USA * the East/West cultural division * the development of state subsidy for dance * the rise of contemporary dance as an 'alternative' genre * the implications for dance of political, economic and social change. Useful historical charts are included to trace significant dance and political events throughout the twentieth century in each country. Never before has this information been gathered together in one place. This book is essential reading for everyone interested in dance and its growth and development in recent years.
Gender and Genre in the Folklore of Middle India by
In Gender and Genre in the Folklore of Middle India, Joyce Burkhalter Flueckiger analyzes six representative Indian folklore genres from a single regional repertoire to show the influence of their intertextual relations on the composition and interpretation of artistic performance. Placing special emphasis on women's rituals, she looks at the relationship between the framework and organization of indigenous genres and the reception of folklore performance. The regional repertoire under examination presents a strikingly female-centered world. Female performers and characters are active, articulate, and frequently challenge or defy expectations of gender. Men also confound traditional gender roles. Flueckiger includes the translations of two full performance texts of narratives sung by female and male storytellers respectively.
Global movements : dance, place, and hybridity by
Global Movements: Dance, Place, and Hybridity provides a theoretical and practical examination of the relationships between the global mobility of ideas and people, and its impact on dance and space. Using seven case studies, the contributors illustrate the mixture of dance styles that result from the global diffusion of cultural traditions and practices. The collection portrays a multitude of ways in which public and private spaces—stages, buildings, town squares as well as natural environments—are transformed and made meaningful by culturally diverse dances. Global Movements will be of interest to scholars of geography, dance, and global issues.
Indigenous dance and dancing Indian : contested representation in the global era by
Focusing on the enactment of identity in dance, Indigenous Dance and Dancing Indian is a cross-cultural, cross-ethnic, and cross-national comparison of indigenous dance practices. Considering four genres of dance in which indigenous people are represented--K'iche Maya traditional dance, powwow, folkloric dance, and dancing sports mascots--the book addresses both the ideational and behavioral dimensions of identity. Each dance is examined as a unique cultural expression in individual chapters, and then all are compared in the conclusion, where striking parallels and important divergences are revealed. Ultimately, Krystal describes how dancers and audiences work to construct and consume satisfying and meaningful identities through dance by either challenging social inequality or reinforcing the present social order. Detailed ethnographic work, thorough case studies, and an insightful narrative voice make Indigenous Dance and Dancing Indian a substantial addition to scholarly literature on dance in the Americas. It will be of interest to scholars of Native American studies, social sciences, and performing arts.
Inheriting Dance by
»Inheriting Dance. An Invitation from Pina« sets out at the historical moment we found ourselves in after the passing of Pina Bausch. The Pina Bausch Foundation started their work of carrying the artistic heritage of dancer and choreographer Pina Bausch into the future. This book reflects discussions and questions aroused by her work: How to archive dance? How to deal with the performative heritage at the outset of the 21st century? How to describe the performativity of remembering? And finally, what is the task of an archive for tomorrow, an archive to serve as a workshop for the future? Furthermore, »Inheriting Dance« provides profound insight into the practical work of the Pina Bausch Foundation, on a local, national and global level, aiming at an archive as a place of transformation, exchange, creative production, and artistic practice, similar to an abundantly growing garden. A place for future generations of dancers, artists, non-professionals, and scholars. Contributions by Salomon Bausch, Stephan Brinkmann, Royd Climenhaga, Katharina Kelter, Gabriele Klein, Sharon Lehner, Keziah Claudine Nanevie, Linda Seljimi, Bernhard Thull, Michelle Urban and Marc Wagenbach.
Jazz dance : a history of the roots and branches by
The history of jazz dance is best understood by comparing it to a tree. The art form's roots are African. Its trunk is vernacular, shaped by European influence, and exemplified by the Charleston and the Lindy Hop. The branches are many and varied and include tap, Broadway, funk, hip-hop, Afro-Caribbean, Latin, pop, club jazz, popping, B-boying, party dances, and much more. Unique in its focus on history rather than technique, Jazz Dance offers the only overview of trends and developments since 1960. Editors Lindsay Guarino and Wendy Oliver have assembled an array of seasoned practitioners and scholars who trace the many histories of jazz dance and examine various aspects of the field, including trends, influences, training, race, gender, aesthetics, the international appeal of jazz dance, and its relationship to tap, rock, indie, black concert dance, and Latin dance. Featuring discussions of such dancers and choreographers as Bob Fosse and Katherine Dunham, as well as analyses of how the form's vocabulary differs from ballet, this complex and compelling history captures the very essence of jazz dance.
New German Dance Studies by
New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.
Perpetual motion : dance, digital cultures, and the common by
A 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.
Pina Bausch and Dance Theater by
Pina Bausch and Dance Theater. The Art of Translating offers new and ground-breaking perspectives on the work of the Tanztheater Wuppertal. The development and performance of its oeuvre, the passing on of choreographic material and reactions by the public are presented as complex, interdependent, and reciprocal processes of translation. For the very first time, this book focuses on the artistic research involved in the company's international co-productions and features extensive empirical material in form of interviews with dancers, collaborators, and spectators, as well as ethnographic insights. This book introduces a praxeology of cultural and aesthetic translation as a viable key concept for research into dance and art.
A Profile of the Performing Arts Industry by
Attending a live concert or theatrical performance can be a thrilling experience. At their best, the performing arts represent the height of human creativity and expression. But the presentation on stage, whether it is Shakespeare, Beethoven, or The Lion King, depends on a business backstage. This book provides an overview of both the product on stage and the industry that makes it possible. While the industry's product is unique--with unique supply and demand characteristics--it is still an industry, with supply inputs, organization structures, competitors, business models, value chains, and customers. We will examine each of the major segments (Broadway, regional theater, orchestra, opera, and ballet) along these business dimensions. This book will give lovers of the performing arts an understanding of the business realities that make live performances possible. Managers, board members, and performers will be better equipped to take on the strategic challenges their companies face. People contemplating any of these roles will have a better idea of what to expect. Business analysts and students of strategy will discover how economic frameworks apply in this unique setting where culture and commerce converge.
Revolutionary Bodies by
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)--a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries. Learn more at the TOME website, available at: openmonographs.org. Revolutionary Bodies is the first English-language primary source-based history of concert dance in the People's Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China's dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
Dance, as an art form, movement system, vernacular or traditional practice, and/or ritual, is shaped by particular social-cultural contexts, and, at the same time, constructs and manifests for any society its ideas and beliefs on the body, performance, relationships, spirituality, and identity. This course will prompt you to understand and critique the relationship between society and dance, especially the aspects of production, transmission, and presentation that exist through and with powerful institutions and key cultural bearers within a society and time period. By discussing how society produces dance and how dance imagines for society a part of itself, you will start to see that all dances in any context and society have similarities as well as differences and should not be subject to evolutionary or hierarchical classifications. To be able to understand these relationships, you will be introduced to different dances found around the world, from Africa, to Europe, to America, and especially to Asia.
African dance : an artistic, historical, and philosophical inquiry by The Aging Body in Dance by
What does it mean to be able to move? The Aging Body in Dance brings together leading scholars and artists from a range of backgrounds to investigate cultural ideas of movement and beauty, expressiveness and agility. Contributors focus on Euro-American and Japanese attitudes towards aging and performance, including studies of choreographers, dancers and directors from Yvonne Rainer, Martha Graham, Anna Halprin and Roemeo Castellucci to Kazuo Ohno and Kikuo Tomoeda. They draw a fascinating comparison between youth-oriented Western cultures and dance cultures like Japan's, where aging performers are celebrated as part of the country's living heritage. The first cross-cultural study of its kind, The Aging Body in Dance offers a vital resource for scholars and practitioners interested in global dance cultures and their differing responses to the world's aging population.
Alien bodies : representations of modernity, "race," and nation in early modern dance by
Alien Bodies is a fascinating examination of dance in Germany, France, and the United States during the 1920s and 1930s. Ranging across ballet and modern dance, dance in the cinema and Revue, Ramsay Burt looks at the work of European, African American, and white American artists. Among the artists who feature are: * Josephine Baker * Jean Borlin * George Balanchine * Jean Cocteau * Valeska Gert * Katherine Dunham * Fernand Leger * Kurt Jooss * Doris Humphrey Concerned with how artists responded to the alienating experiences of modern life, Alien Bodies focuses on issues of: * national and 'racial' identity * the new spaces of modernity * fascists uses of mass spectacles * ritual and primitivism in modern dance * the 'New Woman' and the slender modern body
The anthropology of dance by
"Dance makes its unique contribution to society and culture by virtue of its form and expression; at the same time it is intimately bound up with the elements of religion, kinship and social organization, politics, and economics. The fact that dance is inseparable from its means of expression - the human body making patterns in time and space - means that it cannot be divorced from its social and cultural context."
The Bloomsbury Companion to Dance Studies by
The Bloomsbury Companion to Dance Studies brings together leading international dance scholars in this single collection to provide a vivid picture of the state of contemporary dance research. The book commences with an introduction that privileges dancing as both a site of knowledge formation and a methodological approach, followed by a provocative overview of the methods and problems that dance studies currently faces as an established disciplinary field. The volume contains eleven core chapters that each map out a specific area of inquiry- Dance Pedagogy, Practice-As-Research, Dance and Politics, Dance and Identity, Dance Science, Screendance, Dance Ethnography, Popular Dance, Dance History, Dance and Philosophy, and Digital Dance. Although these sub-disciplinary domains do not fully capture the dynamic ways in which dance scholars work across multiple positions and perspectives, they reflect the major interests and innovations around which dance studies has organized its teaching and research. Therefore each author speaks to the labels, methods, issues and histories of each given category, while also exemplifying this scholarship in action. The dances under investigation range from experimental conceptual concert dance through to underground street dance practices, and the geographic reach encompasses dance-making from Europe, North and South America, the Caribbean and Asia. The book ends with a chapter that looks ahead to new directions in dance scholarship, in addition to an annotated bibliography and list of key concepts. The volume is an essential guide for students and scholars interested in the creative and critical approaches that dance studies can offer.
The Body, Dance and Cultural Theory by
This book takes its point of departure from the overwhelming interest in theories of the body and performativity in sociology and cultural studies in recent years. It explores a variety of ways of looking at dance as a social and artistic (bodily) practice as a means of generating insights into the politics of identity and difference as they are situated and traced through representations of the body and bodily practices. These issues are addressed through a series of case studies.
Choreomania : dance and disorder by
From the condemnation of protest to skepticism of religious ecstasy, radical movement has been defined by freedoms and restrictions relative to class conflict, national policy, and colonialism. In this book, author Kelina Gotman examines choreographies of unrest, rethinking the modernformation of choreomania, a fantastical concept across scientific disciplines used to designate the spontaneous and uncontrolled movements of crowds. In these misformations of body politics, prejudices against spontaneity unravel, suggesting widespread anxieties about impulsiveness and irregularity.In tandem with dialogues of the erratic, Gotman makes use of histories of nineteenth-century control which identify the period as one of increasing regimentation. As she notes, constraints on movement signal constraints on political power and agency and on individuals' capacity to shift theirallegiances, inhabiting more hospitable terrains. In each chapter, Gotman confronts the many ways choreomania functions as an extension of colonialism, dismissing expressive bodies as mentally and physically infected others. Through her research, Gotman unearths the many instances of choreomaniathat represent collective efforts to escape social tyranny inflicted by the upper class.
Consuming dance : choreography and advertising by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertisingindustry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as culturalproducts, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning.Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and thediscursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Dance, modernity, and culture : explorations in the sociology of dance by
First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.
Dance, Power, and Difference by
" In Dance, Power, and Difference, eight leading dance educators from around the world examine the fundamental values and goals of dance and dance education. Using a variety of approaches-including general critique, case studies, and personal histories-Dance, Power, and Differenceprovides a foundation for reconstructing dance education in light of critical, social, and cultural concerns. This is not an answer book, however. It is a thought-provoking book that encourages readers to question traditional practices and develop a personal philosophy that is both critical and feminist. Dance, Power, and Differenceseeks to transform the way readers think about dance-not only regarding how it is taught, researched, and critiqued, but also in terms of its purpose and aims. The contributors link dance to themes of human emancipation, multicultural awareness, and gender awareness, prompting readers to contemplate questions like these: - How do we think of and value ""the body"" in dance? - What cultural values, if any, should we impart to our students? - What changes might a feminist-oriented pedagogy for dance stimulate? - How should we prepare ourselves to work with students from cultures that are different from our own? - Should we perpetuate old teaching methods? Part I introduces the reader to foundational questions concerning curriculum, pedagogy, and research. Part II presents personal stories that place these questions in the context of specific situations. Part III discusses the role of dance within the broader political and social arena. Each chapter includes an abstract, critical reflections, questions to spur class discussion and individual thought, and references. "
Dance and other slippages : critical narratives on women, dance and art by Dancing : the pleasure, power, and art of movement by
An illustrated companion to a PBS-TV series on the history of dance provides in-depth descriptions and interpretations of the roles it plays in world cultures.
Dancing Communities by
Dancers create 'civic culture' as performances for public consumption, but also as vernaculars connecting individuals who may have little in common. Examining performance and the construction of culturally diverse communities the book suggests that amateur and concert dance can teach us how to live and work productively together.
Dancing Desires by
What happens to the writing of dance history when issues of sexuality and sexual identity are made central? What happens to queer theory, and to other theoretical constructs of gender and sexuality, when a dancing body takes center stage? Dancing Desires asks these questions, exploring the relationship between dancing bodies and sexual identity on the concert stage, in nightclubs, in film, in the courts, and on the streets. From Nijinsky's balletic prowess to Charlie Chaplin's lightfooted "Little Tramp," from lesbian go-go dancers to the swans of Swan Lake, from the postmodern works of Bill T. Jones to the dangers of same-sex social dancing at Disneyland and the ecstatic Mardi Gras dance parties of Sydney, Australia, this book tracks the intersections of dance and human sexuality in the twentieth century as the definition of each has shifted and expanded. The contributors come from a number of fields (literature, history, theater, dance, film studies, legal studies, critical race studies) and employ methodologies ranging from textual analysis and film theory to ethnography. By embracing dance, and bodily movement more generally, as a crucial focus for investigation, together they initiate a new agenda for tracking the historical kinesthetics of sexuality.
Defiant Daughters Dancing by History of Dance by
History of Dance, Second Edition, offers readers a panoramic view of dance from prehistory to the present. The text covers the dance forms, designs, artists, costumes, performing spaces, and accompaniments throughout the centuries and around the globe. Its investigative approach engages students in assignments and web projects that reinforce the learning from the text, and its ancillaries for both teachers and students make it easy for students to perceive, create, and respond to the history of dance. New to This Edition History of Dance retains its strong foundations from the first edition while adding these new and improved features: * An instructor guide with media literacy assignments, teaching tips, strategies for finding historical videos, and more * A test bank with hundreds of questions for creating tests and quizzes * A presentation package with hundreds of slides that present key points and graphics * A web resource with activities, extensions of chapter content, annotated links to useful websites, and study aids * Developing a Deeper Perspective assignments that encourage students to use visual or aesthetic scanning, learn and perform period dances, observe and write performance reports, develop research projects and WebQuests (Internet-based research projects), and participate in other learning activities * Experiential learning activities that help students dig deeper into the history of dance, dancers, and significant dance works and literature * Eye-catching full-color interior that adds visual appeal and brings the content to life Also new to this edition is a chapter entitled "Global Interactions: 2000-2016," which examines dance in the 21st century. Resources and Activities The web resources and experiential learning activities promote student-centered learning and help students develop critical thinking and investigative skills.Teachers can use the experiential learning activities as extended projects to help apply the information and to use technology to make the history of dance more meaningful. Three Parts History of Dance is presented in three parts. Part I covers early dance history, beginning with prehistoric times and moving through ancient civilizations in Greece, Crete, Egypt, and Rome and up to the Renaissance. Part II explores dance from the Renaissance to the 20th century, including a chapter on dance in the United States from the 17th through 19th centuries. Part III unfolds the evolution of American dance from the 20th century to the present, examining imported influences, emerging modern dance and ballet, and new directions for both American ballet and modern dance. Chapters Each chapter focuses on the dancers and choreographers, the dances, and significant dance works and literature from the time period. Students will learn how dance design has changed through the ages and how new dance genres, forms, and styles have emerged and continue to emerge. The chapters also include special features, such as History Highlight sidebars and Time Capsule charts, to help students placee dancers, events, and facts in their proper context and perspective. Vocabulary words appear at the end of each chapter, as do questions that prompt review of the chapter's important information. The text is reader-friendly and current, and it is supported by the national standards in dance, arts education, social studies, and technology education. Through History of Dance, students will acquire a well-rounded view of dance from the dawn of time to the present day. This influential text offers students a foundation for understanding and a springboard for studying dance in the 21st century.
How to Make Dances in an Epidemic by
David Gere, who came of age as a dance critic at the height of the AIDS epidemic, offers the first book to examine the interplay of AIDS and choreography in the United States, specifically in relation to gay men. The time he writes about is one of extremes. A life-threatening medical syndrome is spreading, its transmission linked to sex. Blame is settling on gay men. What is possible in such a highly charged moment, when art and politics coincide? Gere expands the definition of choreography to analyze not only theatrical dances but also ACT-UP protests and the unfurling of the Names Project AIDS quilt. These exist on a continuum in which dance, protest, and wrenching emotional expression have become essentially indistinguishable. Gere offers a gripping portrait of gay male choreographers struggling to cope with AIDS and its meanings.
Jerome Robbins : a life in dance by
From the prizewinning Jewish Lives series, a lively and inspired biography celebrating the centennial of this master choreographer, dancer, and stage director Jerome Robbins (1918-1998) was born Jerome Wilson Rabinowitz and grew up in Weehawken, New Jersey, where his Russian-Jewish immigrant parents owned the Comfort Corset Company. Robbins, who was drawn to dance at a young age, resisted the idea of joining the family business. In 1936 he began working with Gluck Sandor, who ran a dance group and convinced him to change his name to Jerome Robbins. He went on to become a choreographer and director who worked in ballet, on Broadway, and in film. His stage productions include West Side Story, Peter Pan, and Fiddler on the Roof. In this deft biography, Wendy Lesser presents Jerome Robbins's life through his major dances, providing a sympathetic, detailed portrait of her subject. About Jewish Lives: Jewish Lives is a prizewinning series of interpretative biography designed to explore the many facets of Jewish identity. Individual volumes illuminate the imprint of Jewish figures upon literature, religion, philosophy, politics, cultural and economic life, and the arts and sciences. Subjects are paired with authors to elicit lively, deeply informed books that explore the range and depth of the Jewish experience from antiquity to the present. In 2014, the Jewish Book Council named Jewish Lives the winner of its Jewish Book of the Year Award, the first series ever to receive this award. More praise for Jewish Lives: "Excellent" -New York Times "Exemplary" -Wall Street Journal "Distinguished" -New Yorker "Superb" -The Guardian]]>
Meaning in motion : new cultural studies of dance by
Dance, whether considered as an art form or embodied social practice, as product or process, is a prime subject for cultural analysis. Yet only recently have studies of dance become concerned with the ideological, theoretical, and social meanings of dance practices, performances, and institutions. In Meaning in Motion, Jane C. Desmond brings together the work of critics who have ventured into the boundaries between dance and cultural studies, and thus maps a little-known and rarely explored critical site. Writing from a broad range of perspectives, contributors from disciplines as varied as art history and anthropology, dance history and political science, philosophy and women's studies chart the questions and challenges that mark this site. How does dance enact or rework social categories of identity? How do meanings change as dance styles cross borders of race, nationality, or class? How do we talk about materiality and motion, sensation and expressivity, kinesthetics and ideology? The authors engage these issues in a variety of contexts: from popular social dances to the experimentation of the avant-garde; from nineteenth-century ballet and contemporary Afro-Brazilian Carnival dance to hip hop, the dance hall, and film; from the nationalist politics of folk dances to the feminist philosophies of modern dance. Giving definition to a new field of study, Meaning in Motion broadens the scope of dance analysis and extends to cultural studies new ways of approaching matters of embodiment, identity, and representation. Contributors. Ann Cooper Albright, Evan Alderson, Norman Bryson, Cynthia Cohen Bull, Ann Daly, Brenda Dixon Gottschild, Susan Foster, Mark Franko, Marianne Goldberg, Amy Koritz, Susan Kozel, Susan Manning, Randy Martin, Angela McRobbie, Kate Ramsey, Anna Scott, Janet Wolff
Milestones in Asian American Theatre by
This introduction to Asian American theatre charts ten of the most pivotal moments in the history of the Asian diaspora in the USA and how those moments have been reflected in theatre. Designed for weekly use on Asian American theatre courses, ten chosen milestones move chronologically from the earliest contact between Japan and the West through the impact of the Vietnam War and the resurgent "yellow peril" hysteria of COVID-19. Each chapter emphasizes common questions of how racial identities and relationships are understood in everyday life as well as represented on the theatrical stage and in popular culture. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.
Milestones in Dance History by
This introduction to world dance charts the diverse histories and stories of dancers and artists through ten key moments that have shaped the vast spectrum of different forms and genres that we see today. Designed for weekly use in dance history courses, ten chosen milestones move chronologically from the earliest indigenous rituals and the dance crazes of Eastern trade routes, to the social justice performance and evolving online platforms of modern times. This clear, dynamic framework uses the idea of migrations to chart the shifting currents of influence and innovation in dance from an inclusive set of perspectives that acknowledge the enduring cultural legacies on display in every dance form. Milestones are a range of accessible textbooks, breaking down the need-to-know moments in the social, cultural, political, and artistic development of foundational subject areas.
The Oxford Handbook of Dance and Competition by
In the twenty-first century, values of competition underpin the free-market economy and aspirations of individual achievement shape the broader social world. Consequently, ideas of winning and losing, success and failure, judgment and worth, influence the dance that we see and do. Acrossstage, studio, street, and screen, economies of competition impact bodily aesthetics, choreographic strategies, and danced meanings. In formalized competitions, dancers are judged according to industry standards to accumulate social capital and financial gain. Within the capitalist economy, dancingbodies compete to win positions in prestigious companies, while choreographers hustle to secure funding and attract audiences. On the social dance floor, dancers participate in dance-offs that often include unspoken, but nevertheless complex, rules of bodily engagement. And the media attraction tothe drama and spectacle of competition regularly plays out in reality television shows, film documentaries, and Hollywood cinema. Drawing upon a diverse collection of dances across history and geography, The Oxford Handbook of Dance and Competition asks how competition affects the presentation andexperience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.
The Oxford Handbook of Dance and Politics by
In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.
The Oxford Handbook of Dance and Wellbeing by
In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing. The Oxford Handbook of Dance and Wellbeing examines dance and related movement practices fromthe perspectives of neuroscience and health, community and education, and psychology and sociology to contribute towards an understanding of wellbeing, offer new insights into existing practices, and create a space where sufficient exchange is enabled. The handbook's research components includequantitative, qualitative, and arts-based research, covering diverse discourses, methodologies, and perspectives that add to the development of a complete picture of the topic. Throughout the handbook's wide-ranging chapters, the objective observations, felt experiences, and artistic explorations ofpractitioners interact with and are printed alongside academic chapters to establish an egalitarian and impactful exchange of ideas.
Partnering Dance and Education by
Dance education is at a critical juncture in the United States. Even though it has gained wide acceptance as a valuable educational discipline and has achieved such victories as inclusion in the National Education Goals, its future remains uncertain. Educational reform, budget cuts, and conflicting views on the relevance of arts education all bring into question how--and if--dance should be taught in our schools. In Partnering Dance and Education, Dr. Judith Lynne Hanna presents a compelling argument for making dance central to every student's education. She examines current trends and issues in education to show how dance can be successfully justified and taught in today's changing educational environment. Rich with examples from arts magnet schools, arts organization offerings, dance company programs, public school instruction, and programs for at-risk youth, the book addresses difficult questions, including: - Is dance education in and of itself worthwhile? - What are the ways of providing dance education? - Who should teach dance in public schools? - Why and how should we connect dance to other bodies of knowledge? - What can be learned in, about, and through dance? - Does dance education benefit at-risk youth? - Do we teach gender roles in dance education? - What are the advantages and problems with cultural diversity in dance education? Divided into two parts, Partnering Dance and Educationis full of information and insights that readers will find both illuminating and thought provoking. Part I recognizes dance as a discipline in its own right with a distinct body of knowledge. Chapters discuss the benefits and methods of providing dance education, ways dance education can develop within the education reform movement, and who should teach dance. Part II addresses how dance education, while meaningful in itself, has broader relevance. Chapters discuss how dance can be used to teach academic and workplace skills, help at-risk youth, promote national identity while preserving cultural diversity, and help people cope with stress. It explains how children's dance during free play can be used as a teaching tool, and it looks at the role of dance in teaching students about gender. A special appendix poses challenging discussion questions for students and teachers. An extensive dance resources appendix includes suggested readings, as well as the addresses and phone numbers of leading dance organizations, programs, and schools.
Rethinking Dance History by
The need to 'rethink' and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book's contributions into: * Why Dance History? - the ideas, issues and key conversations that underpin any study of the history of theatrical dance. * Researching and Writing - discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making - from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Society and the Dance by
Dancing has its place in all societies; yet the phenomenon of dance has been oddly neglected by most anthropologists. This volume is intended to further anthropological awareness of its critical relevance. It is claimed that, in a very important sense, society creates the dance, and it is to society and not just to the dancer's experience that we must turn to understand its significance. Performance has meaning within social process. The anthropological analysis of dance can be approached in a variety of ways. These are identified in the introduction to the volume, and then illustrated by seven case examples drawn from Africa, Southeast Asia, Melanesia, and Oceanis. In successive chapters, dancing is presented as a controlled emotional outlet whose form reflects cosmology; as a creative experience that draws adolescent girls into the adult world; as an extension of speech and gesture that adds further levels of meaning to formal occasions; as a strategy for orchestrating the climax of a successful exchange; as a challenge to the power of elders that generates an alternative reality; as a communial response to crisis that recreates order out of confusion; and as a sequence of transformations that periodically resolves an inherent social dilemma. The volume concludes with an assessment of the relevance of the work by a dance scholar. By revealing dance as an aspect - often the most spectacular aspect - of ritual behaviour, this work is intended to stimulate more anthropologists and those in related disciplines to realise the full potential of its study. It also offers insights to those who are principally interested in dance itself, as well as appealing to any reader who shares a curiosity about the ways in which the spectacle of dance can be interpreted.
Subli : isang sayaw sa apat na tinig : one dance in four voices by 
Valuing dance : commodities and gifts in motion by
Because dance materializes through and for people, because we learn to dance from others and often present dance to others, the moment of its transmission is one of dance's central and defining features. Valuing Dance looks at the occasion when dancing passes from one person to another as anact of exchange, one that is redolent with symbolic meanings, including those associated with its history and all the labor that has gone into its making. It examines two ways that dance can be exchanged, as commodity and as gift, reflecting on how each establishes dance's relative worth and meritdifferently. When and why do we give dance? Where and to whom do we sell it? How are such acts of exchange rationalized and justified? Valuing Dance poses these questions in order to contribute to a conversation around what dance is, what it does, and why it matters.
When men dance : choreographing masculinities across borders by
While dance has always been as demanding as contact sports, intuitive boundaries distinguish the two forms of performance for men. Dance is often regarded as a feminine activity, and men who dance are frequently stereotyped as suspect, gay, or somehow unnatural. But what really happens whenmen dance?When Men Dance offers a progressive vision that boldly articulates double-standards in gender construction within dance and brings hidden histories to light in a globalized debate. A first of its kind, this trenchant look at the stereotypes and realities of male dancing brings together contributionsfrom leading and rising scholars of dance from around the world to explore what happens when men dance. The dancing male body emerges in its many contexts, from the ballet, modern, and popular dance worlds to stages in Georgian and Victorian England, Weimar Germany, India and the Middle East. Themen who dance and those who analyze them tell stories that will be both familiar and surprising for insiders and outsiders alike.
Yes? no! maybe-- : seductive ambiguity in dance by
Covering fifty years of British dance, from Margot Fonteyn to innovative contemporary practitioners such as Wendy Houstoun and Nigel Charnock, Yes? No! Maybe is an innovative approach to performing and watching dance. Emilyn Claid brings her life experience and interweaves it with academic theory and historical narrative to create a dynamic approach to dance writing. Using the 1970s revolution of new dance as a hinge, Claid looks back to ballet and forward to British independent dance which is new dance's legacy. She explores the shifts in performer-spectator relationships, and investigates questions of subjectivity, absence and presence, identity, gender, race and desire using psychoanalytical, feminist, postmodern, post-structuralist and queer theoretical perspectives. Artists and practitioners, professional performers, teachers, choreographers and theatre-goers will all find this book an informative and insightful read.
Dance, as an art form, movement system, vernacular or traditional practice, and/or ritual, is shaped by particular social-cultural contexts, and, at the same time, constructs and manifests for any society its ideas and beliefs on the body, performance, relationships, spirituality, and identity. This course will prompt you to understand and critique the relationship between society and dance, especially the aspects of production, transmission, and presentation that exist through and with powerful institutions and key cultural bearers within a society and time period. By discussing how society produces dance and how dance imagines for society a part of itself, you will start to see that all dances in any context and society have similarities as well as differences and should not be subject to evolutionary or hierarchical classifications. To be able to understand these relationships, you will be introduced to different dances found around the world, from Africa, to Europe, to America, and especially to Asia.
Dance and Politics by
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This book examines the political power of dance, particularly its transgressive potential. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement, dabke in Palestine and dance as a protest against human rights abuse in Israel, the book explores moments in which the form succeeds in transgressing politics as articulated in words. Close readings and critical analysis grounded in radical democratic theory combine to show how interpreting political dance as 'interruption' can unsettle conceptions of both politics and dance.
Dance Circles : Movement, Morality and Self-fashioning in Urban Senegal by
Senegal has played a central role in contemporary dance due to its rich performing traditions, as well as strong state patronage of the arts, first under French colonialism and later in the postcolonial era. In the 1980s, when the Senegalese economy was in decline and state fundingwithdrawn, European agencies used the performing arts as a tool in diplomacy. This had a profound impact on choreographic production and arts markets throughout Africa. In Senegal, choreographic performers have taken to contemporary dance, while continuing to engage with neo-traditional performance, regional genres like the sabar, and the popular dances they grew up with. A historically informed ethnography of creativity, agency, and the fashioning of selves through the different life stages in urban Senegal, this book explores the significance of this multiple engagement with dance in a context of economic uncertainty and rising concerns over morality in the public space."
The dance that makes you vanish : cultural reconstruction in postgenocide Indonesia by
Larasati elucidates the complex relationships between the dancing body and the Indonesian state since 1965. From late 1965 to early 1966, approximately 1 million Indonesians were killed, arrested, or disappeared as Suharto took control of the nation, implanting his 'New Order' regime, which would rule for the next 30 years. Looking back on the New Order from the context of the present, Larasati interrogates the specific ways in which female dancing bodies have been dealt with by the state: vilified, punished, then replaced with idealised, state aligned bodies.
Dancing Age(ing) by
How can contemporary dance contribute to a critical discourse on age and ageing? Built on the premise that age(ing) is something we practice and perform as individuals and as a society, Susanne Martin asks for and develops strategies that allow dance artists to do age(ing) differently. As a whole, this project is an artistic research inquiry, which draws on and contributes to dance practice. The study develops, discusses, and stages practices and performances of age(ing) that offer alternatives to stereotypical and normative age(ing) narratives, which are not only part of dance but also of everyday culture.
Dancing, Culture, and Religion by
In this provocative study of dancing, Sam Gill examines the interpretive styles of a variety of cultural dance traditions in discourse with the philosophic traditions of Schiller, Merleau-Ponty, Barbaras, Derrida, Leroi-Gourhan, and Baudrillard. As a scholar of religion, Gill provides special consideration to the importance of this emerging appreciation of dancing as a perspective inclusive of body and experience. Each chapter delves into the many factions of dancing: moving, gesturing, self-othering, playing, seducing, and masking. Gill also draws on the analysis of contemporary dance films and musicals, his experience as a dancer and dance teacher, his extensive research on dance traditions, and his interest in neurobiology and phenomenology to develop the core of this rich exploration of "dancing," the structurality of all dances.
Dancing cultures : globalization, tourism and identity in the anthropology of dance by
Dance is more than an aesthetic of life - dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
Dancing Tango by
Argentinean tango is a global phenomenon. Since its origin among immigrants from the slums of Buenos Aires and Montevideo, it has crossed and re-crossed many borders.Yet, never before has tango been danced by so many people and in so many different places as today. Argentinean tango is more than a specific music and style of dancing. It is also a cultural imaginary which embodies intense passion, hyper-heterosexuality, and dangerous exoticism. In the wake of its latest revival, tango has become both a cultural symbol of Argentinean national identity and a transnational cultural space in which a modest, yet growing number of dancers from different parts of the globe meet on the dance floor. Through interviews and ethnographical research in Amsterdam and Buenos Aires, Kathy Davis shows why a dance from another era and another place appeals to men and women from different parts of the world and what happens to them as they become caught up in the tango salon culture. She shows how they negotiate the ambivalences, contradictions, and hierarchies of gender, sexuality, and global relations of power between North and South in which Argentinean tango is--and has always been--embroiled. Davis also explores her uneasiness about her own passion for a dance which--when seen through the lens of contemporary critical feminist and postcolonial theories--seems, at best, odd, and, at worst, disreputable and even a bit shameful. She uses the disjuncture between the incorrect pleasures and complicated politics of dancing tango as a resource for exploring the workings of passion as experience, as performance, and as cultural discourse. She concludes that dancing tango should be viewed less as a love/hate embrace with colonial overtones than a passionate encounter across many different borders between dancers who share a desire for difference and a taste of the 'elsewhere.' Dancing Tango is a vivid, intriguing account of an important global cultural phenomenon.
Danse, enfermement et corps résilients | Dance, Confinement and Resilient Bodies by
La danse offre un espace-temps qui permet de regarder, étudier et comprendre l’humanité. Elle dévoile des corps, avec leurs blessures mais aussi leurs forces. La danse permet de penser | panser différemment et, ainsi, d’ouvrir de nouvelles perspectives. Cet ouvrage s’adresse aux acteurs appartenant aux différents milieux d’intervention et de recherche, d’enseignement et de formation, de même qu’aux danseurs, danse-thérapeutes et art-thérapeutes qui sont confrontés dans leur pratique aux problématiques de résilience et de justice sociale. Dance offers a space-time that enables us to look at, study, and understand humanity. It exposes bodies, their wounds as well as their strengths; it is a means of reflecting l recovering differently, opening a window onto new perspectives. This work is intended for stakeholders in various fields of intervention and research, education, and training, as well as for dancers, dance therapists, and art therapists who deal with issues of resilience and social justice in their practice. Édition bilingue. - Dance offers a space-time that enables us to look at, study, and understand humanity. It exposes bodies, their wounds as well as their strengths; it is a means of reflecting l recovering differently, opening a window onto new perspectives. This work is intended for stakeholders in various fields of intervention and research, education, and training, as well as for dancers, dance therapists, and art therapists who deal with issues of resilience and social justice in their practice. La danse offre un espace-temps qui permet de regarder, étudier et comprendre l’humanité. Elle dévoile des corps, avec leurs blessures mais aussi leurs forces. La danse permet de penser | panser différemment et, ainsi, d’ouvrir de nouvelles perspectives. Cet ouvrage s’adresse aux acteurs appartenant aux différents milieux d’intervention et de recherche, d’enseignement et de formation, de même qu’aux danseurs, danse-thérapeutes et art-thérapeutes qui sont confrontés dans leur pratique aux problématiques de résilience et de justice sociale.
Don't act, just dance : the metapolitics of cold war culture by
At some point in their career, nearly all the dancers who worked with George Balanchine were told "don't act, dear; just dance." The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the steps--but its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio.nbsp; Drawing on fresh archival material, Don't Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Catherine Gunther Kodat takes Balanchine's catch phrase as an invitation to explore the politics of Cold War culture--in particular, to examine the assumptions underlying the role of "apolitical" modernism in U.S. cultural diplomacy. Through close, theoretically informed readings of selected important works--Marianne Moore's "Combat Cultural," dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrick's Spartacus, and John Adams's Nixon in China--Kodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War.nbsp; Rather than read the dance through a received understanding of Cold War culture, Don't Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period.nbsp;
Global movements : dance, place, and hybridity by
Global Movements: Dance, Place, and Hybridity provides a theoretical and practical examination of the relationships between the global mobility of ideas and people, and its impact on dance and space. Using seven case studies, the contributors illustrate the mixture of dance styles that result from the global diffusion of cultural traditions and practices. The collection portrays a multitude of ways in which public and private spaces—stages, buildings, town squares as well as natural environments—are transformed and made meaningful by culturally diverse dances. Global Movements will be of interest to scholars of geography, dance, and global issues.
Indigenous Dance and Dancing Indian by
Focusing on the enactment of identity in dance, Indigenous Dance and Dancing Indian is a cross-cultural, cross-ethnic, and cross-national comparison of indigenous dance practices. Considering four genres of dance in which indigenous people are represented--K'iche Maya traditional dance, powwow, folkloric dance, and dancing sports mascots--the book addresses both the ideational and behavioral dimensions of identity. Each dance is examined as a unique cultural expression in individual chapters, and then all are compared in the conclusion, where striking parallels and important divergences are revealed. Ultimately, Krystal describes how dancers and audiences work to construct and consume satisfying and meaningful identities through dance by either challenging social inequality or reinforcing the present social order. Detailed ethnographic work, thorough case studies, and an insightful narrative voice make Indigenous Dance and Dancing Indian a substantial addition to scholarly literature on dance in the Americas. It will be of interest to scholars of Native American studies, social sciences, and performing arts.
New German Dance Studies by
New German Dance Studies offers fresh histories and theoretical inquiries that resonate across fields of the humanities. Sixteen essays range from eighteenth-century theater dance to popular contemporary dances in global circulation. In an exquisite trans-Atlantic dialogue that demonstrates the complexity and multilayered history of German dance, American and European scholars and artists elaborate on definitive performers and choreography, focusing on three major thematic areas: Weimar culture and its afterlife, the German Democratic Republic, and recent conceptual trends in theater dance. Contributors are Maaike Bleeker, Franz Anton Cramer, Kate Elswit, Susanne Franco, Susan Funkenstein, Jens Richard Giersdorf, Yvonne Hardt, Sabine Huschka, Claudia Jeschke, Marion Kant, Gabriele Klein, Karen Mozingo, Tresa Randall, Gerald Siegmund, and Christina Thurner.
Perpetual Motion by
A 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.
Stunning males and powerful females : gender and tradition in East Javanese dance by
In east Javanese dance traditions like Beskalan and Ngremo, musicians and dancers negotiate gender through performances where males embody femininity and females embody masculinity. Christina Sunardi ventures into the regency of Malang in east Java to study and perform with dancers. Through formal interviews and casual conversation, Sunardi learns about their lives and art. Her work shows how performers continually transform dance traditions to negotiate, and renegotiate, the boundaries of gender and sex--sometimes reinforcing lines of demarcation, sometimes transgressing them, and sometimes doing both simultaneously. But Sunardi's investigation moves beyond performance. It expands notions of the spiritual power associated with female bodies and feminine behavior, and the ways women, men, and waria (male-to-female transvestites) access the magnetic power of femaleness.
Sweating saris : Indian dance as transnational labor by
A groundbreaking book that seeks to understand dance as labor, Sweating Saris examines dancers not just as aesthetic bodies but as transnational migrant workers and wage earners who negotiate citizenship and gender issues. Srinivasan merges ethnography, history, critical race theory, performance and post-colonial studies among other disciplines to investigate the embodied experience of Indian dance. The dancers' sweat stained and soaked saris, the aching limbs are emblematic of global circulations of labor, bodies, capital, and industrial goods. Thus the sweating sari of the dancer stands in for her unrecognized labor. Srinivasan shifts away from the usual emphasis on Indian women dancers as culture bearers of the Indian nation. She asks us to reframe the movements of late nineteenth century transnational Nautch Indian dancers to the foremother of modern dance Ruth St. Denis in the early twentieth century to contemporary teenage dancers in Southern California, proposing a transformative theory of dance, gendered-labor, and citizenship that is far-reaching.
Tango Lessons by
From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In "Tango Lessons," scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors including specialists in dance, music, anthropology, linguistics, literature, film, and fine art take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gomez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti"
Why We Dance by
Offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons.
An introduction to and discovery of the theories, processes, and methods of designing the lighting for the stage and other forms of live performance, as an effective means of helping to push the story forward and conveying the director's vision.
The Assistant Lighting Designer's Toolkit by
What are the do's and don'ts of being a good assistant lighting designer? What are focus tapes, and how do I use them? What is the best method for creating a magic sheet? What should be found in every assistant's kit? How do I make that first important leap into this professional career? 　 Answer these questions and many more with The Assistant Lighting Designer's Toolkit. This definitive guide unlocks the insider-secrets used to succeed as a professional assistant lighting designer (ALD) - whether choosing assisting as a career or while transitioning to another. This book outlines, step-by-step, the challenges the ALD faces during every phase of production. Never before has a resource existed that views the design process through the eyes of the assistant. 　 Intermingled among the nuts and bolts of the paperwork and essential procedures, top industry professionals reveal tips for personal survival in this challenging career - both domestically and abroad as well as in other careers in lighting. Within these pages are the industry secrets rarely taught in school! The author's website can be found at http://www.aldtoolkit.com/. f the paperwork and essential procedures, top industry professionals reveal tips for personal survival in this challenging career - both domestically and abroad as well as in other careers in lighting. Within these pages are the industry secrets rarely taught in school! The author's website can be found at http://www.aldtoolkit.com/.
Automated Lighting by
Automated Lighting: The Art and Science of Moving Light in Theatre, Live Performance and Entertainment continues to be the most trusted text for working and aspiring lighting professionals. Now in its second edition, it has been fully updated to include new advances in lamp sources such as LEDs and plasma lamps, automated and programmable displays, updates for managing color, and new methods for using electronics. Its clear, easy-to-understand language also includes enough detailed information for the most experienced technician and engineer.
Basics Lighting Design by
Daylight is the most important element determining the mood and appearance of architecture, more so than all construction materials. In office buildings in particular, the good provision of daylight and matching artificial lighting installations make an important contribution to energy conservation - the better the use made of daylight, the less energy has to be consumed for artificial lighting. For this reason, typical architectural concepts have changed in recent years; enclosed buildings with full air-conditioning have increasingly made way to buildings that respond to the climate conditions of their environment, thereby using only a much reduced amount of energy without compromising on comfort. The BASICS Lighting Design volume includes the most important principles of daylight and artificial lighting design. Selection of subjects covered: Sizes and units Building concept design principles (layout design, building orientation and facade structure) Lighting design concepts Current daylighting and artificial lighting systems Solar screening Directing daylight
Bullet proof-- I wish I was : the lighting & stage design of Andi Watson by
Thousands attend stadium rock concerts around the globe and experience the artistry of lighting designer Andi Watson through his work with bands like Radiohead and Oasis. This visually arresting monograph presents a decade's worth of his extraordinary designs through hundreds of stage photographs. The foreword by Radiohead's Thom Yorke reveals the relationship between band and lighting designer, while other critical essays elucidate the history of stage lighting. An ideal book for devoted Radiohead followers and those interested in the intersection of contemporary art and pop culture.
Capture for Lighting Design by
Capture is one of the most popular visualization tools for theatrical lighting designers; however, it lacks a much-needed user's manual. This book aims to meet this need.Capture for Lighting Design is intended for anyone wanting to learn to use this software. It assumes the reader has no experience with the software, walking readers, step-by-step, through exercises that teach them how to create visual images of their lighting designs using the free Student Edition of Capture 2018. It also teaches readers how to use ETC's EOSnomad and Lightwright 6 with Capture, and how to download SketchUp models of a theatre and a set into Capture.
Contemporary Dance Lighting by
Contemporary Dance Lighting: The Poetry and the Nitty-Gritty dynamically guides students toward aesthetically, creatively, and skillfully becoming lighting designers for dance in the 21st century. The book is organized in three parts, covering everything from the aesthetic considerations of lighting for dance to the tools and technology designers use to create compelling artistry. Part I, "Beginnings" establishes context, explaining the structure of the book and illuminating the history of contemporary dance and lighting. Part II, "The Poetry" elaborates on the key artistic and aesthetic elements of contemporary dance lighting: visual narrative; controllable functions and qualities of light; use of space, color, and time; importance and intricacies of collaboration; and continual effects and evolution of technology. Part III, "The Nitty-Gritty" steers students through the technical knowledge and skills necessary to design lighting, including understanding your tools and positioning instruments; creating layered light plots; organizing extensive paperwork; and archiving. The dance Artifice, choreographed by Jerry Pearson, is sequentially explored throughout the book to convey key concepts. "Further Reflections" conclude each chapter, written by a diverse group of renowned professionals, inviting young designers directly into the world of lighting design. This textbook is for use in Lighting Design and Design for Dance Lighting courses at the university level, along with professional training programs.
Contemporary Performance Lighting by
This is the first major collection of critical responses to performance lighting and includes contributions from award-winning lighting designers, researchers and artists. Showcasing recent examples of work - with case studies of lighting practices in Britain, Europe, the US and China - combined with theoretical and analytical approaches to practice, this will enrich your understanding of the role and potential of light in performance and related creative practices. This volume explores three core themes and provides a framework for thinking through the role of light in performance: 1. Experience - considers both the audience's experience of light and the ways in which light influences the experience of performers 2. Creativity - examines both the creative, performative capacities of light in performance, as well as the creative practices of lighting designers 3. Meaning - offers an expanded view of performance aesthetics by examining the capacity of light to influence and generate meaning within performance. The case studies are drawn from a wide-array of lighting practice, including: Jennifer Tipton on the role of light as a structural language in performance; Jesper Kongshaug on the lighting of Copenhagen's Tivoli Gardens; Lucy Carter on her work in installation and dance; Psyche Chui on the productive fusion of Western lighting techniques with contemporary Chinese opera; Katharine Williams on the role of light in feminist political theatre made by RashDash; and Paule Constable on storytelling with light in a range of productions, including War Horse, The Curious Incident of the Dog in the Night Time and Angels in America.
Daylighting and Integrated Lighting Design by
Daylighting and Integrated Lighting Design provides architects, building designers, and students clear direction for the successful inclusion of daylight and integrated electric light in buildings. It presents design teams with the performance analysis resources, energy saving estimates and user satisfaction results they need in order to make informed decisions regarding daylighting and lighting design. Written by two well-known experts in the field, the book provides: critical geometric and material relationships along with proven design process activities, offered in a quick-reference format, with sufficient context to address the range of associated issues present in any building project both the "fundamentals" and "applications" which cover design concepts and practice activities applicable to all integrated lighting projects specific directives for how the concepts covered are applied in a range of common design scenarios, including architectural rules-of-thumb, instructions for ensuring visual comfort, and preferred approaches for electric lighting control integration. In demonstrating these necessary insights to designers, the authors employ an iterative analysis of common "daylighting patterns" and illustrate and annotate both successful and unsuccessful examples via built form and simulation. Part of the PocketArchitecture series, this is the ideal pocketbook for any designer serious about reducing the energy impact of their buildings. nbsp;
Designing with Light by
Designing with Light is a comprehensive survey of the practical and aesthetic aspects of stage lighting design. The authors approach stage lighting design as an art that integrates the vision of director, actor, and playwright, and as a craft that provides practical solutions for the manipulation of stage space. The sixth edition offers a wealth of new information on new trends in lighting design.
The Design of Lighting by
This fully updated edition of the successful book The Design of Lighting, provides the lighting knowledge needed by the architect in practice, the interior designer and students of both disciplines. The new edition offers a clear structure, carefully selected material and linking of lighting with other subjects, in order to provide the reader with a comprehensive and specifically architectural approach to lighting. Features of this new edition include: technical knowledge of lighting in the context of architectural design; an emphasis on imagination in architectural light and presentation of the tools necessary in practice for creative design; additional chapters on the behaviour of light and on the context of design; a strong emphasis on sustainable design and energy saving, with data and examples; analyses of actual lighting schemes and references to current standards and design guides; an up-to-date review of lamp and lighting technology, with recommendations on the choice of equipment; a revision of the calculation section, with examples and step-by-step instructions, based on recent student feedback about the book.
Light by
How has light influenced the staging of theatre throughout history?What does light contribute to performance?How does it make meaning?This collection explores the creative potential of light in the theatre. Through a wide range of extracts from historical accounts, new research and rare documents, some presented for the first time in English, Scott Palmer provides new ways of thinking about lighting as a creative performance practice. Focusing on elements such as:- The emergence of lighting design in the theatre- Equipment and techniques- The dramaturgy of light- Its impact on actor, audience and playhouse- The semiotics and phenomenology of light in performanceThe book reveals why light has such a profound effect on the audience's experience of a theatrical event.
Light Fantastic by
Now available in a completely revised, updated, and expanded edition, this book is the definitive guide to stage lighting design by a virtuoso in the field. As beautiful as it is instructive, this award-winning book on all aspects of theatrical lighting design has become the standard resource in the field. Light Fantastic has received accolades from the theater community, including the Golden Pen Award from the Institute for Theater Technology and Outstanding Academic Title award from Choice magazine. Now in its third edition, Light Fantastic has been expanded to include breathtaking new photographs from author Max Keller's most recent productions. The text has been brought up to date to reflect the latest technological advances, while new essays on light in architecture, lighting for music concerts, and the metaphysics and politics of light broaden its scope. Keller s extensive knowledge and experience on some of the world s most celebrated stages make him the definitive source for veterans or those new to the field of stage lighting. Throughout the book hundreds of vibrant color photographs convey the excitement of live performance. This remarkable volume is an indispensable handbook to stage lighting design.
Lighting Design by
By reading this book, you will develop the skills to perceive a space and its contents in light, and be able to devise a layout of luminaires that will provide that lit appearance. Written by renowned lighting expert Christopher (Kit) Cuttle, the book: explains the difference between vision and perception, which is the distinction between providing lighting to make things visible, and providing it to influence the appearance of everything that is visible; demonstrates how lighting patterns generated by three-dimensional objects interacting with directional lighting are strongly influential upon how the visual perception process enables us to recognize object attributes, such as lightness, colourfulness, texture and gloss; reveals how a designer who understands the role of these lighting patterns in the perceptual process may employ them either to reveal, or to subdue, or to enhance the appearance of selected object attributes by creating appropriate spatial distributions of light; carefully explains calculational techniques and provides easy-to-use spreadsheets, so that layouts of lamps and luminaires are derived that can be relied upon to achieve the required illumination distributions. Practical lighting design involves devising three-dimensional light fields that create luminous hierarchies related to the visual significance of each element within a scene. By providing you with everything you need to develop a design concept - from the understanding of how lighting influences human perceptions of surroundings, through to engineering efficient and effective lighting solutions - Kit Cuttle instills in his readers a new-found confidence in lighting design.
Lighting Design Basics by
A visual, real-world guide to professional lighting design Lighting Design Basics is the essential guide to this basic, but difficult-to-master aspect of interior design. Offering fundamental concepts and prescriptive techniques in a highly visual format, this book provides clear, practical guidance on utilizing the latest in lighting techniques and technology to showcase a space without sacrificing utility. Covering more than 25 different design scenarios with in-depth rationale for proposed solutions, this book provides insightful distribution diagrams, floor plans, and details for lighting installation and construction. Real-world case studies illustrate lighting design in residential, commercial, healthcare, education, and hospitality settings, and skill-building exercises offer practice for real-world projects as well as NCIDQ and NCARB exam preparation. This new third edition includes new instructor support materials, coverage of computer calculation software, and in-depth discussion on the latest in LED lighting. Lighting is changing, both in the technology itself, and in the way a designer must approach it. This book provides immersive instruction through real-world settings, and practical guidance suited for immediate application in everyday projects. Get up-to-date on the latest methods and technology for lighting design Examine more than 25 design scenarios for different types of spaces Complete exercises to hone your skills or prepare for the NCIDQ or NCARB Create simple lighting designs and collaborate with architects on complex projects Lighting can make or break a space. Improper lighting lends a space an uncomfortable feel, can induce headaches or eyestrain, and can even be hazardous--but thoughtfully designed and executed lighting adds that extra element so often missing from typical spaces. Lighting Design Basics shows you how to elevate any space through the fundamental tools and concepts of professional lighting design.
Performance Lighting Design by
A practical guide to the art and technique of lighting for the stage, this book explains the complex mixture of craft, collaboration and creativity behind successful lighting design. The designer paints with light - revealing form and composing a living picture from collections of objects and bodies in a given space. This handbook for professional practice walks you through how to achieve this, from first concept to development of design ideas, planning to realisation and, finally, public performance. Now fully revised, this second edition of Nick Moran's Performance Lighting Design has been brought up to date to consider advances made in the technology used for lighting design for live performance. Alongside this, Moran introduces new concepts and ways of working; includes a section on analysing the finished design; and discusses recent research into contemporary lighting practice, addressing emerging trends, particularly for drama. Combining practical information with aesthetic considerations, Performance Lighting Design is the ideal book for students and practitioners of stage lighting working on the contemporary stage.
A Practical Guide to Stage Lighting by
Combining theory and application, A Practical Guide to Stage Lighting provides a comprehensive analysis of lighting systems along with examples and illustrations of the technical tools and methods used in the industry. An entertaining and educational read, author Steven Louis Shelley draws from his 35+ years of diverse experience to explain how to get the job done along with real-life examples of projects from start to finish. Learn why some techniques are successful while others fail with 'Shelley's Notes' and 'Shelley's Soapbox,' all with a humor that guides you through complex problems and concepts. Highlights include: -Over 100 new topics, including analysis and application of the three categories of collaboration; a detailed examination of production meetings and one-on-one meetings; and meeting checklists with management and the creative team. -Over 50 new illustrations, including Shelley's Periodic Table of Fundamental Lighting Systems; groundplans, sections, and front elevations that illustrate basic system wash configurations for each direction of light. -Analysis, calculation, and step-by-step technical construction of each lighting system in the Hokey light plot. -Explanation of a manufacturer's cut sheet, and how to apply basic formulas to determine the beam size, footcandles, and gel transmission for lighting instruments. -Updated process of pre-programming computer lighting consoles prior to the load-in. -Comprehensive overview of archiving paperwork and softcopy for a production. Students and professionals will benefit from experience-based tips and techniques to prepare and execute a lighting design, along with learning how to avoid common traps.
Practical Lighting Design with LEDs by
The essential how-to guide to designing and building LED systems, revised and updated The second edition of Practical Lighting Design with LEDs has been revised and updated to provide the most current information for developing light-emitting diodes products. The authors, noted authorities in the field, offer a review of the most relevant topics including optical performance, materials, thermal design and modeling and measurement. Comprehensive in scope, the text covers all the information needed to design LEDs into end products. The user-friendly text also contains numerous drawings and schematics that show how things such as measurements are actually made, and show how circuits actually work. Designed to be practical, the text includes myriad notes and illustrative examples that give pointers and how-to guides on many of the book's topics. In addition, the book's equations are used only for practical calculations, and are kept at the level of high-school algebra. This thoroughly expanded second edition offers: New chapters on the design of an LED flashlight, USB light, automotive taillight, and LED light bulbs A practical and user-friendly guide with dozens of new illustrations The nitty-gritty, day-to-day engineering and systems used to design and build complete LED systems An essential resource on the cutting-edge technology of Light-Emitting Diodes Practical Lighting Design with LEDs helps engineers and managers meet the demand for the surge in usage for products using light-emitting diodes with a practical guide that takes them through the relevant fields of light, electronic and thermal design.
Scene Design and Stage Lighting by
Now in full color and packed with professional information and cutting-edge technologies, SCENE DESIGN AND STAGE LIGHTING, Tenth Edition, equips you with the most up-to-date coverage available on scenery, lighting, sound, and technology. Completely current, the exciting new tenth edition has two new chapters on digital integration in scene design and lighting design (Chapters 12 and 13), a new chapter on getting work in the profession (Chapter 28), and mirrors the best of real-world practices. Vibrant color production photographs support the text and spotlight examples of contemporary work. The book retains its strong emphasis on modern technology, with many changes in the lighting design and sound design chapters, reflecting the latest practices. The text also includes an expanded section on television design, as well as an emphasis on health and safety issues. The authors emphasize collaboration in all sections of the text, and they provide insight via interviews with professional lighting and scenery designers in two features: "Working Professionals" and "Designers at Work." Reflecting current professional practice, SCENE DESIGN AND STAGE LIGHTING, Tenth Edition, offers in-depth coverage of a broad range of topics, making it the most detailed and comprehensive text available in the scenic, lighting, and sound design fields.
Spectacular! : stage design by
Stage designers must create an immersive and engaging environment that lasts only hours or days but is remembered for a lifetime. Whether it's Jay-Z at Carnegie Hall, Radiohead on a world tour, Celine Dion in Las Vegas, Nelson Mandela's 90th birthday, a dramatic production of Hairspray,' or the launch of McLaren's latest Formula One race car, every situation demands memorable staging that works in perfect harmony with the central event. Here individual examples of remarkable stage design are chronicled, while wider questions of why stage design matters are also raised.'
Stage Lighting by
Stage Lighting: Design Applications and More builds upon the information introduced in Stage Lighting: The Fundamentals to provide an in-depth reference to a number of specialty areas of lighting design, from traditional applications such as drama, dance, and designing for different venues, to more advanced applications such as concert, corporate, film and video, virtual, architectural/landscape, and other forms of entertainment lighting. Each chapter gives the essential background, design practices, and equipment details for each specialization, so readers can make informed decisions and ask informed questions when encountering each field. The book provides insight on the latest technology and includes profiles of prolific designers, such as James Moody, Jeff Ravitz, Alan Adelman, and Paul Gregory. Stage Lighting: Design Applications and More is intended to help lighting designers translate their theatrical skills to other areas of lighting design, and provides guidance on how to take those initial steps into new ventures in their lighting careers.
Stage Lighting - the Technicians Guide by
"Stage technicians or 'techies' don't read books, they seek information on the basis of the need to know." This is a practical guide to stage lighting covering equipment, lighting a performance space, special effects and lighting design. It can be read cover-to-cover, but also used as reference manual which provides easy access to the content through the use of tabulated sections and keywords. The information in each chapter is presented at three levels: - A quick start - basic information providing enough to get started - More info - more detailed knowledge - Extras! - extended technical information and data The three strands run visually throughout the guide enabling students to mix and match their own personal level of study or to fast track through to the information they need on stage. This handy, accessible guide is packed with illustrations, pictures, diagrams, plans and technical data. In addition a DVD is included using unique video clips to illustrate the text, show the practical use of equipment, and examples of different lighting techniques and effects. The differentiated format makes it equally suitable as a quick start for school students or at an extended level for aspiring theatre technicians, teachers, amateur dramatic enthusiasts or anyone needing a quick on-the-job reference.
Stage Lighting: the Technicians' Guide by
This practical guide covers all aspects of stage lighting equipment, special effects, lighting a performance space and lighting design. It is well illustrated with examples of equipment, diagrams, plans and technical data. It also features the work of current lighting designers. The associated video content shows the practical use of equipment and different lighting techniques and effects. It provides easy access to the content through the use of tabulated sections and keyword headings. The information in each chapter is presented at three levels which run visually throughout the guide enabling students to mix and match their own personal level of study or for practitioners to fast track through to the information they need on stage. This new and revised second edition brings the guide right up to date, and includes all new material on the development of LED lighting in recent years, as well as online video resources.
[Digital] Lighting and Rendering by
Who better to teach students the fine art and craft of digital lighting and rendering than the individual who created many of the stunning lighting effects for Pixar's blockbuster films such as Brave, Toy Story 3, Wall-e, Cars, and The Incredibles? In these pages, lighting and animation pro Jeremy Birn draws on his wealth of industry and teaching experience to provide an thoroughly updated edition of what has become the standard guide to digital lighting and rendering. Using beautiful, full-colour examples; a friendly, clear teaching style; and a slew of case studies and tutorials, Jeremy demonstrates how to create strategic lighting for just about any project. By explaining not just how to use various lighting techniques but why, this guide provides the grounding graphics pros need to master Hollywood lighting techniques. Realising that lighting - how it's used, where it's placed, and the kind of shadow it casts - is critical to any image, Jeremy dedicates the first half of his volume to just that topic. Additional chapters cover colour, exposure, composition, materials and textures, and compositing.
An introduction to and discovery of the theories, processes, and methods of designing the lighting for the stage and other forms of live performance, as an effective means of helping to push the story forward and conveying the director's vision.
Automated Lighting by
Automated Lighting: The Art and Science of Moving and Color-Changing Lights, Third Edition (formerly Automated Lighting: The Art and Science of Moving Light) continues to be the most trusted text for working and aspiring lighting professionals. Now in its third edition, it has been fully updated to reflect the vast changes in stage and studio luminairies--including LEDs, switch-mode power supplies, optics, networking, Ethernet-based protocols like Art-Net and sACN, wireless DMX, and much more. Its written in clear, easy-to-understand language and includes enough detailed information to benefit for the most experienced technicians, programmers, and designers. Additional content and resources are provided at the author's website www.automatedlighting.pro.
The Automated Lighting Programmer's Handbook by
This guide helps lighting designers with the creative and operational challenges they face in their rapidly evolving industry. Providing respected and clear coverage of the process of programming automated lighting fixtures, the author brings the designer from basic principles to preproduction preparations. Concepts, procedures, and guidelines to ensure a successful production are covered as well as troubleshooting, much needed information on work relationships, and technology including LED lighting, console networking, digital lighting, and more. Chapters are peppered with advice and war stories from some of the most prominent lighting designers of today.
Basics Lighting Design by
Daylight is the most important element determining the mood and appearance of architecture, more so than all construction materials. In office buildings in particular, the good provision of daylight and matching artificial lighting installations make an important contribution to energy conservation - the better the use made of daylight, the less energy has to be consumed for artificial lighting. For this reason, typical architectural concepts have changed in recent years; enclosed buildings with full air-conditioning have increasingly made way to buildings that respond to the climate conditions of their environment, thereby using only a much reduced amount of energy without compromising on comfort. The BASICS Lighting Design volume includes the most important principles of daylight and artificial lighting design. Selection of subjects covered: Sizes and units Building concept design principles (layout design, building orientation and facade structure) Lighting design concepts Current daylighting and artificial lighting systems Solar screening Directing daylight
Concert Lighting by
Concert Lighting: Tools, Techniques, Art, and Business Fourth Edition provides readers with an updated look at how to succeed in the complex world of concert lighting design and technology. The authors have reorganized the book into three comprehensive and thoroughly revised sections, covering history, equipment and technology, and design, and containing new information on LED technology, pixel mapping, projection options, media servers, automated lighting, solutions for moving lights, DMX, and Ethernet problems, and designer communication and collaboration. This book also explores the cross-media use of concert lighting techniques in film, video, theatre, and the corporate world, highlighted with advice from master designers such as Bruce Rodgers, Cosmo Wilson, and Sarah Landau. From securing precious contracts to knowing the best equipment to use to design a show, Concert Lighting covers everything a designer needs to know about working in the touring industry.
Concert Lighting by
Get ready to pack your bags and go on tour with the most trusted and comprehensive text for concert lighting. With a special focus on rock and roll, learn how to use computer aided drafting, moving luminaires, learn about the people and the history that shaped the field and more. Expand your design possibilities by learning about cross-media use of concert lighting techniques and their application in film, video, theatre and the corporate world. From snagging those precious contracts to knowing the best equipment to use to designing a show, Concert Lighting: Techniques, Art and Business covers everything you need to know.
Dance and Light by
Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.
Designing with Light by
Now in its seventh edition, Designing with Light　introduces readers to the art, craft, and technology of stage lighting and media projection. The new edition is fully updated to include current information on the technology of stage lighting: lighting fixtures, lamps, cabling, dimmers, control boards, as well as electrical theory. Readers will learn how designed light is used to enhance the audience's understanding and enjoyment of a production. The book includes specific information on drafting the light plot, explores the challenges of designing for different stage configurations, and provides examples of lighting designs for dramas, musicals, and dance. It also features comments and thoughts from active designers from both mainstream theatrical productions and related industries. Written for students of Lighting Design and Technology as well as professional technicians and designers, Designing with Light　offers a comprehensive survey of the practical and aesthetic aspects of stage lighting design.
Discovering Stage Lighting by
This guide to the fundamentals of stage lighting includes a series of projects to allow experimentation, discussion and analysis. The necessary equipment is described in relation to its purpose, along with checklists and hints for practical use. The practical handling of light, with observation of the relationship of cause to effect, is central to the study of stage lighting. Rehearsal pressures usually restrict the time available for experimenting with lighting for a performance, but laboratory-style projects can be used to enable specific lighting problems to be solved. The core of this book is a series of 'discovery' projects using minimal resources, to explore the use of light in the theatre, with particular emphasis on the interaction of conflicting visual aims. The projects cover all the major scenarios likely to be encountered by lighting students and have been tried and tested by the author, who has taught lighting students all over the world for over 30 years. The book has been updated to include more on safety and the latest technology including: - fixed instruments using the new lower wattage high efficiency lamps in combination with dichronic reflectors - an increase in the availability, reliability, range and usage of 'moving light' technology based on remotely controlled instruments. New lighting projects have also been added. If you are studying the art and craft of stage lighting this book is an excellent working manual that will provide you with the technical knowledge and skill to cope with a range of lighting situations.
Lighting Design by
A concise, systematic introduction to natural and artificial lighting design More than any building material, light produces spatial effects, generates moods, and "stages" architectural designs. In well-lit spaces, we feel good, and we are capable and effective; light promotes health. Moreover, especially in office buildings, the combination of a sensible natural lighting design with a corresponding approach to artificial lighting is a decisive factor in energy conservation. Assembled by experienced authors and experts from the worlds of practice and teaching, this new volume in the series Detail Practice provides an introduction to the most important aspects of natural and artificial lighting design. In addition to straightforward planning rules -- such as ground plan design, building orientation, and the structuring of facades -- it also introduces and explains current natural and artificial lighting systems with the help of example projects.
A Practical Guide to Stage Lighting by
Combining theory and application, A Practical Guide to Stage Lighting provides a comprehensive analysis of lighting systems along with examples and illustrations of the technical tools and methods used in the industry. An entertaining and educational read, author Steven Louis Shelley draws from his 35+ years of diverse experience to explain how to get the job done along with real-life examples of projects from start to finish. Learn why some techniques are successful while others fail with 'Shelley's Notes' and 'Shelley's Soapbox,' all with a humor that guides you through complex problems and concepts. Highlights include: -Over 100 new topics, including analysis and application of the three categories of collaboration; a detailed examination of production meetings and one-on-one meetings; and meeting checklists with management and the creative team. -Over 50 new illustrations, including Shelley's Periodic Table of Fundamental Lighting Systems; groundplans, sections, and front elevations that illustrate basic system wash configurations for each direction of light. -Analysis, calculation, and step-by-step technical construction of each lighting system in the Hokey light plot. -Explanation of a manufacturer's cut sheet, and how to apply basic formulas to determine the beam size, footcandles, and gel transmission for lighting instruments. -Updated process of pre-programming computer lighting consoles prior to the load-in. -Comprehensive overview of archiving paperwork and softcopy for a production. Students and professionals will benefit from experience-based tips and techniques to prepare and execute a lighting design, along with learning how to avoid common traps.
Practical Lighting Design with LEDs by
The essential how-to guide to designing and building LED systems, revised and updated The second edition of Practical Lighting Design with LEDs has been revised and updated to provide the most current information for developing light-emitting diodes products. The authors, noted authorities in the field, offer a review of the most relevant topics including optical performance, materials, thermal design and modeling and measurement. Comprehensive in scope, the text covers all the information needed to design LEDs into end products. The user-friendly text also contains numerous drawings and schematics that show how things such as measurements are actually made, and show how circuits actually work. Designed to be practical, the text includes myriad notes and illustrative examples that give pointers and how-to guides on many of the book's topics. In addition, the book's equations are used only for practical calculations, and are kept at the level of high-school algebra. This thoroughly expanded second edition offers: New chapters on the design of an LED flashlight, USB light, automotive taillight, and LED light bulbs A practical and user-friendly guide with dozens of new illustrations The nitty-gritty, day-to-day engineering and systems used to design and build complete LED systems An essential resource on the cutting-edge technology of Light-Emitting Diodes Practical Lighting Design with LEDs helps engineers and managers meet the demand for the surge in usage for products using light-emitting diodes with a practical guide that takes them through the relevant fields of light, electronic and thermal design.
Stage Lighting by
The book's organization follows a layered approach that builds on basic principles: Light as a Medium (Part 1), Tools of a Lighting Designer (Part 2), Design Fundamentals (Part 3), and Lighting Applications (Part 4). This presents students with a practical and logical sequence when learning basic concepts. The full spectrum of the lighting design process is presented in detail, giving students an example of how one might develop a lighting design from script analysis through concept and plot development, and all the way to an opening. This detailed process with a step-by-step design approach gives students a plan to work from, which they can later modify as they mature and gain confidence as designers. The text contains a more comprehensive discussion of basic technology, light as a physical phenomena, and methodology of designs than is found in most introductory texts, bridging the gap between introductory and advanced lighting courses. The text will appeal to theatrical designers who want to venture into areas of lighting like architectural or virtual lighting design, while at the same time gaining a solid grounding in the fundmentals of lighting design. Lighting Design will also benefit illuminating engineers who want to move away from mere computational approaches in lighting and on to explore techniques along the design approaches of theatrical lighting design. The final 9 chapters cover many specialty areas of lighting design, highlighting the unique and shared qualities that exist between the different aspects of these elements. Discussions involve traditional entertainment areas like theatre, as well as lesser known facets of the industry including film/video, landscape lighting, retail/museum lighting, virtual lighting, concert, spectacle performances, and architectural lighting. Models of design tasks demonstrate the actual use and development of plots/sections, schedules, photometrics tables, and cut sheets, rather than simply talking about what they are. This hands-on approach provides students with a firm understanding of how to actually use these tools and processes.roductory and advanced lighting courses. The text will appeal to theatrical designers who want to venture into areas of lighting like architectural or virtual lighting design, while at the same time gaining a solid grounding in the fundmentals of lighting design. Lighting Design will also benefit illuminating engineers who want to move away from mere computational approaches in lighting and on to explore techniques along the design approaches of theatrical lighting design. The final 9 chapters cover many specialty areas of lighting design, highlighting the unique and shared qualities that exist between the different aspects of these elements. Discussions involve traditional entertainment areas like theatre, as well as lesser known facets of the industry including film/video, landscape lighting, retail/museum lighting, virtual lighting, concert, spectacle performances, and architectural lighting. Models of design tasks demonstrate the actual use and development of plots/sections, schedules, photometrics tables, and cut sheets, rather than simply talking about what they are. This hands-on approach provides students with a firm understanding of how to actually use these tools and processes.p;nbsp; Models of design tasks demonstrate the actual use and development of plots/sections, schedules, photometrics tables, and cut sheets, rather than simply talking about what they are. This hands-on approach provides students with a firm understanding of how to actually use these tools and processes.
Stage Lighting Design by
Stage Lighting Design is a comprehensive introduction to technical theatre, tracing the evolution of lighting design from ancient drama to contemporary performance. Neil Fraser covers everything that today's designers will need to know, from the simple nuts and bolts of equipment, through to the complexity of a full lighting rig, including all aspects of the stage electrician and lighter designer's roles. This revised second edition includes new material on historical development, intelligent control systems and the latest advances in LED fixtures and luminaires. Each chapter includes key exercises, now totalling 100, that enable the reader to practise their skills on a wide variety of lighting challenges. The work of current designers is showcased and analysed, with examples from complete and detailed lighting designs.Includes: Choosing and using equipment; Applying colour; Techniques for focusing; Lighting in the round and other stage layouts; Creating mood and atmosphere; Lighting effects and LED source fixtures; Planning, testing and executing a lighting design.Superbly llustrated with over 150 colour, black & white photographs and line artworks.
Stage Lighting Handbook by
The Stage Lighting Handbook is well established as the classic practical lighting guide. The book explains the process of designing lighting for all forms of stage production and describes the equipment used. This new edition includes up-to-date information on new equipment and discusses its impact on working methods.
This course is designed to equip you with theories and histories of music and dance to help you see the correlation between music and dance in a new perspective. The, course, Music for Dance, intends to provide you to experience music through movement, defining and understanding the elements of music through movement, which will be useful to your performance, teaching, movement composition and analysis.
The Anatomy of Dance Discourse by
Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period andexplores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius.The volume is divided into two Parts: while the second Part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of culturalexpression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not onlyto the highly encoded genre of pantomime, which dominated the stage in the Roman empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volumedefends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers orspectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.
Big deal : Bob Fosse and dance in the American musical by
Bob Fosse (1927-1987) is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, andstuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era - a group that included Jerome Robbins,Gower Champion, Michael Kidd, and Harold Prince - to equal his Broadway success in films.Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza with a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final efforts, the filmStar 80 and the musical Big Deal, written and directed by Fosse, were rejected by audiences and critics.A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of mentors GeorgeAbbott and Jerome Robbins on his work. It examines how each of the important women in his adult life - all dancers - impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of hisera and allowed him to comfortably ride a wave of cultural changes.
Bodies of sound : studies across popular music and dance by
From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music.
Choreomania by
From the condemnation of protest to skepticism of religious ecstasy, radical movement has been defined by freedoms and restrictions relative to class conflict, national policy, and colonialism. In this book, author Kelina Gotman examines choreographies of unrest, rethinking the modernformation of choreomania, a fantastical concept across scientific disciplines used to designate the spontaneous and uncontrolled movements of crowds. In these misformations of body politics, prejudices against spontaneity unravel, suggesting widespread anxieties about impulsiveness and irregularity.In tandem with dialogues of the erratic, Gotman makes use of histories of nineteenth-century control which identify the period as one of increasing regimentation. As she notes, constraints on movement signal constraints on political power and agency and on individuals' capacity to shift theirallegiances, inhabiting more hospitable terrains. In each chapter, Gotman confronts the many ways choreomania functions as an extension of colonialism, dismissing expressive bodies as mentally and physically infected others. Through her research, Gotman unearths the many instances of choreomaniathat represent collective efforts to escape social tyranny inflicted by the upper class.
Consuming Dance by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertisingindustry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as culturalproducts, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning.Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and thediscursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Dance Imagery for Technique and Performance by
Renowned master teacher Eric Franklin has thoroughly updated his classic text, Dance Imagery for Technique and Performance, providing dancers and dance educators with a deep understanding of how they can use imagery to improve their dancing and artistic expression in class and in performance. These features are new to this edition: *Two chapters include background, history, theory, and uses of imagery. *294 exercises offer dancers and dance educators greater opportunities to experience how imagery can enhance technique and performance. *133 illustrations facilitate the use of imagery to improve technique, artistic expression, and performance. *Four exercises taught by Franklin and available on HK's website help dancers with essential rest and relaxation techniques. Franklin provides hundreds of imagery exercises to refine improvisation, technique, and choreography. The 295 illustrations cover the major topics in the book, showing exercises to use in technique, artistic expression, and performance. In addition, Franklin supplies imagery exercises that can restore and regenerate the body through massage, touch, and stretching. And he offers guidance in using imagery to convey information about a dancer's steps and to clarify the intent and content of movement. This new edition of Dance Imagery for Technique and Performance can be used with Franklin's Dynamic Alignment Through Imagery, Second Edition, or on its own. Either way, readers will learn how to combine technical expertise with imagery skills to enrich their performance, and they will discover methods they can use to explore how imagery connects with dance improvisation and technique. Dance Imagery for Technique and Performance uses improvisation exercises to help readers investigate new inner landscapes to create and communicate various movement qualities, provides guidelines for applying imagery in the dance class, and helps dancers expand their repertoire of expressiveness in technique and performance across ballet, modern, and contemporary dance. This expanded edition of Dance Imagery for Technique and Performance supplies imagery tools for enhancing or preparing for performance, and it introduces the importance of imagery in dancing and teaching dance. Franklin's method of using imagery in dance is displayed throughout this lavishly illustrated book, and the research from scientific and dance literature that supports Franklin's method is detailed. The text, exercises, and illustrations make this book a practical resource for dancers and dance educators alike.
Dance Music Manual by
Dance Music Manual,aimed at the novice and seasoned professional alike, takes the reader through the software and hardware needed to create original, captivating, and professional sounding music. Key features of Dance Music Manualinclude: How to create compelling, professional-sounding original or remixed dance tracks. The differences between different genres and how to produce them. How to expose your tracks to their chosen audience and equip you with the skills to develop your career as a dance music producer and engineer. Along with the book is a companion website, which provides examples of synthesis programming, compression, effects, MIDI files, and examples of the tracks discussed in this edition. The new and improved fourth edition covers processes and techniques used by music producers, masters, mixers, and DJs. Each page is full of facts presented in a manner that is easy to absorb and implement.
Dance on Its Own Terms by
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation ofmovement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant danceactivity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance.The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications.Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
Hands-On Music Theory by
If you've tried learning music theory before, only to be put off by archaic concepts delivered in a stuffy tone, this is the book for you. HANDS-ON MUSIC THEORY teaches you practical contemporary music theory in contemporary terms--without all the classical nostalgia for methods that are hundreds of years old. Written in fresh, accessible language, and illustrated with examples that draw on modern tools such as sequencer piano rolls and guitar tabs, this book offers practical, hands-on, easy-to understand instruction on key points of modern pop, rock, jazz and electronica music theory. You'll find a wealth of practical examples and familiar references, with links to music that you can listen to online. Learn today's music theory in today's language, with HANDS-ON MUSIC THEORY.
Music-dance : sound and motion in contemporary discourse by
Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.
Musical Intimacies and Indigenous Imaginaries by
Musical Intimacies and Indigenous Imaginaries explores several styles performed in the vital aboriginal musical scene in the western Canadian province of Manitoba, focusing on fiddling, country music, Christian hymnody, and step dancing. In considering these genres and the contexts in whichthey are performed, author Byron Dueck outlines a compelling theory of musical publics, examines the complex, overlapping social orientations of contemporary musicians, and shows how music and dance play a central role in a distinctive indigenous public culture.Dueck considers a wide range of contemporary aboriginal performances and venues - urban and rural, secular and sacred, large and small. Such gatherings create opportunities for the expression of distinctive modes of northern Algonquian sociability and for the creative extension of indigenouspublicness. In examining these interstitial sites - at once places of intimate interaction and spaces oriented to imagined audiences - this volume considers how Manitoban aboriginal musicians engage with audiences both immediate and unknown; how they negotiate the possibilities mass mediationaffords; and how, in doing so, they extend and elaborate indigenous sociability.Musical Intimacies brings theories of public culture from anthropology and literary criticism into musicological and ethnomusicological discussions while introducing productive new ways of understanding North American indigenous engagement with mass mediation. It is a unique work that will appeal tostudents and scholars of popular music, musicology, music theory, anthropology, sociology, and cultural studies. It will be necessary reading for students of American ethnomusicology, First Nations and Native American studies, and Canadian music studies.
Music in Theory and Practice by
This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while Volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.
Music Theory Essentials by
Music Theory Essentials offers an antidote to music theory textbooks that are overly long and dense. Focusing on the essentials, this text provides a clear-cut guide to the key concepts of music theory. Beginning with no assumptions about music theory knowledge, the book covers the core elements of music fundamentals, diatonic and chromatic harmony, post-tonal theory, and popular music in a single concise volume. Emphasizing critical thinking skills, this book guides students through conceptualizing musical concepts and mastering analytic techniques. Each chapter concludes with a selection of applications designed to enhance engagement: Exercisesallow students to apply and practice the skills and techniques addressed in the chapter. Brain Teaserschallenge students to expand their musical understanding by thinking outside the box. Exploring Musicoffers strategies for students to apply learned concepts to the music they are currently learning or listening to. Thinking Criticallyencourages students to think more deeply about music by solving problems and identifying and challenging assumptions. A companion website provides answers to book exercises, additional downloadable exercises, and audio examples. Straightforward and streamlined, Music Theory Essentialsis a truly concise yet comprehensive introduction to music theory that is accessible to students of all backgrounds. by thinking outside the box. Exploring Musicoffers strategies for students to apply learned concepts to the music they are currently learning or listening to. Thinking Criticallyencourages students to think more deeply about music by solving problems and identifying and challenging assumptions. A companion website provides answers to book exercises, additional downloadable exercises, and audio examples. Straightforward and streamlined, Music Theory Essentialsis a truly concise yet comprehensive introduction to music theory that is accessible to students of all backgrounds.
The Oxford Handbook of Improvisation in Dance by
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while ithas long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets.Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency andcollective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience,cognition, and technologies.
Performing antiquity : ancient Greek music and dance from Paris to Delphi, 1890-1930 by
Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890-1930 investigates collaborations between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists), and the performing artists (dancers, composers, choreographersand musicians) who brought their research to life at the birth of Modernism. The book tells the story of performances taking place at academic conferences, the Paris Opera, ancient amphitheaters in Delphi, and private homes. These musical and dance collaborations are built on reciprocity: theperformers gain new insight into their craft while learning new techniques or repertoire and the scholars gain an opportunity to bring theory into experimental practice, that is, they have a chance see/hear/experience what they have studied and imagined. The performers receive the imprimatur ofscholarship, the stamp of authenticity, and validation for their creative activities.Drawing from methods and theory from musicology, dance studies, performance studies, queer studies, archaeology, classics and art history the book shows how new scholarly methods and technologies altered the performance, and, ultimately, the reception of music and dance of the past. Acknowledgingand critically examining the complex relationships performers and scholars had with the pasts they studied does not undermine their work. Rather, understanding our own limits, biases, dreams, obsessions, desires, loves, and fears enriches the ways we perform the past.
The Routledge Companion to Music and Visual Culture by
As a coherent field of research, the field of music and visual culture has seen rapid growth in recent years. The Routledge Companion to Music and Visual Culture serves as the first comprehensive reference on the intersection between these two areas of study, an ideal introduction for those coming to the field for the first time as well as a useful source of information for seasoned researchers. This collection of over forty entries, from musicologists and art historians from the US and UK, delineate the key concepts in the field in five parts: Starting Points Methodologies Reciprocation - the musical in visual culture and the visual in musical culture Convergence -in metaphor, in conception, and in practice Hybrid Arts This reference work speaks to the important questions concerning this burgeoning field of research -what are the established approaches to studying musical and visual cultures side by side? What have been the major points of contact between these two areas and what kind of questions can this interdisciplinary research address moving forward? The Routledge Companion to Music and Visual Culture is an indispensable guide for anyone interested in the field of music and visual culture.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Sibod : ideology and expressivity in Binanog dance, music, and folkways of the Panay Bukidnon by
In this book, Christine Muyco provides us with a magic key to enter a remarkable world where music, dance, and gesture are woven together to create a fabric of human meaning. - Elena Rivera Mirano
Unworking choreography : the notion of the work in dance by
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dancerefers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographicworks within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within theart form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
This course is designed to equip you with theories and histories of music and dance to help you see the correlation between music and dance in a new perspective. The, course, Music for Dance, intends to provide you to experience music through movement, defining and understanding the elements of music through movement, which will be useful to your performance, teaching, movement composition and analysis.
The art of music production : the theory and practice by
The Art of Music Production is the first book to comprehensively analyze and describe the role of the music producer in creating successful music recordings. Now in its fourth edition, it is the definitive guide to the art and business of music production.Author and producer Richard James Burgess distills this complex field by defining the distinct roles of a music producer.The first part of the book outlines the underlying theory of the art of music production. The second focuses on the job's practical aspects, including training, getting into the business, and--most importantly--the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from successful music producers, ranging from the beginnings of recorded sound to today's chart-toppers and across genre lines. It features many revealing anecdotes, encompassing both the daily and overarching career-related challenges that a producer faces. Burgess addresses the changes in the nature of music production brought about by technology and, in particular, the millennial shift that has occurred with digital recording and distribution. His lifelong experience in the recording industry as a studio musician, artist, composer, producer, manager, and marketer, combined with his extensive academic research in the field, brings a unique breadth and depth of understanding to the topic.
Ballet music : a handbook by
Musicians who work professionally with ballet and dance companies sometimes wonder if they haven’t entered a foreign country—a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy’s variation, pas d’action, apothéose—simply don’t fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the ballet interested in the complex machinery that works backstage before the curtain goes up.
The Ballets Russes and Beyond : Music and Dance in Belle-Époque Paris by
Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.
Country Music Reader by
In The Country Music Reader Travis D. Stimeling provides an anthology of primary source readings from newspapers, magazines, and fan ephemera encompassing the history of country music from circa 1900 to the present. Presenting conversations that have shaped historical understandings of country music, it brings the voices of country artists and songwriters, music industry insiders, critics, and fans together in a vibrant conversation about a widely loved yet seldom studied genre of American popular music. Situating each source chronologically within its specific musical or cultural context, Stimeling traces the history of country music from the fiddle contests and ballad collections of the late nineteenth and early twentieth centuries through the most recent developments in contemporary country music. Drawing from a vast array of sources including popular magazines, fan newsletters, trade publications, and artist biographies, The Country Music Reader offers firsthand insight into the changing role of country music within both the music industry and American musical culture, and presents a rich resource for university students, popular music scholars, and country music fans alike.
Curating Contemporary Music Festivals : A New Perspective on Music's Mediation by
Contemporary music, like other arts, is dealing with the rise of »curators« laying claim to everything from festivals to playlists - but what are they and what do they do anyway? Drawing from backgrounds ranging from curatorial studies to festival studies and musicology, Brandon Farnsworth lays out a theory for understanding curatorial practices in contemporary music, and how they could be a solution to the field's diminishing social relevance. The volume focuses on two case studies, the Munich Biennale for New Music Theatre, and the Maerzmusik Festival at the Berliner Festspiele, putting them in a transdisciplinary history of curatorial practice, and showing what music curatorial practice can be.
Gestures of Music Theater by
Gestures of Music Theater: The Performativity of Song and Dance offers new, cutting-edge essays focusing on song and dance as performative gestures that not only entertain but also act on audiences and performers. The chapters range across musical theater, opera, theater, and other artistic practices, from Glee to Gardzienice, Beckett to Disney, Broadway to Turner-Prize-winning sound installation. The chapters draw together these diverse examples of vocality and physicality by exploring their affect rather than through considering them as texts. The book's contributors derive methodologies from many disciplines. Resisting discrete discipline-based enquiry, they share methodologies and performance repertoires with discipline-based scholarship from theater studies, musicology, and cultural studies, among other approaches. Together, they view these as neighboring voices whose dialogue enriches the study of contemporary music theater.
Javaphilia : American love affairs with Javanese music and dance by
Fragrant tropical flowers, opulent batik fabrics, magnificent bronze gamelan orchestras, and, of course, aromatic coffee. Such are the exotic images of Java, Indonesia's most densely populated island, that have hovered at the periphery of North American imaginations for generations. Through close readings of the careers of four "javaphiles"--individuals who embraced Javanese performing arts in their own quests for a sense of belonging--Javaphilia: American Love Affairs with Javanese Music and Dance explores a century of American representations of Javanese performing arts by North Americans. While other Asian cultures made direct impressions on Americans by virtue of firsthand contacts through immigration, trade, and war, the distance between Java and America, and the vagueness of Americans' imagery, enabled a few disenfranchised musicians and dancers to fashion alternative identities through bold and idiosyncratic representations of Javanese music and dance. Javaphilia's main subjects--Canadian-born singer Eva Gauthier (1885-1958), dancer/painter Hubert Stowitts (1892-1953), ethnomusicologist Mantle Hood (1918-2005), and composer Lou Harrison (1917-2003)--all felt marginalized by the mainstream of Western society: Gauthier by her lukewarm reception as an operatic mezzo-soprano in Europe, Stowitts by his homosexuality, Hood by conflicting interests in spirituality and scientific method, and Harrison by his predilection for prettiness in a musical milieu that valued more anxious expressions. All four parlayed their own direct experiences of Java into a defining essence for their own characters. By identifying aspects of Javanese music and dance that were compatible with their own tendencies, these individuals could literally perform unconventional--yet coherent--identities based in Javanese music and dance. Although they purported to represent Java to their fellow North Americans, they were in fact simply representing themselves. In addition to probing the fascinating details of these javaphiles' lives, Javaphilia presents a novel analysis of North America's first significant encounters with Javanese performing arts at the 1893 World's Columbian Exposition in Chicago. An account of the First International Gamelan Festival, in Vancouver, BC (at Expo 86), almost a century later, bookends the epoch that is the focus of Javaphilia and sets the stage for a meditation on North Americans' ongoing relationships with the music and dance of Java.
Musical Intimacies and Indigenous Imaginaries by
Musical Intimacies and Indigenous Imaginaries explores several styles performed in the vital aboriginal musical scene in the western Canadian province of Manitoba, focusing on fiddling, country music, Christian hymnody, and step dancing. In considering these genres and the contexts in which they are performed, author Byron Dueck outlines a compelling theory of musical publics, examines the complex, overlapping social orientations of contemporary musicians, and shows how music and dance play a central role in a distinctive indigenous public culture.Dueck considers a wide range of contemporary aboriginal performances and venues--urban and rural, secular and sacred, large and small. Such gatherings create opportunities for the expression of distinctive modes of northern Algonquian sociability and for the creative extension of indigenous publicness. In examining these interstitial sites--at once places of intimate interaction and spaces oriented to imagined audiences--this volume considers how Manitoban aboriginal musicians engage with audiences both immediate and unknown; how they negotiate the possibilities mass mediation affords; and how, in doing so, they extend and elaborate indigenous sociability.Musical Intimacies brings theories of public culture from anthropology and literary criticism into musicological and ethnomusicological discussions while introducing productive new ways of understanding North American indigenous engagement with mass mediation. It is a unique work that will appeal to students and scholars of popular music, musicology, music theory, anthropology, sociology, and cultural studies. It will be necessary reading for students of American ethnomusicology, First Nations and Native American studies, and Canadian music studies.
Music As a Chariot by
Music as a Chariot offers a multidisciplinary perspective whose primary proposition is that theatre is a type of music. Understanding how music enables the theatre experience helps to shape our entire approach to the performing arts. Beginning with a discussion on the origin and nature of time, the author takes us on an evolutionary journey to discover how music, language and mimesis co-evolved, eventually coming together to produce the complex way we experience theatre. The book integrates the evolutionary neuroscience of the human brain into this journey, offering practical implications and applications for the auditory expression of this concept--namely the fundamental techniques artists use to create sound scores for theatre. With contributions from directors, playwrights, actors and designers, Music as a Chariot explores the use of music to carry ideas into the human soul--a concept that extends beyond the theatrical to include film, video gaming, dance, or anywhere art is manipulated in time.
Music of the Spheres and the Dance of Death by
The roots and evolution of two concepts usually thought to be Western in origin-musica mundana (the music of the spheres) and musica humana (music's relation to the human soul)-are explored. Beginning with a study of the early creeds of the Near East, Professor Meyer-Baer then traces their development in the works of Plato and the Gnostics, and in the art and literature of the Middle Ages and the Renaissance. Previous studies of symbolism in music have tended to focus on a single aspect of the problem. In this book the concepts of musica humana and musica mundane are related to philosophy, aesthetics, and the history of religion and are given a rightful place in the history of civilization. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Music theory by
Many people find music theory a tough subject-- but it doesn't have to be! The best-selling Idiot's Guides: Music Theory, Third Edition, is a concise and clear guide that teaches any budding musician (and even more experienced ones) how to read musical notation by navigating the basics of reading and composing music. This book covers:
- The basics of tones, including pitches, clefs, scales, intervals, and major and minor keys.
- The building blocks of rhythm, including note values, basic notation, time signatures, and tempo, dynamics, and navigation.
- How tunes are created, starting with melodies, chords, chord progressions, and phrases and forms.
- The basics of accompaniment, including transcribing, accompanying melodies, and transposing to other keys.
- Composing and arranging, including coverage of musical genres and forms, how to compose your own music, arranging for voices and instruments, working with lead sheets and scores, and performing your music.
- Helpful reference appendixes, including a glossary, chord charts, and instrument ranges.
- Exercises at the end of each chapter, and an answer key appendix.
- All-new coverage of genres, composing, and arranging.
- Expanded online ear-training and transcribing exercise content.
Music Theory Secrets by
Modeled on the brilliant approach first formulated by distinguished professor of music and master clarinetist Michele Gingras in Clarinet Secrets and More Clarinet Secrets (both available from Rowman and Littlefield), Music Secrets is designed for instrumentalists, singers, conductors, composers, and other instructors and professionals seeking a quick set of pointers to improve their work as performers and producers of music. Easy to use, contributions to the Music Secrets series fill a niche for those who need quick and easy methods for learning what they need--from those just starting to the advanced musician in need of a refresher or new insights. Rhythms, melodies, and harmonies are the building blocks of music. In Music Theory Secrets: 94 Strategies for the Starting Musician, Brent Coppenbarger offers a full range of methods to help musicians, not only grasp, but remember those key elements upon which the music they play is built: pitch, rhythm, scales, key signatures, and harmony. With over eighteen years of experience teaching music theory, Coppenbarger offers the various teaching and memory strategies he has designed to help musicians understand and retain what they need to know. Coppenbarger covers critical information on how to determine pitch, the use of meter, and how to count rhythms in simple and compound meter; explains major scales and major key signatures, as well as minor scales and minor key signatures; surveys other types of scales (such as those used in jazz) and explains how modes work; presents necessary data on scale degree names and intervals; covers triads and various types of chords; touches upon Roman numeral analysis, inversions, and figured bass; presents non-chord tones and discusses solfege singing, including several pages of sight singing using various clefs and keys (strongly recommended for instrumentalists for practicing transpositions for the appropriate clef and range) demonstrates the different techniques musicians can use for transposing keys; and finally discusses more advanced concepts such as part-writing rules, the use of sequences, and form. Music Theory Secrets: 94 Strategies for the Starting Musician is an indispensable resource for instrumental teachers wishing to incorporate music theory into lessons, classroom teachers, high school and college students, amateur musicians, those wanting to learn to read music, home-schooled students, and college bound music students.
Music theory through musical theatre by
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes.The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
Performance and Ethnography : Dance, Drama, Music by
Performance and Ethnography: Dance, Drama, Music revisits the territory of the performance orientation, touching on anthropology, dance, folklore, music and theatre to look for present trends in both the ethnography of performance and performance ethnography. One of the main concerns of this volume is with an embodied, affective and sensory ethnography that privileges encounters between ethnographer, participants and practices as key to understanding and knowledge. Another is the extent to wh...
Popular Dance and Music Matters by
From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels.
Twentieth-Century Music Theory and Practice by
Twentieth-Century Music Theory and Practice introduces a number of tools for analyzing a wide range of twentieth-century musical styles and genres. It includes discussions of harmony, scales, rhythm, contour, post-tonal music, set theory, the twelve-tone method, and modernism. Recent developments involving atonal voice leading, K-nets, nonlinearity, and neo-Reimannian transformations are also engaged. While many of the theoretical tools for analyzing twentieth century music have been devised to analyze atonal music, they may also provide insight into a much broader array of styles. This text capitalizes on this idea by using the theoretical devices associated with atonality to explore music inclusive of a large number of schools and contains examples by such stylistically diverse composers as Paul Hindemith, George Crumb, Ellen Taffe Zwilich, Steve Reich, Michael Torke, Philip Glass, Alexander Scriabin, Ernest Bloch, Igor Stravinsky, Béla Bartók, Sergei Prokofiev, Arnold Schoenberg, Claude Debussy, György Ligeti, and Leonard Bernstein. This textbook also provides a number of analytical, compositional, and written exercises. The aural skills supplement and online aural skills trainer on the companion website allow students to use theoretical concepts as the foundation for analytical listening. Access additional resources and online material here: http://www.twentiethcenturymusictheoryandpractice.net and https://www.motivichearing.com/.
Students in this course learn conventional musical terminology, as well as theory of music, elements of music history that most closely relate to dance, in order to explore: musical form in relation to dance movement; the effects of musical style on dance movement; musicality as perceived by performer and audience; and choreo-musicology.
The course requires analytical written and oral assignments, compositional exercises involving movement and sound, and analysis of audio and visual media either using some Power Point and Audio/Video Presentation.
This course is organized around pieces of Western Music from the middle ages to the present along with examples of influential music from other cultures and genres, with an analysis of their compositional techniques, along with examples of choreographic works and approaches especially suited to the music cited. Of prime importance is to listen to a great deal of music in order to have a range of musical experiences to draw on when hearing something new. By comparing music from different genres, we will notice the changing details of musical styles, which will draw our attention to properties of sound and form. Hearing these elements of music leads to greater engagement with music while dancing and future choreographing.
Basic Materials in Music Theory by
This classic, self-paced, auto-instructional introduction to music fundamentals allows students to work independently through a programmed format, allowing instructors to concentrate on the more creative aspects of their course. KEY TOPICS: Basic Materials of music: time and sound; notation of pitch; time classification, note and rest values; time signatures; intervals; basic scales; major scales; minor scales; key signatures; triads. For music theory students.
Bending the Rules of Music Theory by
For students learning the principles of music theory, it can often seem as though the tradition of tonal harmony is governed by immutable rules that define which chords, tones, and intervals can be used where. Yet even within the classical canon, there are innumerable examples of composers diverging from these foundational "rules." Drawing on examples from composers including J.S. Bach, Mozart, Beethoven, Schubert, Mendelssohn, Chopin, Brahms, and more, Bending the Rules of Music Theoryseeks to take readers beyond the basics of music theory and help them to understand the inherent flexibility in the system of tonal music. Chapters explore the use of different rule-breaking elements in practice and why they work, introducing students to a more nuanced understanding of music theory.
Berklee Contemporary Music Notation by
(Berklee Guide). Learn the nuances of music notation, and create professional looking scores. This reference presents a comprehensive look at contemporary music notation. You will learn the meaning and stylistic practices for many types of notation that are currently in common use, from traditional staffs to lead sheets to guitar tablature. It discusses hundreds of notation symbols, as well as general guidelines for writing music. Berklee College of Music brings together teachers and students from all over the world, and we use notation in a great variety of ways. This book presents our perspectives on notation: what we have found to be the most commonly used practices in today's music industry, and what seems to be serving our community best. It includes a foreword by Matthew Nicholl, who was a long-time chair of Berklee's Contemporary Writing and Production Department. Whether you find yourself in a Nashville recording studio, Hollywood sound stage, grand concert hall, worship choir loft, or elementary school auditorium, this book will help you to create readable, professional, publication-quality notation. Beyond understanding the standard rules and definitions, you will learn to make appropriate choices for your own work, and generally how to achieve clarity and consistency in your notation so that it best serves your music.
Berklee Music Theory by
(Berklee Methods). This essential method features rigorous, hands-on, "ears-on" practice exercises that help you explore the inner working of music, presenting notes, scales, and rhythms as they are heard in pop, jazz, and blues. You will learn and build upon the basic concepts of music theory with written exercises, listening examples, and ear training exercises. The online audio examples will help reinforce lessons as you begin to build a solid musical foundation. Now available with an answer key!
Bodies of sound : studies across popular music and dance by
From the ragtime one-step of the early twentieth century to the contemporary practices of youth club cultures, popular dance and music are inextricably linked. This collection reveals the intimate connections between the corporeal and the sonic in the creation, transmission and reception of popular dance and music, which is imagined here as 'bodies of sound'. The volume provokes a wide-ranging, interdisciplinary conversation that includes scholarship from Asia, Europe and the United States, which explores topics from the nineteenth century through to the present day and engages with practices at local, national and transnational levels. In Part I: Constructing the Popular, the authors explore how categories of popular music and dance are constructed and de-stabilized, and their proclivity to appropriate and re-imagine cultural forms and meanings. In Part II: Authenticity, Revival and Reinvention, the authors examine how popular forms produce and manipulate identities and meanings through their attraction to and departure from cultural traditions. In Part III: (Re)Framing Value, the authors interrogate how values are inscribed, silenced, rearticulated and capitalized through popular music and dance. And in Part IV: Politics of the Popular, the authors read the popular as a site of political negotiation and transformation.
Dance Music Manual by
Dance Music Manual,aimed at the novice and seasoned professional alike, takes the reader through the software and hardware needed to create original, captivating, and professional sounding music. Key features of Dance Music Manualinclude: How to create compelling, professional-sounding original or remixed dance tracks. The differences between different genres and how to produce them. How to expose your tracks to their chosen audience and equip you with the skills to develop your career as a dance music producer and engineer. Along with the book is a companion website, which provides examples of synthesis programming, compression, effects, MIDI files, and examples of the tracks discussed in this edition. The new and improved fourth edition covers processes and techniques used by music producers, masters, mixers, and DJs. Each page is full of facts presented in a manner that is easy to absorb and implement.
Dance Music Manual by
What are the differences between trance and chill out? How can you create compelling, professional-sounding original or remixed dance tracks? With Dance Music Manual, you'll get coverage of every aspect of dance music production--from designing sounds to compression, from effects to mixing and mastering--and go even further, with advice on publishing and promoting your tracks. No matter your level of experience, this book is packed with techniques and practical tips to help you achieve professional results, whether you're an aspiring dance music producer, DJ, remixer, recording engineer, musician, or composer. The companion website provides examples of synthesis programming, compression, effects, MIDI files and examples of the tracks discussed within this edition. The third edition includes up-to-date dance music coverage, including new chapters on arranging dance music, layering kicks, more on music theory, fundamentals of rhythm, building professional drum loops, gain structure, producing dubstep, and advice on the very latest production techniques. ng professional drum loops, gain structure, producing dubstep, and advice on the very latest production techniques.
Dance on Its Own Terms by
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation ofmovement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant danceactivity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance.The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications.Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
DJ culture in the mix : power, technology, and social change in electronic dance music by
The DJ stands at a juncture of technology, performance and culture in the increasingly uncertain climate of the popular music industry, functioning both as pioneer of musical taste and gatekeeper of the music industry. Together with promoters, producers, video jockeys (VJs) and other professionals in dance music scenes, DJs have pushed forward music techniques and technological developments in last few decades, from mashups and remixes to digital systems for emulating vinyl performance modes. This book is the outcome of international collaboration among academics in the study of electronic dance music. Mixing established and upcoming researchers from the US, Canada, the UK, Germany, Austria, Sweden, Australia and Brazil, the collection offers critical insights into DJ activities in a range of global dance music contexts. In particular, chapters address digitization and performativity, as well as issues surrounding the gender dynamics and political economies of DJ cultures and practices.
Hands-On Music Theory by
If you've tried learning music theory before, only to be put off by archaic concepts delivered in a stuffy tone, this is the book for you. HANDS-ON MUSIC THEORY teaches you practical contemporary music theory in contemporary terms--without all the classical nostalgia for methods that are hundreds of years old. Written in fresh, accessible language, and illustrated with examples that draw on modern tools such as sequencer piano rolls and guitar tabs, this book offers practical, hands-on, easy-to understand instruction on key points of modern pop, rock, jazz and electronica music theory. You'll find a wealth of practical examples and familiar references, with links to music that you can listen to online. Learn today's music theory in today's language, with HANDS-ON MUSIC THEORY.
Music-Dance by
Music-Dance explores the identity of choreomusical work, its complex authorship and its modes of reception as well as the cognitive processes involved in the reception of dance performance. Scholars of dance and music analyse the ways in which a musical score changes its prescriptive status when it becomes part of a choreographic project, the encounter between sound and motion on stage, and the intersection of listening and seeing. As well as being of interest to musicologists and choreologists considering issues such as notation, multimedia and the analysis of performance, this volume will appeal to scholars interested in applied research in the fields of cognition and neuroscience. The line-up of authors comprises representative figures of today's choreomusicology, dance historians, scholars of twentieth-century composition and specialists in cognitive science and performance studies. Among the topics covered are multimedia and the analysis of performance; the notational practice of choreographers and the parallel attempts of composers to find a graphic representation for musical gestures; and the experience of dance as a paradigm for a multimodal perception, which is investigated in terms of how the association of sound and movement triggers emotions and specific forms of cognition.
Music in Theory and Practice Volume 1 by
This best-selling text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while Volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level.
Music Theory Essentials by
Music Theory Essentials offers an antidote to music theory textbooks that are overly long and dense. Focusing on the essentials, this text provides a clear-cut guide to the key concepts of music theory. Beginning with no assumptions about music theory knowledge, the book covers the core elements of music fundamentals, diatonic and chromatic harmony, post-tonal theory, and popular music in a single concise volume. Emphasizing critical thinking skills, this book guides students through conceptualizing musical concepts and mastering analytic techniques. Each chapter concludes with a selection of applications designed to enhance engagement: Exercisesallow students to apply and practice the skills and techniques addressed in the chapter. Brain Teaserschallenge students to expand their musical understanding by thinking outside the box. Exploring Musicoffers strategies for students to apply learned concepts to the music they are currently learning or listening to. Thinking Criticallyencourages students to think more deeply about music by solving problems and identifying and challenging assumptions. A companion website provides answers to book exercises, additional downloadable exercises, and audio examples. Straightforward and streamlined, Music Theory Essentialsis a truly concise yet comprehensive introduction to music theory that is accessible to students of all backgrounds. by thinking outside the box. Exploring Musicoffers strategies for students to apply learned concepts to the music they are currently learning or listening to. Thinking Criticallyencourages students to think more deeply about music by solving problems and identifying and challenging assumptions. A companion website provides answers to book exercises, additional downloadable exercises, and audio examples. Straightforward and streamlined, Music Theory Essentialsis a truly concise yet comprehensive introduction to music theory that is accessible to students of all backgrounds.
Music Theory for Dummies by
Get more out of music with this essential guide Music Theory For Dummies makes music theory easy to understand, with a friendly, unintimidating overview of everything you need to know to become fluent at knocking out beats, reading musical scores, and learning to anticipate where a song should go--whether you're reading someone else's music or writing your own. Whether you're a music student or a music lover, you'll learn to read, write, and understand music with this informative guide. With expert instruction, you'll put it all together as you compose, arrange, and create original melodies, harmonies, and chords of your own, with helpful tips for performing your pieces in front of an audience. This new third edition presents the most current teaching techniques, the newest music genres and examples, and updated information on all aspects of understanding, creating, and performing music. Studies have shown that music training improves children's' verbal and spatial abilities, and it's been associated with cognitive and mathematical benefits in adults. The music job market is expected to increase over the coming years, and music theory is becoming an increasingly common part of education at all levels. Music Theory For Dummies provides the instruction you need to get more out of music than you ever thought possible. Master major and minor scales, intervals, pitches, and clefs Understand basic notation, time signals, tempo, dynamics, and navigation Employ melodies, chords, progressions, and phrases to form music Compose harmonies and accompanying melodies for voice and instruments Whether you intend to pursue a degree or career in music, or just enjoy listening to it, understanding the theory behind it gives you a whole new appreciation for the artistry and craftsmanship behind the pieces that give you goose bumps. It's a mix of technical skill, inborn talent, and plenty of practice - and now you can try your hand at it, with Music Theory For Dummies.
Music therapy assessment : theory, research, and application by
As the use of music therapy becomes more widespread so too does the need for detailed assessment. Standardised assessment tools, and knowledge of how to integrate assessment into clinical practice, are needed for teaching, research and clinical purposes all around the world. Based on the findings of members of the International Music Therapy Assessment Consortium (IMTAC), this comprehensive anthology collects the latest research and clinical practice methods about music therapy assessment. Looking at the available assessment tools holistically, the book covers the major assessment models currently used in clinical practice, and details each model's setting and motivation, development, theoretical background, and how to implement it in a clinical setting.
Popular Music Theory and Analysis by
Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.
Sibod : ideology and expressivity in Binanog dance, music, and folkways of the Panay Bukidnon by
In this book, Christine Muyco provides us with a magic key to enter a remarkable world where music, dance, and gesture are woven together to create a fabric of human meaning. - Elena Rivera Mirano
Workbook T/a Music in Theory and Practice, Volume I by Students in this course learn conventional musical terminology, as well as theory of music, elements of music history that most closely relate to dance, in order to explore: musical form in relation to dance movement; the effects of musical style on dance movement; musicality as perceived by performer and audience; and choreo-musicology.
The course requires analytical written and oral assignments, compositional exercises involving movement and sound, and analysis of audio and visual media either using some Power Point and Audio/Video Presentation.
This course is organized around pieces of Western Music from the middle ages to the present along with examples of influential music from other cultures and genres, with an analysis of their compositional techniques, along with examples of choreographic works and approaches especially suited to the music cited. Of prime importance is to listen to a great deal of music in order to have a range of musical experiences to draw on when hearing something new. By comparing music from different genres, we will notice the changing details of musical styles, which will draw our attention to properties of sound and form. Hearing these elements of music leads to greater engagement with music while dancing and future choreographing.
Dance on Its Own Terms by
Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The chapters emphasize dance history and core disciplinary knowledge in three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.
From Scratch : Writings in Music Theory by
One of the twentieth century's most important musical thinkers, James Tenney did pioneering work in multiple fields, including computer music, tuning theory, and algorithmic and computer-assisted composition. From Scratch arranges, edits, and revises Tenney's hard-to-find writings into one indispensable collection. Selections focus on his fundamental concerns--"what the ear hears"--and include thoughts and ideas on perception and form, tuning systems and especially just intonation, information theory, theories of harmonic space, and stochastic (chance) procedures of composition.
A Geometry of Music by
How is the Beatles' "Help!" similar to Stravinsky's "Dance of the Adolescents?" How does Radiohead's "Just" relate to the improvisations of Bill Evans? And how do Chopin's works exploit the non-Euclidean geometry of musical chords?In this groundbreaking work, author Dmitri Tymoczko describes a new framework for thinking about music that emphasizes the commonalities among styles from medieval polyphony to contemporary rock. Tymoczko identifies five basic musical features that jointly contribute to the sense of tonality, and shows how these features recur throughout the history of Western music. In the process he sheds new light on an age-old question: what makes music sound good?A Geometry of Music provides an accessible introduction to Tymoczko's revolutionary geometrical approach to music theory. The book shows how to construct simple diagrams representing relationships among familiar chords and scales, giving readers the tools to translate between the musical and visual realms and revealing surprising degrees of structure in otherwise hard-to-understand pieces.Tymoczko uses this theoretical foundation to retell the history of Western music from the eleventh century to the present day. Arguing that traditional histories focus too narrowly on the "common practice" period from 1680-1850, he proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present. He discusses a host of familiar pieces by a wide range of composers, from Bach to the Beatles, Mozart to Miles Davis, and many in between.A Geometry of Music is accessible to a range of readers, from undergraduate music majors to scientists and mathematicians with an interest in music. Defining its terms along the way, it presupposes no special mathematical background and only a basic familiarity with Western music theory. The book also contains exercises designed to reinforce and extend readers' understanding, along with a series of appendices that explore the technical details of this exciting new theory.
Living Ethnomusicology : Paths and Practices by
Ethnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity's relationship with music. Margaret Sarkissian and Ted Solís guide us into the field's last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology's formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras, Sarkissian and Solís illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge. A bountiful resource on history and practice, Living Ethnomusicology is an enlightening intellectual exploration of an exotic academic culture.
Musical Intimacies and Indigenous Imaginaries by
Musical Intimacies and Indigenous Imaginaries explores several styles performed in the vital aboriginal musical scene in the western Canadian province of Manitoba, focusing on fiddling, country music, Christian hymnody, and step dancing. In considering these genres and the contexts in which they are performed, author Byron Dueck outlines a compelling theory of musical publics, examines the complex, overlapping social orientations of contemporary musicians, and shows how music and dance play a central role in a distinctive indigenous public culture.Dueck considers a wide range of contemporary aboriginal performances and venues--urban and rural, secular and sacred, large and small. Such gatherings create opportunities for the expression of distinctive modes of northern Algonquian sociability and for the creative extension of indigenous publicness. In examining these interstitial sites--at once places of intimate interaction and spaces oriented to imagined audiences--this volume considers how Manitoban aboriginal musicians engage with audiences both immediate and unknown; how they negotiate the possibilities mass mediation affords; and how, in doing so, they extend and elaborate indigenous sociability.Musical Intimacies brings theories of public culture from anthropology and literary criticism into musicological and ethnomusicological discussions while introducing productive new ways of understanding North American indigenous engagement with mass mediation. It is a unique work that will appeal to students and scholars of popular music, musicology, music theory, anthropology, sociology, and cultural studies. It will be necessary reading for students of American ethnomusicology, First Nations and Native American studies, and Canadian music studies.
Music and Camp by
This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp's presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. Hardcover is un-jacketed.
Music and Twentieth-Century Tonality by
This book explores the web of pitch relations that generates the musical language of non-serialized twelve-tone music and supplies both the analytical materials and methods necessary for analyses of a vast proportion of the 20th century musical repertoire. It does so in a simple, clear, and systematic manner to promote an easily accessible and global understanding of this music. Since the chromatic scale is the primary source for the pitch materials of 20th-century music, common sub-collections of the various modes and interval cycles serve as the basis for their mutual transformation. It is precisely this peculiarity of the non-serialized twelve-tone system that allows for an array of pitch relations and modal techniques hitherto perceived difficult if not impossible to analyze. Susanni and Antokoletz present the principles, concepts, and materials employed for analysis using a unique theoretic-analytical approach to the new musical language. The book contains a large number of original analyses that explore a host of composers including Ives, Stravinsky, Bartók, Messiaen, Cage, Debussy, Copland, and many more, providing insight into the music of the tonal revolution of the twentieth century and contributing an important perspective to how music works in general.
Music on the Move by
Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation. With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels--with or without its makers--including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.
Music Theory, 3E by
Many people find music theory a tough subject-- but it doesn't have to be! The best-selling Idiot's Guides- Music Theory, Third Edition, is a concise and clear guide that teaches any budding musician (and even more experienced ones) how to read musical notation by navigating the basics of reading and composing music. This book covers- - The basics of tones, including pitches, clefs, scales, intervals, and major and minor keys. - The building blocks of rhythm, including note values, basic notation, time signatures, and tempo, dynamics, and navigation. - How tunes are created, starting with melodies, chords, chord progressions, and phrases and forms. - The basics of accompaniment, including transcribing, accompanying melodies, and transposing to other keys. - Composing and arranging, including coverage of musical genres and forms, how to compose your own music, arranging for voices and instruments, working with lead sheets and scores, and performing your music. - Helpful reference appendixes, including a glossary, chord charts, and instrument ranges. - Exercises at the end of each chapter, and an answer key appendix. - All-new coverage of genres, composing, and arranging. - Expanded online ear-training and transcribing exercise content.
Music Theory Secrets by
Modeled on the brilliant approach first formulated by distinguished professor of music and master clarinetist Michele Gingras in Clarinet Secrets and More Clarinet Secrets (both available from Rowman and Littlefield), Music Secrets is designed for instrumentalists, singers, conductors, composers, and other instructors and professionals seeking a quick set of pointers to improve their work as performers and producers of music. Easy to use, contributions to the Music Secrets series fill a niche for those who need quick and easy methods for learning what they need--from those just starting to the advanced musician in need of a refresher or new insights. Rhythms, melodies, and harmonies are the building blocks of music. In Music Theory Secrets: 94 Strategies for the Starting Musician, Brent Coppenbarger offers a full range of methods to help musicians, not only grasp, but remember those key elements upon which the music they play is built: pitch, rhythm, scales, key signatures, and harmony. With over eighteen years of experience teaching music theory, Coppenbarger offers the various teaching and memory strategies he has designed to help musicians understand and retain what they need to know. Coppenbarger covers critical information on how to determine pitch, the use of meter, and how to count rhythms in simple and compound meter; explains major scales and major key signatures, as well as minor scales and minor key signatures; surveys other types of scales (such as those used in jazz) and explains how modes work; presents necessary data on scale degree names and intervals; covers triads and various types of chords; touches upon Roman numeral analysis, inversions, and figured bass; presents non-chord tones and discusses solfege singing, including several pages of sight singing using various clefs and keys (strongly recommended for instrumentalists for practicing transpositions for the appropriate clef and range) demonstrates the different techniques musicians can use for transposing keys; and finally discusses more advanced concepts such as part-writing rules, the use of sequences, and form. Music Theory Secrets: 94 Strategies for the Starting Musician is an indispensable resource for instrumental teachers wishing to incorporate music theory into lessons, classroom teachers, high school and college students, amateur musicians, those wanting to learn to read music, home-schooled students, and college bound music students.
Music Theory Through Musical Theatre : Putting It Together by
Music Theory through Musical Theatre takes a new and powerful approach to music theory. Written specifically for students in music theatre programs, it offers music theory by way of musical theatre. Not a traditional music theory text, Music Theory through Musical Theatre tackles the theoretical foundations of musical theatre and musical theatre literature with an emphasis on what students will need to master in preparation for a professional career as a performer. Veteran music theatre musician John Franceschina brings his years of experience to bear in a book that offers musical theatre educators an important tool in equipping students with what is perhaps the most important element of being a performer: the ability to understand the language of music in the larger dramatic context to which it contributes.The book uses examples exclusively from music theater repertoire, drawing from well-known and more obscure shows and songs. Musical sight reading is consistently at the forefront of the lessons, teaching students to internalize notated music quickly and accurately, a particularly necessary skill in a world where songs can be added between performances. Franceschina consistently links the concepts of music theory and vocal coaching, showing students how identifying the musical structure of and gestures within a piece leads to better use of their time with vocal coaches and ultimately enables better dramatic choices. Combining formal theory with practical exercises, Music Theory through Musical Theatre will be a lifelong resource for students in musical theatre courses, dog-eared and shelved beside other professional resource volumes.
The Orient in Music - Music of the Orient by
""OM"", a fundamental meditation sound present in the cultures of Buddhism, is a syllable full of philosophical and transcendental meanings. The category of the Orient, as contrasted, antithetical and complementary to the Occident (West) and its culture, appears to be one of the most interesting and long-lasting issues discussed in the humanities. European fascination with Oriental cultures has found multifaceted manifestations in science, art, fashion and beliefs. Music, as an important element of cultural communication, has always been well suited for transitions and inspirations.
Performing history : approaches to history across musicology by
"The fifteen essays of Performing History glimpse the diverse ways music historians "do" history, and the diverse ways in which music histories matter. This book's chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that "tell," "enact," or "perform" war histories; operatic works that works that "tell," "enact," or "perform" power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading "between the lines" to access other voices than those provided by mainstream interpretation or traditional musicology"-- Provided by publisher.
Play of a Fiddle : Traditional Music, Dance, and Folklore in West Virginia by
Play of a Fiddle gives voice to people who steadfastly hold to and build on the folk traditions of their ancestors. While encountering the influences of an increasingly overwhelming popular culture, the men and women in this book follow age-old patterns of folklife and custom, making their own music and dance in celebration of them. Shedding new light on a region that maintains ties to the cultural identities of its earliest European and African inhabitants, Gerald Milnes shows how folk music in West Virginia borrowed rhythmic, melodic, and vocal forms from the Celtic, Anglo, Germanic, and African traditions. These elements have come together to create a body of music tied more to place and circumstance than to ethnicity. Milnes explores the legacies of the state's best-known performers and musical families. He discusses religious music, balladeering, the influence of black musicians and styles, dancing, banjo and dulcimer traditions, and the importance of old-time music as a cultural pillar of West Virginia life. A musician himself, Milnes has been collecting songs and stories in West Virginia for more than twenty-five years. The result is an enjoyable book filled with anecdotes, local history, and keen observations about musical lives.
A Theory of Virtual Agency for Western Art Music by
In his third volume on musical expressive meaning, Robert S. Hatten examines virtual agency in music from the perspectives of movement, gesture, embodiment, topics, tropes, emotion, narrativity, and performance. Distinguished from the actual agency of composers and performers, whose intentional actions either create music as notated or manifest music as significant sound, virtual agency is inferred from the implied actions of those sounds, as they move and reveal tendencies within music-stylistic contexts. From our most basic attributions of sources for perceived energies in music, to the highest realm of our engagement with musical subjectivity, Hatten explains how virtual agents arose as distinct from actual ones, how unspecified actants can take on characteristics of (virtual) human agents, and how virtual agents assume various actorial roles. Along the way, Hatten demonstrates some of the musical means by which composers and performers from different historical eras have staged and projected various levels of virtual agency, engaging listeners imaginatively and interactively within the expressive realms of their virtual and fictional musical worlds.
Twentieth-Century Music Theory and Practice by
Twentieth-Century Music Theory and Practice introduces a number of tools for analyzing a wide range of twentieth-century musical styles and genres. It includes discussions of harmony, scales, rhythm, contour, post-tonal music, set theory, the twelve-tone method, and modernism. Recent developments involving atonal voice leading, K-nets, nonlinearity, and neo-Reimannian transformations are also engaged. While many of the theoretical tools for analyzing twentieth century music have been devised to analyze atonal music, they may also provide insight into a much broader array of styles. This text capitalizes on this idea by using the theoretical devices associated with atonality to explore music inclusive of a large number of schools and contains examples by such stylistically diverse composers as Paul Hindemith, George Crumb, Ellen Taffe Zwilich, Steve Reich, Michael Torke, Philip Glass, Alexander Scriabin, Ernest Bloch, Igor Stravinsky, Béla Bartók, Sergei Prokofiev, Arnold Schoenberg, Claude Debussy, György Ligeti, and Leonard Bernstein. This textbook also provides a number of analytical, compositional, and written exercises. The aural skills supplement and online aural skills trainer on the companion website allow students to use theoretical concepts as the foundation for analytical listening. Access additional resources and online material here: http://www.twentiethcenturymusictheoryandpractice.net and https://www.motivichearing.com/.
Western Music and Its Others by
This innovative collection of articles offers a major comprehensive overview of new developments in cultural theory as applied to Western music. Addressing a broad range of primarily twentieth-century music, the authors examine two related phenomena: musical borrowings or appropriations, and how music has been used to construct, evoke, or represent difference of a musical or a sociocultural kind. The essays scrutinize a diverse body of music and discuss a range of significant examples, among them musical modernism's idealizing or ambivalent relations with popular, ethnic, and non-Western music; exoticism and orientalism in the experimental music tradition; the representation of others in Hollywood film music; music's role in the formation and contestation of collective identities, with reference to Jewish and Turkish popular music; and issues of representation and difference in jazz, world music, hip hop, and electronic dance music. Written by leading scholars from disciplines including historical musicology, sociology, ethnomusicology, anthropology, popular music studies, and film studies, the essays provide unprecedented insights into how cultural identities and differences are constructed in music.
Perspectives on Asian Performing Arts
This course will introduce you to the basic overview of the elements, principles and processes Asian theater. It also aims to familiarize you with basic theater architecture and technology from main countries and how it has changed its sociological, political and religious conditions. You will explore the evolution of Asian theater through a study of the influence of world history on theater and performance, in terms of styles and movements, in various periods and geographic areas.
The Art of Theatre by
THE ART OF THEATRE: THEN AND NOW, 4th Edition, brings the fascinating world of theatre to life with lively coverage of the history, cultural diversity, creativity, controversy -- and even a typical day in the life -- of theatre. As the authors wrote each chapter, they asked themselves how the subject applies to students' lives. The result is a text packed with practical information you can use in everyday life, including insight on censorship, freedom of speech, copyrights, the National Endowment for the Arts, and more. Timely connections drawn between theatre and TV and film help you see how the living stage is unique, and the optional MindTap digital learning solution provides a variety of online study tools to help you ensure your success in the course.
Big deal : Bob Fosse and dance in the American musical by
Bob Fosse (1927-1987) is recognized as one of the most significant figures in post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with its trademark hunched shoulders, turned-in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era--a group that included Jerome Robbins, Gower Champion, Michael Kidd, and Harold Prince--to equal his Broadway success in films. Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza with a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final efforts, the film Star 80 and the musical Big Deal, written and directed by Fosse, were rejected by audiences and critics. A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of mentors George Abbott and Jerome Robbins on his work. It examines how each of the important women in his adult life--all dancers--impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.
A Concise History of Theatre by
Focuses on the cultural significance of theatre This streamlined, engaging text helps students understand the events, places and people that have influenced the history of theatre. Learning Goals Upon completing this book, readers will be able to: Identify the major time periods and geographic areas associated with the history of theatre Distinguish relevant characteristics of theatre in diverse times and places. Describe the underlying cultural, economic, and political environments as they affected theatre in different times and places. Associate major participants who made theatre within their historical and regional context.
Cosmopolitanism, theatre, and the Philippines : performing community in a world of strangers by The Essential Theatre by
Whether you are a theatre major looking forward to a career in the arts or a non-major interested in an overview to increase your appreciation as an audience member, THE ESSENTIAL THEATRE, 11th Edition, provides an engaging, insightful, and informative resource that will enrich your theatre experience throughout your life. Written by highly respected teachers and theatre historians, the text has earned its reputation as one of the most comprehensive, authoritative surveys of the theatre. Its vibrant treatment of theatre practice--past and present--catalogs the origins of theatre through postmodernism and performance art. The Eleventh Edition includes an all-new chapter devoted to musical theatre, new "Then and Now" boxes that link theatre history to present-day, and numerous new photos--including photos of actors you will quickly recognize from film and television.
The Essential Theatre, Enhanced by
Whether you are a theatre major looking forward to a career in the arts, or a non major interested in an overview to help you better appreciate theatre as an audience member, THE ESSENTIAL THEATRE Enhanced 10E is a welcome and helpful resource. Written by highly respected theatre historians, the text has earned its reputation as one of the most comprehensive, authoritative surveys of the theatre. Its vibrant treatment of theatre practice--past and present--catalogs the origins of theatre through postmodernism and performance art. THE ESSENTIAL THEATRE will encourage you and get you excited about becoming an active theatergoer, while providing the insight and understanding that will enrich your theatre experience throughout your life.
Modern Asian Theatre and Performance 1900-2000 by
Modern Asian Theatre and Performance 1900 - 2000 is a ground-breaking survey, tracking the advent of modern drama in Japan, India, China, Korea and Southeast Asia. It considers the shaping power of realism and naturalism, the influence of Western culture, the relationship between theatrical modernisation and social modernisation, and how theatre operates in contemporary Asian society. Organised by period, nation and region, each chapter provides: ·a historical overview of the culture; ·an outline of theatre history; ·a survey of significant playwrights, actors, directors, companies, plays and productions. With contributions from an international team of scholars, this authoritative introduction will uniquely equip students and scholars with a broad understanding of the modern theatre histories of Asia.
Moment work : Tectonic Theater Project's process of devising theater by
A detailed guide to the collaborative method developed by the acclaimed creators of The Laramie Project and Gross Indecency--destined to become a classic. A Vintage Original. Moment Work is an impassioned argument for moving beyond the stale conventions of realism and naturalism that modern theater has been stuck in for more than a century. Twenty years ago Moises Kaufman and the members of his Tectonic Theater Project set out to find an art form that speaks to us today, that uses new forms to express new ideas. Rather than thinking of theater as merely in service to a text, they wanted to find ways to fully exploit all the other elements of the stage in creating a play--making use of the narrative potential of space, light, sound, props, costumes, and an infinite variety of other theatrical elements. The technique they developed to do this is called "Moment Work," in which they build a play by first constructing "Moments," or units of theatrical time. The technique has led to the creation of startlingly moving and affecting works--ranging from Gross Indecency and The Laramie Project to 33 Variations and I Am My Own Wife--has been used in restaging classic plays, and has inspired theater artists around the world.
The Odin Teatret Archives by
The Odin Teatret Archives presents collections from the archives of one of the foremost reference points in global theatre. Letters, notes, work diaries, articles, and a wealth of photographs all chart the daily activity that underpins the life of Odin Teatret, telling the adventurous, complex stories which have produced the pioneering work that defines Odin's laboratory approach to theatre. Odin Teatret have been at the forefront of theatrical innovation for over fifty years, devising new strategies for actor training, knowledge sharing, performance making, theatrical alliances, and ways of creating and encountering audiences. Their extraordinary work has pushed boundaries between Western and Eastern theatre; between process and performance; and between different theatre networks across the world. In this unique volume, Mirella Schino brings together a never before seen collection of source materials which reveal the social, political, and artistic questions facing not just one groundbreaking company, but everyone who tries to make a life in the theatre.
The Oxford Handbook of Dance and Theater by
The Oxford Handbook of Dance and Theater collects a critical mass of border-crossing scholarship on the intersections of dance and theatre. Taking corporeality as an idea that unites the work of dance and theater scholars and artists, and embodiment as a negotiation of power dynamics withimportant stakes, these essays focus on the politics and poetics of the moving body in performance both on and off stage.Contemporary stage performances have sparked global interest in new experiments between dance and theater, and this volume situates this interest in its historical context by extensively investigating other such moments: from pagan mimes of late antiquity to early modern archives to Bolshevik Russiato post-Sandinista Nicaragua to Chinese opera on the international stage, to contemporary flash mobs and television dance contests. Ideologically, the essays investigate critical race theory, affect theory, cognitive science, historiography, dance dramaturgy, spatiality, gender, somatics, ritual,and biopolitics among other modes of inquiry. In terms of aesthetics, they examine many genres such as musical theater, contemporary dance, improvisation, experimental theater, television, African total theater, modern dance, new Indian dance theater aesthetics, philanthroproductions, Butoh,carnival, equestrian performance, tanztheater, Korean Talchum, Nazi Movement Choirs, Lindy Hop, Bomba, Caroline Masques, political demonstrations, and Hip Hop.The volume includes innovative essays from both young and seasoned scholars and scholar/practitioners who are working at the cutting edges of their fields. The handbook brings together essays that offer new insight into well-studied areas, challenge current knowledge, attend to neglected practicesor moments in time, and that identify emergent themes. The overall result is a better understanding of the roles of dance and theater in the performative production of meaning.
The performance of religion : seeing the sacred in the theatre by
The performing arts are uniquely capable of translating a vision of an ideal or sacred reality into lived practice, allowing an audience to confront deeply held values and beliefs as they observe a performance. However, there is often a reluctance to approach distinctly religious topics from a performance studies perspective. This book addresses this issue by exploring how religious values are acted out and reflected on in classic Western theatre, with a particular emphasis on the plays put on during the Globe Theatre's yearlong season of 'Shakespeare and the Bible'. Looking at plays such as Much Ado About Nothing, Dr. Faustus and Macbeth, each chapter includes ethnographic overviews of the performance of these plays as well as historical and theological perspectives on the issues they address. The author also utilizes scholarship from other academics, such as Paul Tillich and Martin Buber, in examining the relationship between art and culture. This helps readers of this book to look at religion in culture, and raise questions and explore ideas about how people appraise their religious values through an encounter with a performance. The Performance of Religion: Seeing the sacred in the theatre treads new ground in bringing performance and religious studies scholarship into direct conversation with one another. As such, it is essential reading for any academic with an interest in theology, religion and ethics and their expression in culture through the performing arts.
Staging British South Asian Culture by
Staging British South Asian Culture: Bollywood and Bhangra in British Theatre looks afresh at the popularity of forms and aesthetics from Bollywood films and bhangra music and dance on the British stage. From Andrew Lloyd Webber's Bombay Dreams to the finals of Britain's Got Talent, Jerri Daboo reconsiders the centrality of Bollywood and bhangra to theatre made for or about British South Asian communities. Addressing rarely discussed theatre companies such as Rifco, and phenomena such as the emergence of large- scale Bollywood revue performances, this volume goes some way towards remedying the lack of critical discourse around British South Asian theatre. A timely contribution to this growing field, Staging British South Asian Culture is essential reading for any scholar or student interested in exploring the highly contested questions of identity and representation for British South Asian communities.
Theatre : a way of seeing by
Experience theatre as "a performing art and humanistic event." THEATRE: A WAY OF SEEING is an exciting introduction to all aspects of theatre: who sees it, what is seen, and where and how it is seen. The author presents the theatre experience from the viewpoint of audiences exposed to a complex, living art that involves people, spaces, plays, designs, staging, forms, language, and productions.
Theatre and Dance by
This succinct and engaging text explores the interdependence between theatre and dance. Making a compelling case for the significance of resisting genre distinctions in the arts, Kate Elswit demonstrates why and how the ampersand between theatre and dance needs to be understood as the rule, rather than the exception. This illuminating guide focuses on the interconnected ecosystems of practice that constitute performance history, the expansion of theatre and dance forms on contemporary North American and European stages, and the disciplinary methods that scholars use today to understand such practices, both past and present. Accessible and affordable, this is an ideal resource for theatre students and lovers everywhere.
Theatre in the Dark by
Theatre in the Dark: Shadow, Gloom and Blackout in Contemporary Theatre responds to a rising tide of experimentation in theatre practice that eliminates or obscures light. It brings together leading and emerging practitioners and researchers in a volume dedicated to exploring the phenomenon and showcasing a range of possible critical and theoretical approaches. This book considers the aesthetics and phenomenology of dark, gloomy and shadow-strewn theatre performances, as well as the historical and cultural significances of darkness, shadow and the night in theatre and performance contexts. It is concerned as much with the experiences elicited by darkness and obscured or diminished lighting as it is with the conditions that define, frame and at times re-shape what each might 'mean' and 'do'. Contributors provide surveys of relevant practice, interviews with practitioners, theoretical reflections and close critical analyses of work by key innovators in the aesthetics of light, shadow and darkness. The book has a particular focus on the work of contemporary theatre makers - including Sound&Fury, David Rosenberg and Glen Neath, Lundahl & Seitl, Extant, and Analogue - and seeks to deepen the engagement of theatre and performance studies with what might be called 'the sensory turn'. Theatre in the Dark explores ground-breaking areas that will appeal to researchers, practitioners and audiences alike.
Unearthing Shakespeare : embodied performance and the Globe by
What can the Globe Theatre tell us about performing Shakespeare? Unearthing Shakespeare is the first book to consider what the Globe, today's replica of Shakespeare's theatre, can contribute to a practical understanding of Shakespeare's plays. Valerie Clayman Pye reconsiders the material evidence of Early Modern theatre-making, presenting clear, accessible discussions of historical theatre practice; stages and staging; and the relationship between actor and audience. She relays this into a series of training exercises for actors at all levels. From "Shakesball" and "Telescoping" to Elliptical Energy Training and The Radiating Box, this is a rich set of resources for anyone looking to tackle Shakespeare with authenticity and confidence.
Unruly Audiences and the Theater of Control in Early Modern London by
Unruly Audiences and the Theater of Control in Early Modern London explores the effects of audience riots on the dramaturgy of early modern playwrights, arguing that playwrights from Marlowe to Brome often used their plays to control the physical reactions of their audience. This study analyses how, out of anxiety that unruly audiences would destroy the nascent industry of professional drama in England, playwrights sought to limit the effect that their plays could have on the audience. They tried to construct playgoing through their drama in the hopes of creating a less-reactive, more pensive, and controlled playgoer. The result was the radical experimentation in dramaturgy that, in part, defines Renaissance drama. Written for scholars of Early Modern and Renaissance Drama and Theatre, Theatre History, and Early Modern and Renaissance History, this book calls for a new focus on the local economic concerns of the theatre companies as a way to understand the motivation behind the drama of early modern London.
World Theatre by
World Theatre: The Basics presents a well-rounded introduction to non-Western theatre, exploring the history and current practice of theatrical traditions in Asia, Africa, the Middle East, Oceania, the Caribbean, and the non-English-speaking cultures of the Americas. Featuring a selection of case studies and examples from each region, it helps the reader to understand the key issues surrounding world theatre scholarship and global, postcolonial, and transnational performance practices. An essential read for anyone seeking to learn more about world theatre, World Theatre: The Basics provides a clear, accessible roadmap for approaching non-Western theatre.
Perspectives on Asian Performing Arts
This course will introduce you to the basic overview of the elements, principles and processes Asian theater. It also aims to familiarize you with basic theater architecture and technology from main countries and how it has changed its sociological, political and religious conditions. You will explore the evolution of Asian theater through a study of the influence of world history on theater and performance, in terms of styles and movements, in various periods and geographic areas.
Acting Egyptian : theater, identity, and political culture in Cairo, 1869-1930 by
In the late nineteenth and early twentieth centuries, during the "protectorate" period of British occupation in Egypt--theaters and other performance sites were vital for imagining, mirroring, debating, and shaping competing conceptions of modern Egyptian identity. Central figures in this diverse spectrum were the effendis, an emerging class of urban, male, anticolonial professionals whose role would ultimately become dominant. Acting Egyptian argues that performance themes, spaces, actors, and audiences allowed pluralism to take center stage while simultaneously consolidating effendi voices. From the world premiere of Verdi's Aida at Cairo's Khedivial Opera House in 1871 to the theatrical rhetoric surrounding the revolution of 1919, which gave women an opportunity to link their visibility to the well-being of the nation, Acting Egyptian examines the ways in which elites and effendis, men and women, used newly built performance spaces to debate morality, politics, and the implications of modernity. Drawing on scripts, playbills, ads, and numerous other sources, the book brings to life provocative debates that fostered a new image of national culture and performances that echoed the events of urban life in the struggle for independence.
Blue-Collar Broadway : The Craft and Industry of American Theater by
A rich history of American theater, Timothy White's Blue-Collar Broadway tells the story of the people who created costumes, shoes, scenery, lights, and props. From the 1880s to the 1990s, White explores the shifting centers of theatrical craft and their impact on the nation and the iconic New York City district of Times Square.
Dramatic justice : trial by theater in the age of the French Revolution by
Dramatic Justice offers an alternate history of French theater and judicial practice and advances new explanations for several pivotal moments in the French Revolution, including the trial of Louis XVI and the Terror, by showing the extent to which they were shaped by the period's conflicted relationship to theatrical justice.
The Medieval Theater of Cruelty by
Why did medieval dramatists weave so many scenes of torture into their plays? Exploring the cultural connections among rhetoric, law, drama, literary creation, and violence, Jody Enders addresses an issue that has long troubled students of the Middle Ages. Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth. Analyzing the consequences of torture for the history of aesthetics in general and of drama in particular, Enders shows that if the violence embedded in the history of rhetoric is acknowledged, we are better able to understand not only the enduring "theater of cruelty" identified by theorists from Isidore of Seville to Antonin Artaud, but also the continuing modern devotion to the spectacle of pain.
The Sentimental Theater of the French Revolution by
Smoothly blending performance theory, literary analysis, and historical insights, Cecilia Feilla explores the mutually dependent discourses of feeling and politics and their impact on the theatre and theatre audiences during the French Revolution. Remarkably, the most frequently performed and popular plays from 1789 to 1799 were not the political action pieces that have been the subject of much literary and historical criticism, but rather sentimental dramas and comedies, many of which originated on the stages of the Old Regime. Feilla suggests that theatre provided an important bridge from affective communities of sentimentality to active political communities of the nation, arguing that the performance of virtue on stage served to foster the passage from private emotion to public virtue and allowed groups such as women, children, and the poor who were excluded from direct political participation to imagine a new and inclusive social and political structure. Providing close readings of texts by, among others, Denis Diderot, Collot d'Herbois, and Voltaire, Feilla maps the ways in which continuities and innovations in the theatre from 1760 to 1800 set the stage for the nineteenth century. Her book revitalizes and enriches our understanding of the significance of sentimental drama, showing that it was central to the way that drama both shaped and was shaped by political culture.
Structural Forms in the French Theater, 1500-1700 by
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Subscription Theater by
Subscription Theater asks why turn-of-the-century British and Irish citizens spent so much time, money, and effort adding their names to subscription lists. Shining a spotlight on private play-producing clubs, public repertory theaters, amateur drama groups, and theatrical magazines, Matthew Franks locates subscription theaters in a vast constellation of civic subscription initiatives, ranging from voluntary schools and workers' hospitals to soldiers' memorials and Diamond Jubilee funds. Across these enterprises, Franks argues, subscribers created their own spaces for performing social roles from which they had long been excluded. Whether by undermining the authority of the Lord Chamberlain's Examiner of Plays and London's commercial theater producers, or by extending rights to disenfranchised women and property-less men, a diverse cast of subscribers including typists, plumbers, and maids acted as political representatives for their fellow citizens, both inside the theater and far beyond it. Citizens prized a "democratic" or "representative" subscription list as an end in itself, and such lists set the stage for the eventual public subsidy of subscription endeavors. Subscription Theater points to the importance of printed ephemera such as programs, tickets, and prospectuses in questioning any assumption that theatrical collectivity is confined to the live performance event. Drawing on new media as well as old, Franks uses a database of over 23,000 stage productions to reveal that subscribers introduced nearly a third of the plays that were most frequently revived between 1890 and the mid-twentieth century, as well as nearly half of all new translations, and they were instrumental in staging the work of such writers as Shaw and Ibsen, whose plays featured subscription lists as a plot point or prop. Although subscribers often are blamed for being a conservative force in theater, Franks demonstrates that they have been responsible for how we value audience and repertoire today, and their history offers a new account of the relationship between ephemera, drama, and democracy.
Theater appreciation by
Premier study tool for those merely seeking an elective credit for the course - more importantly an incredibly well written guide that is pouring over with facts so entirely that it reads like an ode to the theater covering it’s importance in society and human creativity. With history, the types of theater, companies and popular plays this is an all-encompassing portrait of theater and why it has been appreciated for thousands of years. 6-page PDF eGuide includes: What is Theater? Historical Background Origins in Prehistory & Earliest Civilizations Festival Theater Greek Tragedies & Comedies (6th-5th Century BCE) Medieval Festival Theater (900-1560 CE) Late Medieval & Early Renaissance: Northern Europe (ca. 1400-1570) Earliest Professional Dramatists: For Gain & Profit Hellenistic Greek & Roman Empire (4th Century BCE-549 CE) Renaissance Theater Restoration Dramas (1660-1700) Romanticism (Early 1800s) Early American Theaters (1800s) Modern Theater Global Diversity Basic Parts of a Modern Theater Building Putting on a Play: A Creative Collaboration Types of Modern Theatrical Companies Popular PlaysSuggested uses: Elective Students – no better source for quick easy access to the essentials as a review and reference that can back up your studies and boost your grade Theater Students – essential details at a glance in a format you can take anywhere, know your craft inside Theater Lovers – expand your knowledge of theater to appreciate and enjoy the experience even more.
A Theater of Diplomacy : International Relations and the Performing Arts in Early Modern France by
In A Theater of Diplomacy, Ellen R. Welch argues that theater served not merely as a decorative accompaniment to negotiations, but rather underpinned the practices of embodied representation, performance, and spectatorship that constituted the culture of diplomacy in the early modern period.
The Theater of Narration: From the Peripheries of History to the Main Stages of Italy by
This book examines the theater of narration, an Italian performance genre and aesthetic that revisits historical events of national importance from local perspectives, drawing on the rich relationship between personal experiences and historical accounts. Incorporating original research from the private archives of leading narrators—artists who write and perform their work—Juliet Guzzetta argues that the practice teaches audiences how ordinary people aren’t simply witnesses to history but participants in its creation.
Theater planning : facilities for performing arts and live entertainment by
This book introduces the concepts of theater planning, and provides a detailed guide to the process and the technical requirements particular to theater buildings. Part I is a guide to the concepts and practices of architecture and construction, as applied to performing arts buildings. Part II is a guide to the design of performing arts buildings, with detailed descriptions of the unique requirements of these buildings. Each concept is illustrated with line drawings and examples from the author's extensive professional practice. This book is written for students in Theatre Planning courses, along with working practitioners.
Theatre, Opera and Consciousness by
The study of consciousness has developed considerably over the past ten years, with an emphasis on seeking to explain subjective experience. Our understanding of key questions relating to the performing arts, in theory and practice, benefits from the insights of consciousness studies. Theatre, Opera and Consciousness discusses selected concerns of theatre history from a consciousness studies perspective, develops a new perspective on ethical implications of theatre practice, reassesses the concept of the guru, and offers a new approach to the actor's cool-down. The book expands the framework from theatre to opera, and presents a new consideration of the spiritual aspects of singing in opera, conducting for opera, and the opera experience for singers and spectators alike.
The Unfinished Art of Theater by
A certain idea of the avant-garde posits the possibility of a total rupture with the past. The Unfinished Art of Theater pulls back on this futuristic impulse by showing how theater became a key site for artists on the semiperiphery of capitalism to reconfigure the role of the aesthetic between 1917 and 1934. The book argues that this "unfinished art"--precisely because of its historic weakness as a representative institution in Mexico and Brazil, where the bourgeois stage had not (yet) coalesced--was at the forefront of struggles to redefine the relationship between art and social change. Drawing on extensive archival research, Sarah J. Townsend reveals the importance of projects and texts that belie the rhetoric of rupture and immediacy associated with the avant-garde: ethnographic operas with ties to the recording industry, populist puppet plays, children's radio programs about the wonders of technology, a philosophical drama about the birth of a new race, and an antifascist spectacle written for (but never performed at) a theater shut down by the police. Ultimately, the book makes the case that the very category of avant-garde art is bound up in the experience of dependency, delay, and the uneven development of capitalism.
Visual Experiences in Cinquecento Theatrical Spaces by
Visual Experiences in Cinquecento Theatrical Spaces explores the performative aspects of early modern theatre architecture and design, explicating the aesthetic function of pictorial displacements, visual anomalies, and architectural paradoxes
Ways of the world : theater and cosmopolitanism in the Restoration and beyond by
In doing so, Ways of the World reveals an otherwise elusive consistency between Restoration genres (comedy, tragedy, heroic plays, and tragicomedy), disrupts conventional understandings of the rise and reception of early capitalism, and offers a fresh perspective on theatrical culture in the context of the shifting political realities of seventeenth- and eighteenth-century Britain.
This course will introduce you to the conceptual framework philanthropy, social change, and organizational dynamics. You will work in teams to scrutinize a specific community concern, create an investment scheme, recommend the investment of funds from focus groups, and establish the ways to assess the outcome of the said investment.
PHILANT will direct you to think and work strategically, first deepening your knowledge of particular issues of interest and community context and dynamics, determining the most relevant resources, communicating with stakeholders, reconciling donor motivation and community needs, paralleling innovation and experience, understanding legal points, designing an effective investment strategy with clear objectives and aligned activities with consideration for long–term exit plans and impact evaluations, identifying future partner organizations.
Art, education, & african-american culture : albert barnes and the science of philanthropy by
A physician who applied his knowledge of chemistry to the manufacture of a widely used antiseptic, Albert Barnes is best remembered as one of the great American art collectors. The Barnes Foundation, which houses his treasures, is a fabled repository of Impressionist, post-Impressionist, and early modern paintings. Less well known is the fact that Barnes attributed his passion for collecting art to his youthful experience of African-American culture, especially music. Art, Education, and African-American Culture is both a biography of an iconoclastic and innovative figure and a study of the often-conflicted efforts of an emergent liberalism to seek out and showcase African American contributions to the American aesthetic tradition. Mary Ann Meyers examines Barnes's background and career and the development and evolution of his enthusiasm for collecting pictures and sculpture. She shows how Barnes's commitment to breaking down invidious distinctions and his use of the uniquely arranged works in his collection as textbooks for his school, created a milieu where masterpieces of European and American late-nineteenth and early-twentieth century painting, along with rare and beautiful African art objects, became a backdrop for endless feuding. A gallery requiring renovation, a trust prohibiting the loan or sale of a single picture, and the efforts of Lincoln University, known as the "black Princeton," to balance conflicting needs and obligations all conspired to create a legacy of legal entanglement and disputes that remain in contention. This volume is neither an idealized account of a quixotic do-gooder nor is it a critique of a crank. While fully documenting Barnes's notorious eccentricities along with the clashing interests of the main personalities associated with his Foundation, Meyers eschews moral posturing in favor of a rich mosaic of peoples and institutions that illustrate many of the larger themes of American culture in general and African-American culture in particular.
Behavioral methods in social welfare : helping children, adults, and families in community settings by
"Behavioral Methods in Social Welfare" offers positive proof that behaviorism has come of age in social work. Steven Paul Schinke and the contributors to this volume are social work practitioners who document their attempts to extend the basic tenets of behavioral psychology from the laboratory, clinic, and classroom to the full range of client groups and social problems that make up the practice of social work. In social work education, traditionally to the extent it appeared in the curriculum at all, behavioral content appeared in electives or in courses not focused on practice. It is a true measure of progress that behavioral methods are now visible, integral component of social work education and practice.The authors of each piece in this collection indicate progress in developing an empirically based approach to social work practice. Despite the impressive documentation contained in the present volume, no conclusive evidence as to the effectiveness of behavioral methods exists. What behavioral methods do offer, however, is a systematic format for both problem intervention and evaluation that, over time, should produce a more empirically based practice. A promising sign, well documented in the present effort, is the facility with which this book has subjected practice procedures to the rigor of research and evaluation.This blending of clinical practice and research develops the sense of competence that student-practitioners acquire in understanding and controlling both the art and science of their clinical practice. Steven Schinke and his colleagues offer a series of "snapshots" of important work in process. Their collective portrait provides a fresh perspective and new stimulus for all social work practice, as well as an affirmation that disciplined, responsive, and sensitive social work intervention can make a difference in the lives of people.
The business of changing the world : twenty great leaders on strategic corporate philanthropy by
All across the globe, companies large and small are making a tremendous difference in the lives of others and, in turn, are enhancing employee performance, boosting morale, lowering turnover, and heightening brand recognition. In The Business of Changing the World, Marc Benioff and 19 other leaders share their corporate philanthropy secrets for the first time, revealing how any company can start their own program and reap enormous benefits. This inspiring collection of testimonies brings to light the need for community giving, the challenges of implementing a philanthropic initiative, and the qualities CEOs must possess in order to make their programs a success. Most important, it highlights the tremendous rewards society and businesses stand to earn. These are just a few of the extraordinary leaders you'll hear from: Michael Dell explains how making a commitment to environmentally sustainable products isn't just the right thing to do-it makes good business sense Alan Hassenfeld, the chairman of Hasbro-a pioneer of the integrated corporation-shares why he believes he owes a "debt" to the children of the world and how Hasbro expanded its reach beyond the playroom UPS CEO Mike Eskew demonstrates how his company delivers on its legacy by adhering to a set of core values Timberland president and CEO Jeffrey Swartz tells how, by integrating social justice into its business model, the company represents the apex in innovation in CSR Michael Milken reveals how applying best business approaches to healthcare and education can have a positive impact on the U.S. economy In The Business of Changing the World, these trailblazers reveal why your company can-and should-start making the world a better place.
Catalysts for change : 21st century philanthropy and community development by
Winner of the Community Development Society's 2014 Current Research Award! 21st Century Philanthropy and Community fills a gap in the literature on philanthropic organizations and how they intertwine with community development. Drawing first on the history of philanthropic funding, Maria Martinez-Cosio and Mirle Bussell look at developments in the last twenty years in detail, focussing on five key case studies from across America. The authors use their own first hand experiences and research to forge a new path for academic research in an area where it has been lacking. With the current economic climate forcing shrewd spending, foundations need all the guidance they can find on how to appropriately channel their funds in the best way. But how can these sorts of community projects be analyzed for effectiveness? Is there a quantitative rather than qualitative element which can be studied to give real feedback to those investing in projects? Arguing against a one-size-fits-all model, the authors illustrate the importance of context and relationships in the success of these projects.
Charity and Philanthropy for Dummies by
The easy way to make a difference Despite tough economic times, rates of donations are on therise. If you want to make a difference but don't know where tostart, you need Charity & Philanthropy For Dummies. This is your one-stop, no-nonsense guide to charitableactivities. Inside you'll find lots of strategies for philanthropicwork such as volunteering your time, raising funds, donating yourown cash or expertise, impact investing, and socialentrepreneurship. You'll also find lots of case studies fromcharities big and small to show you what works and whatdoesn't. Help with selecting where to donate or invest Ideas for how you can make a difference without having pots ofmoney Advice on socially responsible and impact investing Techniques for reaching out to others to help your cause - froma local to a global level You don't need deep pockets to make a difference?you needCharity & Philanthropy For Dummies.
Creative philanthropy : toward a new philanthropy for the twenty-first century by
Philanthropy and endowed foundation are vitally important institutions of modern society, yet in recent years, they've faced new threats such as declining resources and questions of accountability and performance. To address these questions, individual philanthropists and foundation leaders have looked to strategic philanthropy to become more effective and efficient. This important book provides an overview of creative philanthropy along with an analysis of its theory and practice. The authors spell out the implications of their study for management and policy and provide readers with vital tools and techniques. Drawing on case study examples and incorporating sections on key questions and dilemmas, this revealing book covers: the philanthropic deficit finding a distinctive role to do more with less characteristics of the creative foundation beyond strategic philanthropy the strength of creative philanthropy developing creative foundations and philanthropic practices. Essential reading for all those who study or work in foundations, philanthropy and non-profit organizations, this volume clearly navigates a path through this significant yet highly complex subject area.
Expressive Arts for Social Work and Social Change by
How can social workers integrate expressive arts methods as a complement to their work to better support individual, group, and community growth? Expressive Arts for Social Work and Social Change explores the values and benefits of expressive arts (i.e. visual arts, movement and dance,expressive forms of writing and narrative, music, and performance) and the role they can play in social work practice and inquiry. Descriptions of projects that feature integrated expressive arts methods clearly reveal the vast potential of the arts and their power to effect individual and socialchange. Although previous research has illustrated the efficacy of expressive arts to individual therapeutic goals, this is the first work that looks at the use of these approaches to fulfill the values, ethics, and principles of the social work profession. The contributors draw from current andemerging concepts related to green social work, including individual and collective well-being; Indigenous perspectives and practices; social justice and social action; and individual as well as collective creative expression. This book provides insight and advice that will benefit all human serviceprofessionals interested in expressive arts.
Give and take : a candid account of corporate philanthropy by
This text looks at the stories behind philanthropic successes and failures, and provides a framework for funders to consider their company's operating objectives and how to align their social responsibilities. It also provides helpful tips to enable practitioners to solicit funds.
The Seven Faces of Philanthropy by
Available for the first time in paperback, Seven Faces of Philanthropy introduces to you the Seven Faces approach-a powerful tool that enables development professionals to maximize their effectiveness when approaching major donors for gifts. The authors identify and profile seven types of major donors and offer you detailed strategies on how to approach them. Both novice and expert fundraisers will find this framework a valuable supplement to existing strategies and techniques.
Smart Giving Is Good Business : How Corporate Philanthropy Can Benefit Your Company and Society by
Answers to the 12 most common and critical questions about corporate giving In this groundbreaking resource, Weeden shows how to strategically plan, manage and evaluate corporate contributions. Questions include: Why Should We Give?; How Much?; Who Decides?; Does a Company Need a Foundation?; How to Give Products or Services?; How Do We Know What Works? The book covers a wide range of topics including: The case for conditional corporate philanthropy; increasing stewardship to give more; assigning responsibility for signature programs; how CEOs leverage contributions programs for maximum benefit; effectively staffing corporate contributions programs; the pros and cons of corporate foundations; and more. Offers benchmarks for determining if a business has a meaningful philanthropic program that fosters constructive corporate citizenship Reveals how an effective philanthropic program and commitment can be incorporated in any organization Contains a comprehensive review of the information corporations need to make informed decisions about giving The author offers a prescription for linking businesses with causes and the nonprofits addressing critical issues in a way that will preserve or restore services and activities essential to our quality of life.
Social Work in a Glocalised World by
This engaging and timely volume contributes new knowledge to the rapidly emerging field of globalisation and social work. The volume brings together cutting-edge interdisciplinary scholarship from countries such as Australia, Finland, Japan, South Africa, the Philippines and Sweden. It proposes 'glocalisation' as a useful concept for re-framing conditions, methodologies and practices for social work in a world perspective. Part I of the volume, 'The Glocalisation of Social Issues', deals with major environmental, social and cultural issues - migration and human rights, environmental problems and gendered violence. Part II, 'Methodological Re-Shaping and Spatial Transgression in Glocalised Social Work', develops an epistemology of situated knowledge and methodologies inspired by art, creative writing and cultural geography, focusing on physical, material and emotional spatial dimensions of relevance to social work. Part III, 'Responses from Social Work as a Glocalised Profession', examines how social work has responded to specific social problems, crises and vulnerabilities in a glocalised world.
Why Philanthropy Matters by
The hidden role of philanthropy in enriching America's prosperity--and the world's Philanthropy has long been a distinctive feature of American culture, but its crucial role in the economic well-being of the nation--and the world--has remained largely unexplored. Why Philanthropy Matters takes an in-depth look at philanthropy as an underappreciated force in capitalism, measures its critical influence on the free-market system, and demonstrates how American philanthropy could serve as a model for the productive reinvestment of wealth in other countries. Factoring in philanthropic cycles that help balance the economy, Zoltan Acs offers a richer picture of capitalism, and a more accurate backdrop for considering policies that would promote the capitalist system for the good of all. Examining the dynamics of American-style capitalism since the eighteenth century, Acs argues that philanthropy achieves three critical outcomes. It deals with the question of what to do with wealth--keep it, tax it, or give it away. It complements government in creating public goods. And, by focusing on education, science, and medicine, philanthropy has a positive effect on economic growth and productivity. Acs describes how individuals such as Benjamin Franklin, Andrew Carnegie, Bill Gates, and Oprah Winfrey have used their wealth to establish institutions and promote knowledge, and Acs shows how philanthropy has given an edge to capitalism by promoting vital forces--like university research--necessary for technological innovation, economic equality, and economic security. Philanthropy also serves as a guide for countries with less flexible capitalist institutions, and Acs makes the case for a larger, global philanthropic culture. Providing a new perspective on the development of capitalism, Why Philanthropy Matters highlights philanthropy's critical links to the economic progress, health, and future of the United States--and beyond.
This course will introduce you to the conceptual framework philanthropy, social change, and organizational dynamics. You will work in teams to scrutinize a specific community concern, create an investment scheme, recommend the investment of funds from focus groups, and establish the ways to assess the outcome of the said investment.
PHILANT will direct you to think and work strategically, first deepening your knowledge of particular issues of interest and community context and dynamics, determining the most relevant resources, communicating with stakeholders, reconciling donor motivation and community needs, paralleling innovation and experience, understanding legal points, designing an effective investment strategy with clear objectives and aligned activities with consideration for long–term exit plans and impact evaluations, identifying future partner organizations.
Angels in the American theater : patrons, patronage, and philanthropy by
Angels in the American Theater: Patrons, Patronage, and Philanthropy examines the significant roles that theater patrons have played in shaping and developing theater in the United States. Because box office income rarely covers the cost of production, other sources are vital. Angels--financial investors and backers--have a tremendous impact on what happens on stage, often determining with the power and influence of their money what is conceived, produced, and performed. But in spite of their influence, very little has been written about these philanthropists. Composed of sixteen essays and fifteen illustrations, Angels in the American Theater explores not only how donors became angels but also their backgrounds, motivations, policies, limitations, support, and successes and failures. Subjects range from millionaires Otto Kahn and the Lewisohn sisters to foundation giants Ford, Rockefeller, Disney, and Clear Channel. The first book to focus on theater philanthropy, Angels in the American Theater employs both a historical and a chronological format and focuses on individual patrons, foundations, and corporations.
The ask : for business, for philanthropy, for everyday living by
Asking is more than a skill--it's a lifestyle The Ask is your personal manual for building the best, most fulfilling personal and professional life possible. Crafting the perfect ask can fund your new business, support your favorite charity, and get more quality time with your significant other--but it can do so much more than that. It can change your life. In learning how to ask for what you really want and deserve, you lose your fear of rejection and judgement. You create the greatest sense of self-worth that no one can give you, you give it to yourself when you ask. The critical moment is when you turn your skills inward and make the hardest asks, the ones you ask yourself. This book is designed to make you an Exceptional Asker, and in the process, give you the confidence and skills you need to achieve all your goals and realize your dreams. You'll learn how to prepare, what words to use, what to avoid, and how to follow up, and you'll purge the natural hesitancy that has been holding you back for so long. Asking is about empowerment. It shows the world that what you want matters. It defines who you are, where you're going, and who will be by your side. This book provides over 175 sample asks, with clear actionable steps to help you claim your space in relationships, at work, and in the world. Rewrite your own rulebook and find empowerment in asking Learn the simple five steps to craft the perfect ask Discover the secret of the ask - it's two sentences and a question Remove your Money Blockers and turn a bad ask into a win Conquer the hardest asks you'll ever make--the ones you ask yourself Mastering the art of the ask reconfigures your approach to life, and changes the way you tackle challenges and goals. The Ask gives you the skills--and the mindset--you need to accomplish anything you can dream.
Community Chest : A Case Study in Philanthropy by
Much has been written about the projects to which philanthropy as such has received comparatively little attention, largely because of the uncritical spirit with which good works are regarded in our society. This report is the first to examine critically mass fund-raising and giving. In design, scope, and detail, it is without precedent.
The difficult art of giving : patronage, philanthropy, and the American literary market by
The Difficult Art of Giving rethinks standard economic histories of the literary marketplace. Traditionally, American literary histories maintain that the post-Civil War period marked the transition from a system of elite patronage and genteel amateurism to what is described as the free literary market and an era of self-supporting professionalism. These histories assert that the market helped to democratize literary production and consumption, enabling writers to sustain themselves without the need for private sponsorship. By contrast, Francesca Sawaya demonstrates the continuing importance of patronage and the new significance of corporate-based philanthropy for cultural production in the United States in the postbellum and modern periods. Focusing on Henry James, William Dean Howells, Mark Twain, Charles Chesnutt, and Theodore Dreiser, Sawaya explores the notions of a free market in cultural goods and the autonomy of the author. Building on debates in the history of the emotions, the history and sociology of philanthropy, feminist theory, and the new economic criticism, Sawaya examines these major writers' careers as well as their rich and complex representations of the economic world. Their work, she argues, demonstrates that patronage and corporate-based philanthropy helped construct the putatively free market in literature. The book thereby highlights the social and economic interventions that shape markets, challenging old and contemporary forms of free market fundamentalism.
Just Giving : Why Philanthropy Is Failing Democracy and How It Can Do Better by
The troubling ethics and politics of philanthropy Is philanthropy, by its very nature, a threat to today's democracy? Though we may laud wealthy individuals who give away their money for society's benefit, Just Giving shows how such generosity not only isn't the unassailable good we think it to be but might also undermine democratic values and set back aspirations of justice. Big philanthropy is often an exercise of power, the conversion of private assets into public influence. And it is a form of power that is largely unaccountable, often perpetual, and lavishly tax-advantaged. The affluent--and their foundations--reap vast benefits even as they influence policy without accountability. And small philanthropy, or ordinary charitable giving, can be problematic as well. Charity, it turns out, does surprisingly little to provide for those in need and sometimes worsens inequality. These outcomes are shaped by the policies that define and structure philanthropy. When, how much, and to whom people give is influenced by laws governing everything from the creation of foundations and nonprofits to generous tax exemptions for donations of money and property. Rob Reich asks: What attitude and what policies should democracies have concerning individuals who give money away for public purposes? Philanthropy currently fails democracy in many ways, but Reich argues that it can be redeemed. Differentiating between individual philanthropy and private foundations, the aims of mass giving should be the decentralization of power in the production of public goods, such as the arts, education, and science. For foundations, the goal should be what Reich terms "discovery," or long-time-horizon innovations that enhance democratic experimentalism. Philanthropy, when properly structured, can play a crucial role in supporting a strong liberal democracy. Just Giving investigates the ethical and political dimensions of philanthropy and considers how giving might better support democratic values and promote justice.
Philanthropy, Hidden Strategy, and Collective Resistance by
A 2020 SPE Outstanding Book Award Winner A 2019 AESA Critic's Choice Award Winner Conservative ideologues have sought to shift the focus from the collective good to the individual good and to redirect the purposes and aims of education away from public benefit and in favor of private enterprise. As such, market-oriented, privatized, and standardized approaches to education reform have worked toward achieving that goal. This book is a primer on how the political right is utilizing various aspects of philanthropy and the political process to influence educational policymaking. In 1971, corporate lawyer and future U.S.Supreme Court Justice Lewis Powell wrote a detailed memo that galvanized a small group of conservative philanthropists to create an organizational structure and fifty-year plan to alter the political landscape of the United States. Funded with significant "dark money," the fruits of their labor are evident today in the current political context and sharp cultural divisions in society. Philanthropy, Hidden Strategy, and Collective Resistanceexamines the ideologies behind the philanthropic efforts in education from the 1970s until today. Authors examine specific strategies philanthropists have used to impact both educational policy and practice in the U.S. as well as the legal and policy context in which these initiatives have thrived. The book, aimed for a broad audience of educators, provides a depth of knowledge of philanthropic funding as well as specific strategies to incite collective resistance to the current context of hyperaccountability, privatization of schooling at all levels, and attempts to move the U.S. further away from a commitment to the collective good. Perfect for coursessuch as: Critical and Contemporary Issues in Education, Education Policy,Educational Policy Analysis, Social Foundations of Education, Philanthropy,Public Policy & Community Change, Philanthropic Studies, Sociology ofEducation, Politics of Education, Current Issues in Education, Government andthe Mass Media, Polarization of American Politics.
Philanthropy in education : diverse perspectives and global trends by
Challenging commonly held perceptions of philanthropic organisations, this book brings together a range of interdisciplinary contributors from across the globe to explore the most pressing issues facing those working in and with philanthropy and education. It focuses on the increasing influence of new philanthropic actors on the global education sector, offering a thorough insight into the topic. This engaging book explores actor relationships in philanthropic and educational spaces, and examines different types of philanthropy, including corporate, family and state giving, as well as examining the latest trends in the field. Chapters build on research from the Global North/Global South, offering a wide range of perspectives on philanthropy and education in Africa, South America, North America and the Middle East. New actors, new partnerships and new roles emerging in philanthropic engagement with the education sector are highlighted, offering insight into innovative approaches to finance and the impact of public-private partnerships. Suggesting key areas of discussion for future research, this discerning book is a vital read for development studies, philanthropy and globalisation scholars. It also contains critical analysis of the role of philanthropic organisations working in the education space for policy-makers looking to understand the field in more depth.
Pragmatic Philanthropy by
This book is open access under a CC BY 4.0 license. This cutting edge text considers how Asian philanthropists and charitable organizations break with Western philanthropic traditions and examines the key traits and trends that make social investment in Asia unique. Based on 30 case studies of excellent social delivery organizations (SDOs) and social enterprises as well as interviews with ultra-high net-worth individuals throughout Asia, this book examines which characteristics and strategies lead to successful philanthropy and social delivery organizations. Providing evidence based findings on philanthropy, social investment and social delivery organizations in Asia, this book provides invaluable resources for those wishing to deepen their understanding of the sector and what this means for political and economic development in the region.
Strategic giving : the art and science of philanthropy by
The philanthropic landscape is changing dramatically as a new generation of wealthy donors seeks to leave its mark on the public sphere. Peter Frumkin reveals in "Strategic Giving" why these donors could benefit from having a comprehensive plan to guide their giving. And with this thoughtful and timely book, he provides the much-needed framework to understand and develop this kind of philanthropic strategy.a After listening for years to scores of individual and institutional funders discuss the challenges of giving wisely, Frumkin argues here that contemporary philanthropy requires a thorough rethinking of its underlying logic. Philanthropy should be seen, he contends, as both a powerful way to meet public needs and a meaningful way to express private beliefs and commitments. He demonstrates that finding a way to simultaneously fulfill both of these functions is crucial to the survival of philanthropy and its potential to support pluralism in society. And he goes on to identify the five essential elements donors must consider when developing a philanthropic strategyOCothe vehicle through which giving will flow, the way impact will be achieved, the level of engagement and profile sought, the time frame for giving, and the underlying purpose of the gift. FrumkinOCOs point is that donors must understand strategic giving as the integration of these five critical dimensions to giving.a Essential reading for donors, researchers, and anyone involved with the world of philanthropy, "Strategic Giving" provides a new basis for understanding philanthropic effectiveness and a promising new way for philanthropy to achieve the legitimacy that has at times eluded it. "
Vocational education & training : the Northern Territory's history of public philanthropy by
This book represents the first consolidated history of vocational education and training in the Northern Territory. Not only does the story present a chronological account of events, people and institutions, it also offers an explanation of how the system actually works and this has application well beyond the Territory. The mix of historical accounting and operational analysis comes from a unique perspective. It is proposed that the best way to understand the behaviour of the government ministers who have responsibility for vocational training is to compare their decisions and actions with those of wealthy philanthropists.
Women and Philanthropy in Education by
This book illuminates the philanthropic impulse that has influenced women's education and its place in the broader history of philanthropy in America. Contributing to the history of women, education, and philanthropy, the book shows how voluntary activity and home-grown educational enterprise were as important as big donors in the development of philanthropy. The essays in Women and Philanthropy in Education are generally concerned with local rather than national effects of philanthropy, and the giving of time rather than monetary support. Many of the essays focus on the individual lives of female philanthropists (Olivia Sage, Martha Berry) and teachers (Tsuda Umeko, Catharine Beecher), offering personal portraits of philanthropy in the 19th and 20th centuries. These stories provide evidence of the key role played by women in the development of philanthropy and its importance to the education of women. Philanthropic and Nonprofit Studies--Dwight F. Burlingame and David C. Hammack, editors
This course is an introductory experience for you outside of the studio. It will be a guided experiential learning designed to help you with your personal and professional growth as a dance practitioner. The apprenticeship work assigned to you will be under an umbrella of training tasks of our in–house dance company, the Benilde Experimental Dance, or BED.
Alvin Ailey : a life in dance by
Now for the first time, the life and work of Alvin Ailey, one of the most beloved figures in modern dance, is examined by a writer uniquely able to place him and his legacy in perspective. Jennifer Dunning, New York Times dance critic and reporter, brings her expertise, extensive research, and a compassionate intelligence to this larger-than-life personality, making Alvin Ailey not just a portrait of a man, but also of his time.Ailey's story is the stuff of legend. His ”Revelations,” one of the great American dance classics, is said to have been seen by more people than any other work in dance history. Yet the small-town-culture that is at the heart of his finest work was absorbed by a child growing up in devastating poverty, neglected by a loving but exhausted mother who raised him alone. Aware of his homosexuality from his teens, Ailey lived and worked in the unusually accepting world of the theater but sometimes hid his sexuality as if he had never left his conservative family and Southern church. An athlete in his youth and a member of a profession that idealizes physical perfection, Ailey abused his body with alcohol and, later, drugs. Surrounded by admiring friends, he felt alone. Yet against great odds, Ailey pulled the pieces of this life together to create a passionate mosaic of art and dance, giving birth to an indispensable institution that continues to play a joyous, vibrant role throughout the world. Dunning shows us how Ailey took the essence of his experiences--whether from the driving rhythmic music that poured from the local Dew Drop Inn on hot Saturday nights, or the simple motion of men beating the water to drive back snakes during his baptism--and translated them into masterpieces.Filled with stunning photographs and hundreds of interviews with those who knew him (including such stars of dance and theater as Mikhail Baryshnikov, Judith Jamison, Lena Horne, Katherine Dunham, Sidney Poitier, and Dustin Hoffman), Alvin Ailey is the story of a man who wove his life and his culture into his dance--and into the fabric of America itself.
Appreciating dance : a guide to the world's liveliest art by
Written for the dance novice, this book is a concise, thorough, and accurate history of all forms of dance. It gives a brief biography of many of the notable dancers and choreographers who have contributed to each form of dance, and provides, in a nutshell, the information needed to expand the enjoyment of performance. It also details the history of dance from its earliest beginnings and covers the intersection of dance and religion, social dance, ballet, modern dance, tap, jazz, film dance, and contemporary dance.
Bayanihan : the national folk dance company of the Philippines : a memory of six continents by The dance bible : the complete resource for aspiring dancers by
The Dance Bible is a book for beginners who have the passion to dance but are unsure how to transform their creative impulse into a career. Advises readers on modern dance, jazz, ballet, contemporary, non-western forms, and even street dance Describes and discuses training regimes and fundamental dance techniques Offers suggestions on how to develop one's own unique style of expression Dancers get advice on physical conditioning and learning to care for their body, on and off the stage Finally, the author offers detailed advice on how beginning dancers can effectively market their talent, maximize income, and sustain a successful career in the highly competitive world of dance.
Dance Production and Management by
Everything from early conceptual work through performance and touring are covered in this how-to book for dance management. Dancers will create a fictional company and follow it through a myriad of steps and complexities necessary for a successful production and troupe. After establishing a mission statement; holding auditions; and considering the specific needs of music, sound, lighting, costuming, and make up, the manual provides would-be dance directors with basic theater terminology and the skills needed when planning marketing and public relations campaigns.
Dancer's Resource by
A guide to schools, grants, fellowships and job opportunities for anyone pursuing a career as a dancer or choreographer. With state-by-state listings, each programme entry provides contact information, application requirements and other relevant data.
Experiencing dance : from student to dance artist by
Experiencing Dance: From Student to Dance Artistwill walk your students through the process of becoming well-rounded dancers and deepen their understanding of dance as an art form. Systematic in its approach, Experiencing Dance: From Student to Dance Artistplaces teachers in the roles of facilitators who encourage critical thinking and student involvement in the learning process. This text is designed for students who have had some dance experience and are interested in exploring the art of dance. With movement experiences and written assignments, more than 45 self-paced lessons, and complete guidelines for building a portfolio, the book provides a complete curriculum progression that can also be used to supplement an existing curriculum covering the following elements: - Understanding dance as an art form - Creating and performing dances - Understanding how cultural diversity influences dance - Evaluating and critiquing dance The book's 15 chapters outline for students the steps involved in the making of a dance artist: how to identify movement potential, express ideas through dance, develop choreography, connect to the community and tradition, showcase student work through a formal production, train to become a dancer, refine the art form, and develop a portfolio. Each chapter includes chapter objectives, a list of lessons, introductory text, three or four lessons, portfolio items, and an end-of-chapter review quiz. The self-paced lessons allow students to work independently and allow teachers to address students of various abilities within a class. Each lesson features the following elements: - Move It! is a student's first experience with the content of the lesson. - Vocabulary section presents selected definitions of key terms. - Curtain Up presents background information that students need to do the work. - Take the Stage features student work produced and shared. - Take a Bow covers student response, evaluation, aesthetics, criticism, and revision. - Spotlight features highlights of prominent dancers and dance companies. - Did You Know? presents further information relating to the lesson, including historical and cultural facts. Whether you use the textbook for one semester or two, you'll find there's nothing like Experiencing Dancefor instilling in your students a fresh, new appreciation of dance.
High Kicks! the Essential Guide to Working As a Dancer by
Aimed at dance students and professionals who wish to break into a new dance area, this book concentrates on commercial dance and includes information about sources of work- as a show dancer, club dancer, television dancer, touring dancer, singer dancer, travelling dancer and seasonal dancer. It is divided into three sections- preparing to become a dancer; working as a dancer and the business of being a dancer. It offers advise on where to train, how to get an agent and show to approach auditions. It also offers a guide to compiling a business plan, as well as profiles and images of successful working dancers and choreographers. These include Priscilla Samuels, a choreographer for the Spice Girls, Dee Dee Wilde from Pan's People and Kevan Allen who specialises in choreography for the corporate entertainment industry.
No fixed points : dance in the twentieth century by
The definitive history of twentieth-century theatrical dance, enhanced with more than 200 exceptional photographs Winner of the 2005 Congress on Research in Dance Award for Outstanding Publication in Dance Research "This work is not just reader friendly, it's downright compelling in its chronicle of the most explosively revolutionary century the art form of dance has ever experienced."--Karen Campbell, Christian Science Monitor This book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century.
Partnering Dance and Education by
Dance education is at a critical juncture in the United States. Even though it has gained wide acceptance as a valuable educational discipline and has achieved such victories as inclusion in the National Education Goals, its future remains uncertain. Educational reform, budget cuts, and conflicting views on the relevance of arts education all bring into question how--and if--dance should be taught in our schools. In Partnering Dance and Education, Dr. Judith Lynne Hanna presents a compelling argument for making dance central to every student's education. She examines current trends and issues in education to show how dance can be successfully justified and taught in today's changing educational environment. Rich with examples from arts magnet schools, arts organization offerings, dance company programs, public school instruction, and programs for at-risk youth, the book addresses difficult questions, including: - Is dance education in and of itself worthwhile? - What are the ways of providing dance education? - Who should teach dance in public schools? - Why and how should we connect dance to other bodies of knowledge? - What can be learned in, about, and through dance? - Does dance education benefit at-risk youth? - Do we teach gender roles in dance education? - What are the advantages and problems with cultural diversity in dance education? Divided into two parts, Partnering Dance and Educationis full of information and insights that readers will find both illuminating and thought provoking. Part I recognizes dance as a discipline in its own right with a distinct body of knowledge. Chapters discuss the benefits and methods of providing dance education, ways dance education can develop within the education reform movement, and who should teach dance. Part II addresses how dance education, while meaningful in itself, has broader relevance. Chapters discuss how dance can be used to teach academic and workplace skills, help at-risk youth, promote national identity while preserving cultural diversity, and help people cope with stress. It explains how children's dance during free play can be used as a teaching tool, and it looks at the role of dance in teaching students about gender. A special appendix poses challenging discussion questions for students and teachers. An extensive dance resources appendix includes suggested readings, as well as the addresses and phone numbers of leading dance organizations, programs, and schools.
This course is an introductory experience for you outside of the studio. It will be a guided experiential learning designed to help you with your personal and professional growth as a dance practitioner. The apprenticeship work assigned to you will be under an umbrella of training tasks of our in–house dance company, the Benilde Experimental Dance, or BED.
Dance spreads its wings : Israeli concert dance 1920-2010 by
Why did dance and dancing became important to the construction of a new, modern, Jewish/Israeli cultural identity in the newly formed nation of Israel? There were questions that covered almost all spheres of daily life, including "What do we dance?" because Hebrew or Eretz-Israeli dance had to be created out of none. How and why did dance develop in such a way? Dance Spreads Its Wings is the first and only book that looks at the whole picture of concert dance in Israel studying the growth of Israeli concert dance for 90 years--starting from 1920, when there was no concert dance to speak of during the Yishuv (pre-Israel Jewish settlements) period, until 2010, when concert dance in Israel had grown to become one of the country's most prominent, original, artistic fields and globally recognized. What drives the book is the impulse to create and the need to dance in the midst of constant political change. It is the story of artists trying to be true to their art while also responding to the political, social, religious, and ethnic complexities of a Jewish state in the Middle East.
Dancing cultures : globalization, tourism and identity in the anthropology of dance by
Dance is more than an aesthetic of life - dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
Dancing Postcolonialism : the National Dance Theatre Company of Jamaica by
This book presents the first in-depth critical and historical examination of the internationally renowned National Dance Theatre Company of Jamaica (NDTC) in the context of postcolonial theatre. Combining a postcolonial theoretical framework with performance studies and dance analysis, the study examines the interrelationship of Jamaican modern dance theatre aesthetics and the Caribbean's complex cultural genealogy since 1492. Addressing issues of postcolonial nationalism and Jamaican identity politics, the book provides the first comprehensive study of the NDTC's modern dance theatre works as it situates dance theatre choreography at the centre of postcolonial independence politics and cultural theory in the Caribbean.
Embodying Hebrew Culture by
From their conquest of Palestine in 1917 during World War I, until the establishment of the State of Israel in 1948, the British controlled the territory by mandate, representing a distinct cultural period in Middle Eastern history. In "Embodying Hebrew Culture: Aesthetics, Athletics, and Dance in the Jewish Community of Mandate Palestine, " author Nina S. Spiegel argues that the Jewish community of this era created enduring social, political, religious, and cultural forms through public events, such as festivals, performances, and celebrations. She finds that the physical character of this national public culture represents one of the key innovations of Zionism-embedding the importance of the corporeal into national Jewish life-and remains a significant feature of contemporary Israeli culture. Spiegel analyzes four significant events in this period that have either been unexplored or underexplored: the beauty competitions for Queen Esther in conjunction with the Purim carnivals in Tel Aviv from 1926 to 1929, the first Maccabiah Games or "Jewish Olympics" in Tel Aviv in 1932, the National Dance Competition for theatrical dance in Tel Aviv in 1937, and the Dalia Folk Dance Festivals at Kibbutz Dalia in 1944 and 1947. Drawing on a vast assortment of archives throughout Israel, Spiegel uses an array of untapped primary sources, from written documents to visual and oral materials, including films, photographs, posters, and interviews. Methodologically, Spiegel offers an original approach, integrating the fields of Israel studies, modern Jewish history, cultural history, gender studies, performance studies, dance theory and history, and sports studies. In this detailed, multi-disciplinary volume, Spiegel demonstrates the ways that political and social issues can influence a new society and provides a dynamic framework for interpreting present-day Israeli culture. Students and teachers of Israel studies, performance studies, and Jewish cultural history will appreciate "Embodying Hebrew Culture."
Pina Bausch's Dance Theater by
Pina Bausch and Dance Theater. The Art of Translating offers new and ground-breaking perspectives on the work of the Tanztheater Wuppertal. The development and performance of its oeuvre, the passing on of choreographic material and reactions by the public are presented as complex, interdependent, and reciprocal processes of translation. For the very first time, this book focuses on the artistic research involved in the company's international co-productions and features extensive empirical material in form of interviews with dancers, collaborators, and spectators, as well as ethnographic insights. This book introduces a praxeology of cultural and aesthetic translation as a viable key concept for research into dance and art.
The place of dance : a somatic guide to dancing and dance making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Sharing the Dance by
nbsp;nbsp;nbsp;nbsp;In Sharing the Dance, Cynthia Novack considers the development of contact improvisation within its web of historical, social, and cultural contexts.nbsp; Thisnbsp; book examines the ways contact improvisers (and their surrounding communities) encode sexuality, spontaneity, and gender roles, as well as concepts of the self and society in their dancing. nbsp;nbsp;nbsp;nbsp;While focusing on the changing practice of contact improvisation through two decades of social transformation, Novack’s work incorporates the history of rock dancing and disco, the modern and experimental dance movements of Merce Cunningham, Anna Halprin, and Judson Church, among others, and a variety of other physical activities, such as martial arts, aerobics, and wrestling.
So You Want to Be a Dancer by
Matthew Shaffer's more than twenty years as a performer, choreographer, director, Broadway collaborator, writer, and producer has allowed him opportunities to work with celebrities like Megan Mullally, Ben Stiller, and the elite competition team of Dance Moms. So You Want to Be a Dancer is the ultimate book for anyone who has to fight the urge to sashay down grocery store aisles or school hallways. Shaffer discusses everything from how to break into the industry to practical advice--from how to audition and book a job to dealing with movie stars on-set. So You Want To Be A Dancer is a must-read for any creative entrepreneur, aspiring artist pursuing a career in today's social media-savvy society, or anyone who savors the heartfelt journey of an artist.
Urban Bush Women : twenty years of African American dance theater, community engagement, and working it out by
Provocative, moving, powerful, explicit, strong, unapologetic. These are a few words that have been used to describe the groundbreaking Brooklyn-based dance troupe Urban Bush Women. Their unique aesthetic borrows from classical and contemporary dance techniques and theater characterization exercises, incorporates breath and vocalization, and employs space and movement to instill their performances with emotion and purpose. Urban Bush Women concerts are also deeply rooted in community activism, using socially conscious performances in places around the country--from the Kennedy Center, the Lincoln Center, and the Joyce, to community centers and school auditoriums--to inspire audience members to engage in neighborhood change and challenge stereotypes of gender, race, and class. Nadine George-Graves presents a comprehensive history of Urban Bush Women since their founding in 1984. She analyzes their complex work, drawing on interviews with current and former dancers and her own observation of and participation in Urban Bush Women rehearsals. This illustrated book captures the grace and power of the dancers in motion and provides an absorbing look at an innovative company that continues to raise the bar for socially conscious dance.
Studio Practice 1-9 (Ballet and Modern)
This course is an introduction to the basic principles of ballet and contemporary dance practices. You will be guided in creative and expressive freedom by enhancing the qualities of ease, grace, musicality, and symmetry that define the classical form. To this end, you will explore alignment with an emphasis on anatomical principles.
Studio Practice I focuses on placement, alignment, coordination, movement quality, and integration of the neurological, skeletal, and muscular system, strength, balance, and basic spatial and rhythmic awareness. Attention will be given to sharpening your awareness of time and energy and to disciplining the body to move rhythmically, precisely, and in accordance with sound anatomical principles.
The knowledge and skills you gain in this course provide a basis for progression to further technique development and qualification into the next and higher level of studio practice course, Studio II.
Advanced Principles in Teaching Classical Ballet by
Insights and guidelines for teaching the best students "Not since Noverre and Fokine has a master teacher sought to clarify the present state of ballet. The goals John White sets for each level of training, the psychological philosophies he sets forth for teachers, the emphasis on a positive approach to teaching and forming relationships with students and parents can be read over and over again throughout a teacher's career."--Charles Flachs, Massachusetts Academy of Ballet "It has been an inestimable privilege to have worked with John White for more than ten years. This book, along with his first, provides an outstanding opportunity for generations of teachers to learn from him as well. Bravo!"--Michele MacDonald, St. Louis Center of Creative Arts Staying true to the Russian Academy of Ballet (St. Petersburg) pedagogy he has taught for forty years, Advanced Principles in Teaching Classical Ballet is a continuation of the work John White began in his first book. Designed for teachers, company directors, and advanced dancers, the book explores the importance of disciplined dancing, choreography, acting, conditioning, and performance. White's writing style is as straightforward as he is unyielding in his insistence on excellence. White also confronts serious issues dealing with the future of classical ballet and what is needed to maintain its rightful place as an important theater art. He argues that theatergoers with high expectations deserve nothing less than masterful choreography performed by superior dancers. Decidedly not a primer, Advanced Principles in Teaching Classical Ballet is a must-read for anyone serious about teaching and performing ballet.
Apollo's angels : a history of ballet by
One of The New York Times Book Review's 10 Best Books of the Year For more than four hundred years, the art of ballet has stood at the center of Western civilization. Its traditions serve as a record of our past. A ballerina dancing The Sleeping Beauty today is a link in a long chain of dancers stretching back to sixteenth-century Italy and France: Her graceful movements recall a lost world of courts, kings, and aristocracy, but her steps and gestures are also marked by the dramatic changes in dance and culture that followed. Ballet has been shaped by the Renaissance and Classicism, the Enlightenment and Romanticism, Bolshevism, Modernism, and the Cold War. Apollo's Angels is a groundbreaking work--the first cultural history of ballet ever written, lavishly illustrated and beautifully told. Ballet is unique: It has no written texts or standardized notation. It is a storytelling art passed on from teacher to student. The steps are never just the steps--they are a living, breathing document of a culture and a tradition. And while ballet's language is shared by dancers everywhere, its artists have developed distinct national styles. French, Italian, Danish, Russian, English, and American traditions each have their own expression, often formed in response to political and societal upheavals. From ballet's origins in the Renaissance and the codification of its basic steps and positions under France's Louis XIV (himself an avid dancer), the art form wound its way through the courts of Europe, from Paris and Milan to Vienna and St. Petersburg. It was in Russia that dance developed into the form most familiar to American audiences: The Sleeping Beauty, Swan Lake, and The Nutcracker originated at the Imperial court. In the twentieth century, émigré dancers taught their art to a generation in the United States and in Western Europe, setting off a new and radical transformation of dance. Jennifer Homans is a historian and critic who was also a professional dancer: She brings to Apollo's Angels a knowledge of dance born of dedicated practice. She traces the evolution of technique, choreography, and performance in clean, clear prose, drawing readers into the intricacies of the art with vivid descriptions of dances and the artists who made them. Her admiration and love for the ballet shines through on every page. Apollo's Angels is an authoritative work, written with a grace and elegance befitting its subject.
Ballet and Modern Dance by
Anyone with an interest in dance has felt the need for a guide to the art's rich history and complex present state. Susan Au's lucid text covers the entire spectrum of dance, vividly describing the great performers and performances of the past as well as exploring in detail the dance world of today. A generous selection of illustrations completes the picture, taking the reader from the palaces of the Medici to the lofts of Manhattan, from the dancing of Louis XIV to the experimental choreography of Twyla Tharp and Pina Bausch. A completely new final chapter documents the work of the chief dancers and choreographers from the 1980s to the present, covering offshoots of modern dance such as Tanztheater and Butoh, and recent developments such as performance art and site-specific choreography. The author discusses the upsurge in the popularity of dances of the past, among them ballroom dancing and the Argentine tango, and notes the revival of tap dancing as well as the successful adaptation of Irish stepdancing to the theater. In addition, she records the uses dance and dancers have made of recent technological advances, including cinedance and videodance, CD-ROMs, and the Internet.
Ballet and Modern Dance by
Now expanded and updated, this second edition of the original bestseller is an engaging interpretation of dance history--from the Ancient Greeks and European royal courts to the rise of the "American" ballet and the explosion of modern dance. Short profiles, an extensive bibliography, a helpful index, and selections from primary sources are also included.
Ballet and Modern Dance by
Traces the development of ballet, describes influential choreographers, dances, and dancers, and looks at modern trends in dance.
Ballet Basics by
Written for the adult beginner, Ballet Basics is a well-illustrated introduction to the fundamentals of ballet technique. The text also provides an overview of the history of ballet and introduces students to the world of ballet.
Ballet Beyond Tradition by
For nearly a century, the training of ballet and modern dancers has followed two divergent paths. Modern practitioners felt ballet was artificial and injurious to the body; ballet teachers felt that modern dancers lacked the rigorous discipline and control that comes only from years of progressive training. Ballet Beyond Tradition seeks to reconcile these age-old conflicts and bring a new awareness to ballet teachers of the importance of a holistic training regimen that draws on the best that modern dance and movement-studies offers.
The ballet companion : a dancer's guide to the technique, traditions, and joys of ballet by
THE BALLET COMPANION is the first complete, illustrated reference book for the dancer. With more than 150 stunning photographs of ballet greats Maria Riccetto and Benjamin Millepied demonstrating perfect execution of positions and steps, THE BALLET COMPANION brims with everything today's dance student needs including: * Practical advice for getting started, such as finding the right teacher, fitting a pointe shoe, tying a ballet bun * Training safely through a sensible diet, injury prevention, and cross training with yoga and Pilates * Inside information on backstage and studio etiquette and auditioning * Technique secrets from stars of American Ballet Theatre * Glossaries and lavishly illustrated sidebars on ballet history and 'Must See' ballets Whether a budding ballerina, serious student, or adult returning to ballet, dancers will find a graceful mix of ballet traditions and essential, new information.
Ballet Pedagogy by
Finally, a ballet pedagogy book for teachers of all training methods "This book, although written with the ballet teacher in mind, is equally useful to the modern dance teacher. All teachers of concert dance should have it close at hand."--Eileen Cropley, Paul Taylor Dance Company "An original concept and a work of great necessity in the field of training in ballet. This is the best book on ballet pedagogy I have encountered."--Rick McCullough, Florida State University There are many different methods for teaching classical ballet--Bournonville, Vaganova, Cecchetti, and Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills. In Ballet Pedagogy, Rory Foster aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach. He argues that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills. Designed as both a manual for beginning teachers as well as a reference for experienced instructors, Ballet Pedagogy is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. Foster believes that effective teaching skills--proper demonstration, counting, correcting, musicality, anatomical approach, etc.--do not come automatically just because one has trained as a dancer. In this book, Foster--an expert in multiple ballet methods--covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music. He even offers pragmatic advice on the business of starting a dance school. The result is an essential addition to every dance teacher's library.
Beginning Modern Dance by
Beginning Modern Dance text and web resource introduce undergraduate and high school students to modern dance as a performing art through participation, appreciation, and academic study in the dance technique course. In the book, 50 photos with concise descriptions support students in learning beginning modern dance technique and in creating short choreographic or improvisational studies. For those new to modern dance, the book provides a friendly orientation on the structure of a modern dance technique class and includes information regarding class expectations, etiquette, and appropriate attire. Students also learn how to prepare mentally and physically for class, maintain proper nutrition and hydration, and avoid injury. Beginning Modern Dance supports students in understanding modern dance as a performing art and as a medium for artistic expression. The text presents the styles of modern dance artists Martha Graham, Doris Humphrey and José Limón, Katherine Dunham, Lester Horton, and Merce Cunningham along with an introduction to eclectic modern dance style. Chapters help students begin to identify elements of modern dance as they learn, view, and respond to dance choreography and performance. The accompanying web resource offers 38 interactive video clips and photos of dance technique to support learning and practice. In addition, e-journal and self-reflection assignments, performance critiques, and quizzes in the web resource help students develop their knowledge of modern dance as both performers and viewers. (The web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) Through modern dance, students learn new movement vocabularies and explore their unique and personal artistry in response to their world. Beginning Modern Dance text and web resource support your students in their experience of this unique and dynamic genre of dance. Beginning Modern Dance is a part of Human Kinetics' Interactive Dance Series. The series includes resources for modern dance, ballet, and tap dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a guide to learning, performing, and viewing dance.
The Borzoi book of modern dance by 
The Cambridge Companion to Ballet by
Ballet is a paradox: much loved but little studied. It is a beautiful fairy tale; detached from its origins and unrelated to the men and women who created it. Yet ballet has a history, little known and rarely presented. These great works have dark sides and moral ambiguities, not always nor immediately visible. The daring and challenging quality of ballet as well as its perceived 'safe' nature is not only one of its fascinations but one of the intriguing questions to be explored in this Companion. The essays reveal the conception, intent and underlying meaning of ballets and recreate the historical reality in which they emerged. The reader will find new and unexpected aspects of ballet, its history and its aesthetics, the evolution of plot and narrative, new insights into the reality of training, the choice of costume and the transformation of an old art in a modern world.
Classes in Classical Ballet by
(Limelight). A companion guide to one of the bestselling Limelight Edition titles, this book by Asaf Messerer, a founder of what has become known as the Bolshoi School, is one of the most celebrated manuals of classic dance instruction in the world. Messerer has gained an international reputation for his classes in classical technique-models of invention and well-rounded exercise, stressing both precision and fluid artistic control. Nearly 500 photographs of principal Bolshoi dancers illustrate the positions and steps indicated, and an introductory section by Messerer outlines his basic plan and philosophy of teaching.
Classical Ballet Technique by
"Classical Ballet Technique is an invaluable guide for students, teachers, and ballet lovers. It not only covers the broad spectrum of ballet vocabulary but also gives sound, practical advice to aspiring dancers. The clarity of the writing, in a field notorious for its opaqueness, is in itself a major achievement."--Merrill Ashley, Principal Dancer, New York City Ballet "An excellent, comprehensive guide to ballet pedagogy valuable to teachers and students alike. For many years Gretchen's has been a major voice in the dance community, and this extensive work details the study of classical ballet from her unique and expert point of view. I applaud her, and I heartily recommend Classical Ballet Technique."--David Howard, International Ballet Master and Master Teacher "Gretchen Warren has undertaken a monumental task and has completed it with distinction. Obviously a labor of love, this book's attention to detail and the clarity of its text and photos make it a valuable contribution to the lexicon of ballet. I recommend it to every serious student and teacher."--Thalia Mara, Founding Director, Ballet Repertory Company and National Academy of Ballet; Artistic Director, U.S.A. International Ballet Competition "Congratulations to Ms. Warren for her authoritative book on classical ballet. Thanks are in order too from the many professional teachers, dancers, and students of the art form who will benefit from this book-an essential addition to any dance lover's library."--Lawrence Rhodes, Artistic Director, Les Grands Ballets Canadiens Gretchen Ward Warren studied at London's Royal Ballet and the National Ballet School of Washington, D.C. She was soloist with the Pennsylvania Ballet for eleven years and ballet mistress of American Ballet Theatre II from 1978 to 1983. She is professor of dance at the University of South Florida and frequently appears as a master teacher on the national and international circuits. Susan Cook has photographed the performing arts for the past fifteen years. Her work has appeared in Time, Newsweek, the New York Times, and many dance books. Her own books of photographs include In a Rehearsal Room and The Alvin Ailey American Dance Theater.
Creative ballet teaching : technique and artistry for the 21st century ballet dancer by
How do teachers create a classroom environment that promotes collaborative and inquiry-based approaches to learning ballet? How do teachers impart the stylistic qualities of ballet while also supporting each dancer's artistic instincts and development of a personal style? How does ballet technique education develop the versatility and creativity needed in the contemporary dance environment? Creative Ballet Teaching draws on the fields of Laban/Bartenieff Movement Analysis (L/BMA), dance pedagogy, and somatic education to explore these questions. Sample lesson plans, class exercises, movement explorations, and journal writing activities specifically designed for teachers bring these ideas into the studio and classroom. A complementary online manual, Creative Ballet Learning, provides students with tools for technical and artistic development, self-assessment, and reflection. Offering a practical, exciting approach, Creative Ballet Teaching is a must-read for those teaching and learning ballet.
Dance classics : a viewer's guide to the best-loved ballets and modern dances by
Handbook for some of the most frequently performed and popular ballets, ranging from Swan Lake to the dances of Twyla Tharp.
The dancer prepares : modern dance for beginners by
Designed for beginning and intermediate courses, this accessible, easy-to-read text provides students with concrete, practical information on both the technical and creative aspects of modern dance. It also covers the basics of anatomy, including posture and injury concerns.
Defiant daughters dancing : three independent women dance by 
From Petipa to Balanchine : classical revival and the modernisation of ballet by
In this rich interdisciplinary study Tim Scholl provides a provocative and timely re-evaluation of the development of ballet from the 1880s to the middle of the twentieth century. In the light of a thoughtful re-appraisal of dance classicism he locates the roots of modern ballet in the works of Marius Petipa, rather than in the much-celebrated choreographic experiements of Diaghilev's Ballet Russe. Not only is this the first book to present nineteenth- and twentieth-century ballet as a continuous rather than broken tradition, From Petipa to Balanchine places works such as Sleeping Beauty, Les Sylphides, Apollo and Jewells in their proper cultural and artistic context. The only English-language study to be based on the original Russian soures, this book will be essential reading for all dance scholars. Written in an engaging and elegant style it will also appeal to anyone interested in the history of ballet generally.
Harnessing the wind : the art of teaching modern dance by
Harnessing the Wind: The Art of Teaching Modern Dance gives you the theoretical knowledge, the practical tips, and the inspiration to prepare the next generation of dancers to meet the demands of contemporary dance. This book combines information about constructing and presenting a dance class with personal reflections about the art of teaching modern dance and integrating somatic theories, scientific research, and contemporary aesthetic practices. It provides new teachers with a solid theoretical base and incites experienced teachers to reexamine and revitalize their teaching. The book asks dance instructors to make conscious choices about what, why, and how they teach. Advocating an individualistic approach, it helps teachers understand how their personal dance interests and interpretations influence their teaching styles. Part I, "The Vision," provides a philosophical perspective. It defines the role of technique and explores the delicate job of nurturing the artist during the quest for technical control. Part II, "Class Preparation," is where the planning process takes shape. This section shows how to - set strategies and realistic goals to lay the groundwork for a carefully built progression of movement skills; - use rituals to facilitate centering; - safely incorporate conditioning principles into dance training, thus encouraging the development of powerful and resilient dancers; - understand the interplay between gravity and rhythm, space and energy to shape phrasing; and - sequence exercises effectively using helpful graphs and planning guides. Part III, "Class Presentation," covers essential issues such as pacing, making good corrections, building images to enhance movement learning, and collaborating successfully with musicians. Finally, part IV, "Professional Concerns," embraces important issues that touch the teaching professional, such as how to objectively analyze and critique a very subjective subject--the body--and how to maintain a healthy body, mind, and spirit. Learning Aids: Investigations and Reflections Each chapter is followed by a series of investigations and a reflection designed to challenge and inspire students and teachers. The investigations are concise exercises that explore theories both in and out of the classroom. They cover a range of activities including writing, drawing, chart making, observing, and experiential processing. The reflections provide insight to a dancer's world. Told through the eyes of a dance teacher, these narratives unveil the intangibles that are taught in dance, such as breathing, centering, playfulness, presence, and discipline. Teacher Resources The appendixes are full of practical tools, including a sample syllabus, sample grading policies, placement goals for four levels of technique, and assessment and evaluation forms. Throughout the book, abstract and highly imagistic photographs by dance photographers Erika Dufour and William Frederking provide a powerful visual stimulus that captures mood, motion, and emotion. This book provides dance students the information and theory necessary to begin the task of teaching. For seasoned teachers, it will inspire new questions and introduce new possibilities. Either way, readers will unleash a world of potential with Harnessing the Wind.
History of Dance by
History of Dance, Second Edition, offers readers a panoramic view of dance from prehistory to the present. The text covers the dance forms, designs, artists, costumes, performing spaces, and accompaniments throughout the centuries and around the globe. Its investigative approach engages students in assignments and web projects that reinforce the learning from the text, and its ancillaries for both teachers and students make it easy for students to perceive, create, and respond to the history of dance. New to This Edition History of Dance retains its strong foundations from the first edition while adding these new and improved features: * An instructor guide with media literacy assignments, teaching tips, strategies for finding historical videos, and more * A test bank with hundreds of questions for creating tests and quizzes * A presentation package with hundreds of slides that present key points and graphics * A web resource with activities, extensions of chapter content, annotated links to useful websites, and study aids * Developing a Deeper Perspective assignments that encourage students to use visual or aesthetic scanning, learn and perform period dances, observe and write performance reports, develop research projects and WebQuests (Internet-based research projects), and participate in other learning activities * Experiential learning activities that help students dig deeper into the history of dance, dancers, and significant dance works and literature * Eye-catching full-color interior that adds visual appeal and brings the content to life Also new to this edition is a chapter entitled "Global Interactions: 2000-2016," which examines dance in the 21st century. Resources and Activities The web resources and experiential learning activities promote student-centered learning and help students develop critical thinking and investigative skills.Teachers can use the experiential learning activities as extended projects to help apply the information and to use technology to make the history of dance more meaningful. Three Parts History of Dance is presented in three parts. Part I covers early dance history, beginning with prehistoric times and moving through ancient civilizations in Greece, Crete, Egypt, and Rome and up to the Renaissance. Part II explores dance from the Renaissance to the 20th century, including a chapter on dance in the United States from the 17th through 19th centuries. Part III unfolds the evolution of American dance from the 20th century to the present, examining imported influences, emerging modern dance and ballet, and new directions for both American ballet and modern dance. Chapters Each chapter focuses on the dancers and choreographers, the dances, and significant dance works and literature from the time period. Students will learn how dance design has changed through the ages and how new dance genres, forms, and styles have emerged and continue to emerge. The chapters also include special features, such as History Highlight sidebars and Time Capsule charts, to help students placee dancers, events, and facts in their proper context and perspective. Vocabulary words appear at the end of each chapter, as do questions that prompt review of the chapter's important information. The text is reader-friendly and current, and it is supported by the national standards in dance, arts education, social studies, and technology education. Through History of Dance, students will acquire a well-rounded view of dance from the dawn of time to the present day. This influential text offers students a foundation for understanding and a springboard for studying dance in the 21st century.
How to Teach Beginning Ballet by
Complete with syllibi for each of the three years of beginning ballet instruction, this book helps beginning ballet teachers enter the studio with knowledge and confidence. It begins with the basics of how to prepare for teaching and follows with what to do on the first day of class and how to model terminology and demonstrate positions. Helpful, age-appropriate photographs accompany the outlines of each level of study, and novice instructors are able to adapt each syllabus to the needs of their students. From demonstrating the five positions of the feet and using French terminology to teaching exercises on pointe, this guide is perfect for helping dancers transition into dance teachers or refreshing the skills of current dance instructors.
Introduction to Modern Dance Techniques by
Bringing together all of the major modern dance techniques from the last 80 years, this engaging account is the first of its kind. The informative discussion starts by mapping the historical development of modern dance: in the late 19th century, a new dance emerged--not yet known as modern dance--that rejected social strictures and ballet as well. With insight into the personalities and purposes of modern dance's vanguard--including Martha Graham, Lester Horton, José Limón, and Merce Cunningham--this compilation provides a comparative approach that will enable students to discern which technique best suits them and dispel the idea that there is a single, universal modern dance technique. There are also ideas for experimentation so that students can begin developing an aesthetic sense for not only what is pleasing to their artistic eye, but also for what technical ideas are exciting while their own body is in motion. Sample lessons are included for teachers to incorporate the text into courses.
Making Ballet American by
George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold and original neoclassical style that is celebrated as the first successful American manifestation of the art form. This book intervenes in the prevailinghistorical narrative and rebalances Balanchine's role in dance history by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet. Situating American ballet within a larger context of literary, musical, arts, and dancemodernisms, Making Ballet American examines a series of critical efforts to craft new, modernist ideas about the relevance of classical dancing for the country's society and democracy.The book's unique structure interweaves chapters focused on cultural and intellectual histories of ballet production and discourse with close examinations of three Americana ballets spanning the Depression, World War II, and Cold War eras. Through this blend of cultural and choreographic analysis,Making Ballet American illustrates the evolution of modernist ballet theory and practice during a turbulent historical period. Ultimately, the book argues that the Americanization of Balanchine's neoclassicism was not the inevitable outcome of his immigration or his creative genius, but rather a farmore complicated story that spans several authors and continents and that pivots on the question of modern art's relationship to American society and the larger world.
Marius Petipa : the emperor's ballet master by
One of the most important ballet choreographers of all time, Marius Petipa (1818 - 1910) created works that are now mainstays of the ballet repertoire. Every day, in cities around the world, performances of Swan Lake and The Sleeping Beauty draw large audiences to theatres and inspire newgenerations of dancers, as does The Nutcracker during the winter holidays. These are his best-known works, but others - Don Quixote, La Bayadere - have also become popular, even canonical components of the classical repertoire, and together they have shaped the defining style of twentieth-centuryballet. The first biography in English of this monumental figure of ballet history, Marius Petipa: The Emperor's Ballet Master covers the choreographer's life and work in full within the context of remarkable historical and political surroundings.Over the course of ten well-researched chapters, Nadine Meisner explores Marius Petipa's life and legacy: the artist's arrival in Russia from his native France, the socio-political tensions and revolution he experienced, his popularity on the Russian imperial stage, his collaborations with otherchoreographers and composers (most famously Tchaikovsky), and the conditions under which he worked, in close proximity to the imperial court. Meisner presents a thrilling and exhaustive narrative not only of Petipa's life but of the cultural development of ballet across the 19th and early 20thcenturies. The book also extends beyond Petipa's narrative with insightful analyses of the evolution of ballet technique, theatre genres, and the rise of male dancers.Richly illustrated with archival photographs, this book unearths original material from Petipa's 63 years in Russia, much of it never published in English before. As Meisner demonstrates, the choreographer laid the foundations for Soviet ballet and for Diaghilev's Ballets Russes, the expatriatecompany which exercised such an enormous influence on ballet in the West, including the Royal Ballet and Balanchine's New York City Ballet. After Petipa, Western ballet would never be the same.
Martha Graham : founder of modern dance by
Here is a series for students challenged with one of their most typical assignments: write a book report on a book of 100 pages or more. Each Book Report Biography tells the story of a significant person from the past (from politics, science, or the arts) or present (some of today's hottest celebrities and sports heroes).
Modern dance forms in relation to the other modern arts by
By relating the development of modern dance to movements in painting, architecture, drama, and music, the book prompts students to develop a keen ear for emerging trends in the arts as a continual resource for dance.
No fixed points : dance in the twentieth century by
The definitive history of twentieth-century theatrical dance, enhanced with more than 200 exceptional photographs This book chronicles one hundred years of dramatic developments in ballet, modern, and experimental dance for stage and screen in Europe and North America. The volume is magisterial in scope, encompassing the history of theatrical dance from 1900 through 2000. Beginning with turn-of-the-century dancer-choreographers like Loie Fuller, Isadora Duncan, Michel Fokine, and a bit later Vaslav Nijinsky, and proceeding through the profusion of dance styles performed today, the book provides an unparalleled view of dance in performance as it changed and grew in the twentieth century. Nancy Reynolds and Malcolm McCormick set dance in broader cultural and historical contexts, examine specific dance works, and explore the contributions of outstanding choreographers, performers, visual artists, impresarios, composers, critics, and other figures. They discuss the breakaway barefoot dance of the early 1900s and demonstrate its links with later forms and styles. With unusual detail, fascinating illustrations, and wide-ranging insights, this book is an indispensable guide to the transformations in the dance scene of the twentieth century. ]]>
On the count of one : the art, craft, and science of teaching modern dance by
A classic book on the teaching of modern dance technique that shows the beginning modern dancer how to perform more effectively without injury or pain.
The Oxford Handbook of Dance and Competition by
In the twenty-first century, values of competition underpin the free-market economy and aspirations of individual achievement shape the broader social world. Consequently, ideas of winning and losing, success and failure, judgment and worth, influence the dance that we see and do. Acrossstage, studio, street, and screen, economies of competition impact bodily aesthetics, choreographic strategies, and danced meanings. In formalized competitions, dancers are judged according to industry standards to accumulate social capital and financial gain. Within the capitalist economy, dancingbodies compete to win positions in prestigious companies, while choreographers hustle to secure funding and attract audiences. On the social dance floor, dancers participate in dance-offs that often include unspoken, but nevertheless complex, rules of bodily engagement. And the media attraction tothe drama and spectacle of competition regularly plays out in reality television shows, film documentaries, and Hollywood cinema. Drawing upon a diverse collection of dances across history and geography, The Oxford Handbook of Dance and Competition asks how competition affects the presentation andexperience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.
The Oxford Handbook of Dance and Reenactment by
The Oxford Handbook of Dance and Reenactment brings together a cross-section of artists and scholars engaged with the phenomenon of reenactment in dance from a practical and theoretical standpoint. Synthesizing myriad views on danced reenactment and the manner in which this branch ofchoreographic performance intersects with important cultural concerns around appropriation this Handbook addresses originality, plagiarism, historicity, and spatiality as it relates to cultural geography. Others topics treated include transmission as a heuristic device, the notion of the archive asit relates to dance and as it is frequently contrasted with embodied cultural memory, pedagogy, theory of history, reconstruction as a methodology, testimony and witnessing, theories of history as narrative and the impact of dance on modernist literature, and relations of reenactment to historicalknowledge and new media.
The Oxford Handbook of Improvisation in Dance by
From the dance floor of a tango club to group therapy classes, from ballet to community theatre, improvised dance is everywhere. For some dance artists, improvisation is one of many approaches within the choreographic process. For others, it is a performance form in its own right. And while ithas long been practiced, it is only within the last twenty years that dance improvisation has become a topic of critical inquiry. With The Oxford Handbook of Improvisation in Dance, dancer, teacher, and editor Vida L. Midgelow provides a cutting-edge volume on dance improvisation in all its facets.Expanding beyond conventional dance frameworks, this handbook looks at the ways that dance improvisation practices reflect our ability to adapt, communicate, and respond to our environment. Throughout the handbook, case studies from a variety of disciplines showcase the role of individual agency andcollective relationships in improvisation, not just to dancers but to people of all backgrounds and abilities. In doing so, chapters celebrate all forms of improvisation, and unravel the ways that this kind of movement informs understandings of history, socio-cultural conditions, lived experience,cognition, and technologies.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Studio Practice 1-9 (Ballet and Modern)
This course is an introduction to the basic principles of ballet and contemporary dance practices. You will be guided in creative and expressive freedom by enhancing the qualities of ease, grace, musicality, and symmetry that define the classical form. To this end, you will explore alignment with an emphasis on anatomical principles.
Studio Practice I focuses on placement, alignment, coordination, movement quality, and integration of the neurological, skeletal, and muscular system, strength, balance, and basic spatial and rhythmic awareness. Attention will be given to sharpening your awareness of time and energy and to disciplining the body to move rhythmically, precisely, and in accordance with sound anatomical principles.
The knowledge and skills you gain in this course provide a basis for progression to further technique development and qualification into the next and higher level of studio practice course, Studio II.
Ballet by
Musicians who work professionally with ballet and dance companies sometimes wonder if they haven’t entered a foreign country—a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy’s variation, pas d’action, apothéose—simply don’t fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the ballet interested in the complex machinery that works backstage before the curtain goes up.
Ballet by
First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
The Ballets Russes and Beyond by
Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.
Dance Anecdotes : Stories from the Worlds of Ballet, Broadway, the Ballroom, and Modern Dance by
Mindy Aloff, a leading dance critic who has written for The Nation, The New Republic, and The New Yorker, has brought together here a marvelous book of stories by and about dancers--entertaining and informative anecdotes that capture the boundless variety and richness of dance as an art, atradition, a profession, a pastime, an obsession, a reality, and, for the dancer, an ideal. George Balanchine is here, and so are Fred Astaire, Margot Fonteyn, Rudolf Nureyev, Savion Glover, Martha Graham, and Lola Montez, and also stars from other arts--such as Akira Kurosawa and Bob Dylan--who have spoken about dancing with wit or illumination. There are stories about Irene andVernon Castle, Cyd Charisse and Gene Kelly, Bob Fosse and Gwen Verdon, Paul Taylor and Mark Morris. We read about the charisma and spontaneity of Anna Pavlova, about the secret to Vaslav Nijinsky's success ("I worked like an ox and I lived like a martyr"), about George Balanchine racing to a uniondispute with a bag of dimes. Many of the stories are amusing, but some are rueful, even sad, and a few are dark. Aloff concludes the volume with an essay about how dancing has been able to record its past, sometimes over centuries, and about how the art of the dancer, apparently as ephemeral inperformance as cloud patterns, turns out, when conditions are hospitable, to be much more hardy and resilient than many people suppose. A glorious promenade of stories that stretch as far back as classical times and as far afield as Japan, India, and Java, this superb collection will be treasured by everyone who loves dance, whether young or old.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dancing from Past to Present by
This groundbreaking collection combines ethnographic and historic strategies to reveal how dance plays crucial cultural roles in various regions of the world, including Tonga, Java, Bosnia-Herzegovina, New Mexico, India, Korea, Macedonia, and England. The essays find a balance between past and present and examine how dance and bodily practices are core identity and cultural creators. Reaching beyond the typically Eurocentric view of dance, Dancing from Past to Present opens a world of debate over the role dance plays in forming and expressing cultural identities around the world.
Dancing queen : Marie de Médicis' ballets at the court of Henri IV by
Dancing Queen takes up court ballet as a window into Marie de Médicis's use of the performing arts as a vehicle for politically engaged queenship prior to Henri IV's assassination in 1610.
Don't Act, Just Dance by
At some point in their career, nearly all the dancers who worked with George Balanchine were told "don't act, dear; just dance." The dancers understood this as a warning against melodramatic over-interpretation and an assurance that they had all the tools they needed to do justice to the steps--but its implication that to dance is already to act in a manner both complete and sufficient resonates beyond stage and studio.nbsp; Drawing on fresh archival material, Don't Act, Just Dance places dance at the center of the story of the relationship between Cold War art and politics. Catherine Gunther Kodat takes Balanchine's catch phrase as an invitation to explore the politics of Cold War culture--in particular, to examine the assumptions underlying the role of "apolitical" modernism in U.S. cultural diplomacy. Through close, theoretically informed readings of selected important works--Marianne Moore's "Combat Cultural," dances by George Balanchine, Merce Cunningham, and Yuri Grigorovich, Stanley Kubrick's Spartacus, and John Adams's Nixon in China--Kodat questions several commonly-held beliefs about the purpose and meaning of modernist cultural productions during the Cold War.nbsp; Rather than read the dance through a received understanding of Cold War culture, Don't Act, Just Dance reads Cold War culture through the dance, and in doing so establishes a new understanding of the politics of modernism in the arts of the period.nbsp;
Eight Female Classical Ballet Variations by
From the graceful flutter of Princess Florine at Sleeping Beauty's wedding to the playful jet#65533;es in the first act of Giselle, the variation - or short solo work - is one of the key elements of classical ballet. Arguing that true artistry requires in-depth knowledge, author Nina Danilova has worked with students for many years to focus on performing individual variations with the greatest extent of technical proficiency and artistic sensitivity. Eight Female Classical Ballet Variations lays out eight variations in the ballerina's repertoire. Each chapter is divided into five sections: a piano reduction of the score; a contextual note covering the history of the ballet, the plot, and memorable dancers who have performed the role; and instructions for dancing the variation itself, illustrated step by step. Accompanied by a comprehensive companion website, Eight Female Classical Ballet Variations pairs Danilova's method of teaching students with her decades of pedagogical experience.
Elements of Classical Ballet Technique by
Elements of Classical Ballet Technique as Practiced in the School for the Dance Theatre of Harlem champions the rich heritage of American dance from Fanny Elssler's triumphs to the square dances of the pioneers and on to the Dance Theatre of Harlem. Originally published in 1977, the text serves as a theoretical and practical outline of Shook's teaching philosophies. The book is divided into three parts: The Antecedents; The Theory; The Practice. In The Antecedents, Shook respectively discusses the tradition of a dance teacher, the American attitude, classical ballet and the development of Dance Theatre of Harlem. The Theory and The Practice are divulgences into Shook's philosophies on teaching, supplemented by a syllabus for the elementary grades of ballet. Elements of Classical Ballet Technique is ideal for the dance teacher who strives to nourish mental flexibility and dexterity of character in their students, as well as to provide and hone technical training.
The Evolving Feminine Ballet Body by
Dance 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 Vandekerkhove
Fernando Alonso : the father of Cuban ballet by
Written records of Alonso's work are scarce, yet Toba Singer's quest to spotlight his seminal role in the development of the modern ballet canon yields key material: pre-blockade tapes from Lincoln Center, Spanish-language sources from the Museum of Dance in Havana, and interviews with the ballet master himself alongside a broad range of friends, relatives, and collaborators from throughout his long career, including his ex-wife, Alicia, a famous ballerina in her own right.
Getting Started in Ballet by
Many children dream of being a ballerina. Chin raised with purpose, arms high above head, they twirl clumsily around the living room and leap tirelessly in the air. Sooner or later they're bound to say, "I want to dance." Now what do you do? How do you know if the time is right? Where's the best place to start? In Getting Started in Ballet, Anna Paskevska draws from her training at the Paris Opera Ballet School and the Royal Ballet School in London and her career as a professional dancer and teacher to offer a step-by-step introduction to dance education for parents with children starting ballet.Paskevska begins with a historical overview of dance and discusses the fundamental virtues and many life-long skills it imparts. Dance teaches children how to cooperate and support each other's efforts; encourages them to work in harmony with others; helps establish a child's spatial relationships; and promotes discipline and responsibility. Paskevska outlines the proper sequence for training in ballet based on a child's physical and mental development. She clearly demonstrates how ballet's early training, focusing on repetition of simple motion such as exercises at the barre and basic jumps, establish pathways for all later movements not only in ballet, but in modern dance, jazz, and tap as well.Written in a clear and accessible style and full of anecdotes from Paskevska's long professional dance-related career, Getting Started in Ballet offers helpful information on types of dance schools and how to select the right school for your child. Included is valuable information on choosing a dance instructor, the role both parents and teachers should play in a child's learning experience, and the qualities the ideal teacher should possess. Also discussed are more practical matters such as the appropriate clothing to wear while practicing, the importance of shoes that fit properly, how to secure pointe shoes, tips for avoiding injury, and how to balance training and performing experience during the formative years. A special chapter covers proper diet, eating disorders, and ways to recognize symptoms of imbalance. Finally, Paskevska touches upon the professional world of dance, attending college as a dance major, and advice on choosing careers that benefit from a background in dance.With forewords by Violette Verdy, a preeminent ballerina affiliated with the New York City Ballet and the Paris Opera Ballet, and Sybil Shearer, a pioneer of American modern dance, as well as an extensive appendix of performing arts schools and dance programs throughout the United States, Getting Started in Ballet gives parents the advice they need to make their child's dance experiences both enjoyable and constructive.
Looking at Contemporary Dance by
With a focus on dance innovation from the late 19th century to the present, this history provides dance students with accessible information on the major contributors to the art. Organized chronologically by the decades in which innovators were born or dance organizations were founded, the study shows the similarities and generational character that arise from shared influence. Rather than illustrations or photographs, this modern guide offers links to YouTube videos and other internet references to view examples of the work discussed. The scope is international, with coverage of German, Swedish, Belgian, Dutch, Taiwanese, Russian, Finnish, and Spanish pioneers of the avant-garde to illustrate that dance is a global language that continues to break boundaries and explore new ideas. Just a few of the 120 artists and performers featured include Martha Graham, Doris Humphrey, George Balanchine, Mark Morris, Twyla Tharp, Merce Cunningham, Paul Taylor, Jose Limon, Katherine Dunham, Chunky Move, and Trey McIntyre.
The Modern Dance by
John Martin, arguably the first modern dance critic in America and trail-blazer for the art form's validity in the public sector, first published The Modern Dance in 1933 and claimed it to be "perhaps the first attempt...to analyze the American modern dance." The book is the text of four lectures delivered by Martin at the New School for Social Research in New York City (1931-1932) on the dance form as a philosophic perspective. Certain common principles underlie the many systems and methods of modern dancing, and these texts endeavor to discover a full explanation of the modern dance. The distinguishing characteristics--what it is made of and how it differs from other types of dance--form the starting point. Martin discusses the dance form as a philosophic perspective, considering (among other topics) the basic experience of physical movement, the effectiveness of beauty in form, metakinesis, vertical and horizontal rhythms and divergent approaches to art. The content is organized in four parts: Characteristics of the Modern Dance; Form; Technique; The Dance and the Other Arts.
The Modern Dance by
CONTRIBUTORS: Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolas, Pauline Koner, Paul Taylor.
The Nikolais/Louis Dance Technique : a Philosophy and Method of Modern Dance by
This is the definitive resource for understanding and practicing the influential dance technique developed by two pioneers of modern dance, Alwin Nikolais and Murray Louis. The Nikolais/Louis Dance Technique is presented in a week-to-week classroom manual, providing an indispensable tool for teachers and students of this widely studied movement practice. Theoretical background for further reading is set off from the manual for those interested in deeper study. Their philosophy and methodology span a broad readership and offer an important addition to dance literature and American cultural history.
On stage alone : soloists and the modern dance canon by
Soloists ignited the modern dance movement and have been a source of its constant renewal. Pioneering dancers such as Lo e Fuller, Isadora Duncan, Ruth St. Denis, and Maud Allan embodied the abstraction and individuality of the larger modernist movement while making astounding contributions to their art. Nevertheless, solo dancers have received far less attention in the literature than have performers and choreographers associated with large companies. In On Stage Alone, editors Claudia Gitelman and Barbara Palfy take an international approach to the solo dance performance. The essays in this standout volume broaden the dance canon by bringing to light modern dance soloists from Europe, Asia, and the Americas who have shaped significant, sustained careers by performing full programs of their own choreography. Featuring in-depth examinations of the work of artists such as Michio Ito, Daniel Nagrin, Ann Carlson, and many others, On Stage Alone reveals the many contributions made by daring solo dancers from the dawn of the twentieth century through today. In doing so, it explores many important statements these soloists made regarding topics such as freedom, personal space, individuality, and gender in the modern era.
The people have never stopped dancing : Native American modern dance histories by
In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these concert performances are at once diverse and connected by common influences.Illustrating how Native dance enacts cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes and offers new ways of recognizing the agency of bodies on stage.
When Ballet Became French by
For centuries before the 1789 revolution, ballet was a source of great cultural pride for France, but by the twentieth century the art form had deteriorated along with France's international standing. It was not until Serge Diaghilev's Ballets Russes found success in Paris during the first decade of the new century that France embraced the opportunity to restore ballet to its former glory and transform it into a hallmark of the nation. In When Ballet Became French, Ilyana Karthas explores the revitalization of ballet and its crucial significance to French culture during a period of momentous transnational cultural exchange and shifting attitudes towards gender and the body. Uniting the disciplines of cultural history, gender and women's studies, aesthetics, and dance history, Karthas examines the ways in which discussions of ballet intersect with French concerns about the nation, modernity, and gender identities, demonstrating how ballet served as an important tool for France's project of national renewal. Relating ballet commentary to themes of transnationalism, nationalism, aesthetics, gender, and body politics, she examines the process by which critics, artists, and intellectuals turned ballet back into a symbol of French culture. The first book to study the correlation between ballet and French nationalism, When Ballet Became French demonstrates how dance can transform a nation's cultural and political history.
Street Dance Urban Choreography
Urban Choreography is considered to be one of the unique and contemporary of all Streetdance-based dance forms. It answers the need to use modern music, social issues and event current trends in collaborative methods. The development of vocabulary is so diverse because it was mainly influenced on streetstyles. Its massive exposure to Social media and television makes it more mainstream but very individual at the same time.
This unit will challenge you to create and explore more movements according to their art and vocabulary component. You will be trained to perform on different aspects of Urban movements and fusion of different streetdance styles to adhere to mastery and control of choreography and performance elements.
At the end of the term, you will be asked to produce a theme-based routine to present in front of a set of audience to critic.
Choreomania by
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author Kélina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudices against expressivity unravel, in turn revealing widespread anxieties about demonstrative agitation. This history of the fitful body complements stories of nineteenth-century discipline and regimentation. As she notes, constraints on movement imply constraints on political power and agency. In each chapter, Gotman confronts the many ways choreomania works as an extension of discourses shaping colonialist orientalism, which alternately depict riotous bodies as dangerously infected others, and as curious bacchanalian remains. Through her research, Gotman also shows how beneath the radar of this colonial discourse, men and women gathered together to repossess on their terms the gestures of social revolt.
Consuming Dance by
Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.
Contemporary Choreography by
Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Invisible connections : dance, choreography and internet communities by
The first and only book to focus on dance on the Internet, Sita Popat's fascinating Invisible Connections examines how Internet and communication technologies offer dance and theatre new platforms for creating and performing work, and how opportunities for remote interaction and collaboration are available on a scale never before imaginable. Drawing upon the work of practioners and theorists in the arts, communications and technology theorists and , Invisible Connections makes special reference to Popat's series of Internet-based choreography projects from with online communities around the globe, and explores: * methods by which such technologies can facilitate creative collaborations between performers and viewers * how sharing creative processes between online communities can enrich the artistic palette and provide arts-based learning * how the Cartesian duality of the mind-body split is challenged by the physicality of dancing and choreography together online. With its dual aspect approach, from the author as an artist/researcher and the appendix being written by a software designer, the historical perspective on performance on the internet coupled with the writing makes this a must read book for any student of performance, dance or communication studies.
Kinesthetic city : dance and movement in Chinese urban spaces by
In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity. She locates her study in five Chinese urban sites--Shanghai, Taipei, Hong Kong, New York's Chinatown, and the San Gabriel Valley in Los Angeles--at momentous historical turning points to parse out key similarities and differences in the construction of Chineseness. The moving bodies she considers are not only those in performances by some of the most well-known Chinese dance companies in these cities, but also her own as she navigates urban Chinese spaces. By focusing primarily on kinesthesia--the body's awareness of motion--to gather information rather than more traditional modes of sight, sound, smell, touch, and taste, she highlights the importance of motion in the determination of space. In examining in these specific places at these precise historical moments, Kwan illuminates how moving bodies contribute to the production of those places and those moments. For Kwan, Chinese communities in diaspora provide particularly salient examples of how when and where our bodies are help to determine who we are. Whether engaged in otherwise unremarkable walking or in highly choreographed acts of political protest, human movement exists in dialogue with the kinesthetic of these city spaces, helping Chinese communities make meaning of themselves away from mainland China. As a whole, Kinesthetic City offers dance studies ways to extend movement analysis to study not only concert, folk or social dance, but also quotidian movement and urban flow.
The Oxford Handbook of Dance and Politics by
In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.
The Oxford Handbook of Dance and the Popular Screen by
The Oxford Handbook of Dance and the Popular Screen sets the agenda for the study of dance in popular moving images - films, television shows, commercials, music videos, and YouTube - and offers new ways to understand the multi-layered meanings of the dancing body by engaging withmethodologies from critical dance studies, performance studies, and film/media analysis. Through these arguments, the chapters demonstrate how dance on the popular screen might be read and considered through the different bodies and choreographies being shown.Questions the contributors consider include: How do dance and choreography function within the filmic apparatus? What types of bodies are associated with specific dances and how does this affect how dance(s) is/are perceived in the everyday? How do the dancing bodies on screen negotiate power,access, and agency? How are multiple choreographies of identity (e.g., race, class, gender, sexuality, and nation) set in motion through the narrative, dancing bodies, and/or dance style? What types of corporeal labors (dance training, choreographic skill, rehearsal, the constructed notion of"natural talent") are represented or ignored? What role does a specific film have in the genealogy of Hollywood dance film? How does the Hollywood dance film inform how dance operates in cultural meaning making?Whether looking at Bill "Bojangles" Robinson's tap steps in Stormy Weather, or Baby's leap into Johnny Castle's arms in Dirty Dancing, or even Neo's backwards bend in The Matrix, the book's arguments offer a powerful corrective to the lack of accessible scholarship on dance in the popularscreen.
Philippine neo-ethnic choreography : a creative process by Playable bodies : dance games and intimate media by
What happens when machines teach humans to dance? Dance video games transform players' experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. Drawing on five years of research with players, game designers, and choreographers for the Just Dance and Dance Central games, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, and emerging surveillance technologies. Author Kiri Miller tracks the circulation of dance gameplay and related body projects across media platforms to reveal how dance games function as intimate media, configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.
Preserving Dance Across Time and Space by
Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.
The Routledge Dance Studies Reader by
The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography.　 These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
Unworking Choreography by
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
Street Dance Urban Choreography
Urban Choreography is considered to be one of the unique and contemporary of all Streetdance-based dance forms. It answers the need to use modern music, social issues and event current trends in collaborative methods. The development of vocabulary is so diverse because it was mainly influenced on streetstyles. Its massive exposure to Social media and television makes it more mainstream but very individual at the same time.
This unit will challenge you to create and explore more movements according to their art and vocabulary component. You will be trained to perform on different aspects of Urban movements and fusion of different streetdance styles to adhere to mastery and control of choreography and performance elements.
At the end of the term, you will be asked to produce a theme-based routine to present in front of a set of audience to critic.
Dance Circles : Movement, Morality and Self-fashioning in Urban Senegal by
Senegal has played a central role in contemporary dance due to its rich performing traditions, as well as strong state patronage of the arts, first under French colonialism and later in the postcolonial era. In the 1980s, when the Senegalese economy was in decline and state fundingwithdrawn, European agencies used the performing arts as a tool in diplomacy. This had a profound impact on choreographic production and arts markets throughout Africa. In Senegal, choreographic performers have taken to contemporary dance, while continuing to engage with neo-traditional performance, regional genres like the sabar, and the popular dances they grew up with. A historically informed ethnography of creativity, agency, and the fashioning of selves through the different life stages in urban Senegal, this book explores the significance of this multiple engagement with dance in a context of economic uncertainty and rising concerns over morality in the public space."
Dance Studies: the Basics by
A concise introduction to the study of dance ranging from the practical aspects such as technique and choreography to more theoretical considerations such as aesthetic appreciation and the place of dance in different cultures. This book answers questions such as: Exactly how do we define dance? What kinds of people dance and what kind of training is necessary? How are dances made? What do we know about dance history? Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
Dancing the New World by
From Christopher Columbus to "first anthropologist" Friar Bernardino de Sahagún, fifteenth- and sixteenth-century explorers, conquistadors, clerics, scientists, and travelers wrote about the "Indian" dances they encountered throughout the New World. This was especially true of Spanish missionaries who intensively studied and documented native dances in an attempt to identify and eradicate the "idolatrous" behaviors of the Aztec, the largest indigenous empire in Mesoamerica at the time of its European discovery. Dancing the New World traces the transformation of the Aztec empire into a Spanish colony through written and visual representations of dance in colonial discourse--the vast constellation of chronicles, histories, letters, and travel books by Europeans in and about the New World. Scolieri analyzes how the chroniclers used the Indian dancing body to represent their own experiences of wonder and terror in the New World, as well as to justify, lament, and/or deny their role in its political, spiritual, and physical conquest. He also reveals that Spaniards and Aztecs shared an understanding that dance played an important role in the formation, maintenance, and representation of imperial power, and describes how Spaniards compelled Indians to perform dances that dramatized their own conquest, thereby transforming them into colonial subjects. Scolieri's pathfinding analysis of the vast colonial "dance archive" conclusively demonstrates that dance played a crucial role in one of the defining moments in modern history--the European colonization of the Americas.
Global movements : dance, place, and hybridity by
Global Movements: Dance, Place, and Hybridity provides a theoretical and practical examination of the relationships between the global mobility of ideas and people, and its impact on dance and space. Using seven case studies, the contributors illustrate the mixture of dance styles that result from the global diffusion of cultural traditions and practices. The collection portrays a multitude of ways in which public and private spaces—stages, buildings, town squares as well as natural environments—are transformed and made meaningful by culturally diverse dances. Global Movements will be of interest to scholars of geography, dance, and global issues.
Hip hop on film : performance culture, urban space, and genre transformation in the 1980s by
Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood's fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner-city families following diminished governmental assistance in communities of color during the 1980s. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation's newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flashdance (1983). This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence.
Kinesthetic city : dance and movement in Chinese urban spaces by
In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity. She locates her study in five Chinese urban sites--Shanghai, Taipei, Hong Kong, New York's Chinatown, and the San Gabriel Valley in Los Angeles--at momentous historical turning points to parse out key similarities and differences in the construction of Chineseness. The moving bodies she considers are not only those in performances by some of the most well-known Chinese dance companies in these cities, but also her own as she navigates urban Chinese spaces.By focusing primarily on kinesthesia--the body's awareness of motion--to gather information rather than more traditional modes of sight, sound, smell, touch, and taste, she highlights the importance of motion in the determination of space. In examining in these specific places at these precise historical moments, Kwan illuminates how moving bodies contribute to the production of those places and those moments. For Kwan, Chinese communities in diaspora provide particularly salient examples of how when and where our bodies are help to determine who we are. Whether engaged in otherwise unremarkable walking or in highly choreographed acts of political protest, human movement exists in dialogue with the kinesthetic of these city spaces, helping Chinese communities make meaning of themselves away from mainland China.As a whole, Kinesthetic City offers dance studies ways to extend movement analysis to study not only concert, folk or social dance, but also quotidian movement and urban flow.
The Place of Dance : A Somatic Guide to Dancing and Dance Making by
The Place of Dance is written for the general reader as well as for dancers. It reminds us that dancing is our nature, available to all as well as refined for the stage. Andrea Olsen is an internationally known choreographer and educator who combines the science of body with creative practice. This workbook integrates experiential anatomy with the process of moving and dancing, with a particular focus on the creative journey involved in choreographing, improvising, and performing for the stage. Each of the chapters, or "days," introduces a particular theme and features a dance photograph, information on the topic, movement and writing investigations, personal anecdotes, and studio notes from professional artists and educators for further insight. The third in a trilogy of works about the body, including Bodystories: A Guide to Experiential Anatomy and Body and Earth: An Experiential Guide, The Place of Dance will help each reader understand his/her dancing body through somatic work, create a dance, and have a full journal clarifying aesthetic views on his or her practice. It is well suited for anyone interested in engaging embodied intelligence and living more consciously.
Video and Dance is both a theoretical and practical course that takes a thorough examination of the relationship of Video and Dance and how they could work together for documentation, archiving and as a specific and separate art form. This course is designed to introduce you to the historical and theoretical dynamics between the collaboration of two mediums and the possibilities for its application and exploration.
3G handy guide : digital production and editing by 
Brain-Compatible Dance Education by
Anne Green Gilbert's Brain-Compatible Dance Education, Second Edition, strikes the perfect balance between hard science and practicality, making it an ideal resource for dance educators working with dancers of all ages and abilities. Gilbert presents the latest brain research and its implications for dance educators and dancers. She makes the research findings accessible and easy to digest, always connecting the science to the teaching and learning that takes place in classrooms and studios. This new edition of Brain-Compatible Dance Education features Gilbert's unique BrainDance warm-up, made up of eight developmental movement patterns for people of all ages, from birth to older adults. This BrainDance warm-up helps dancers improve focus and productivity as it invigorates their minds and bodies and gets their synapses firing. In addition, this edition offers the following new material: * 24 new lesson plans geared to all age groups, from birth on up * New tips and tools to strengthen your teaching skills and provide a foundation for advocating for dance in schools and communities * A new web resource that includes 11 video clips of BrainDance with variations for diverse audiences, as well as printable lesson plans, posters, charts, and assessment templates The video clips on the web resource are great teaching aids that show you real-world examples of how the movements are done. The clips show dancers from infants to seniors, from beginners to advanced students, and those with special needs. The text is organized into three parts. Part I presents the theory behind brain-compatible dance education, offering an overview of the latest brain research, outlining the 10 principles of brain-compatible dance education, and exploring how to plan engaging lessons and use tools to assess your dancers. Part II describes the lesson plan elements in depth, including warming up, exploring concepts, developing skills, creating, and cooling down. In part III, Gilbert offers her new sequential and holistic lesson plans for ages 0 through 4, 5 through 8, 9 through 18, and adults. Brain-Compatible Dance Education, Second Edition, will revitalize your dance classes by improving your students' focus as they perform the repetitions that are so necessary for skill development. It will help you understand the vital link between movement and cognition, develop holistic lesson plans for any age and population, and bring the joy of movement into students' lives.
Conditioning for Dance by
Eric Franklin''s first edition of Conditioning for Dance was a bestseller--and it is back and better than ever, offering state-of-the-art conditioning exercises for dancers. An internationally renowned master teacher, Franklin has developed a science-based method of conditioning that is taught and practiced in companies and schools around the world. In this new edition of Conditioning for Dance, he integrates the latest scientific research on strength, flexibility, and conditioning into his dance exercises. New to This Edition Since the first edition, the topic of dancers'' health, wellness, and conditioning has taken on even greater importance in the dance community. Franklin has responded to this increased emphasis by adding these new exercises and resources: * Over 100 new conditioning exercises--for all parts of the body--to support dancers in a wide range of genres, forms, and styles * Over 100 new illustrations and photos to explain and show the exercises * Two new chapters with exercises for a complete conditioning plan * A new web resource that offers 17 video clips featuring Franklin showing correct execution of the conditioning exercises from the book, two 20-minute portable whole-body workouts that use elastic bands to increase strength and aerobic conditioning for dance, and a personal conditioning program you can use to set goals chapter by chapter and monitor your conditioning development to support your performance. The web resource is included with all new print books and some ebooks. For ebook formats that don''t provide access, the web resource is available separately. In addition, the book is now printed in full color to enhance image quality in showing technique. Conditioning for Dance now has separate chapters for shoulders and feet, with additional information on calves and ankles. Franklin also offers practical tips to help you develop your personal conditioning plan, which you can set up through the web resource. Applying Principles Through the Franklin Method Conditioning for Dance is available in print and electronic formats. It uses the principles of resistance training, physics, anatomy, biomechanics, and neuroplasticity (using imagery for positive mental and physical changes) as applied to dance conditioning. Conditioning for Dance blends imagery, focus, and conditioning exercises for dancers to enhance their technique and performance while practicing injury-prevention strategies. Franklin uses experiential anatomy to show and explain how the conditioning principles work to condition your body. As you undertake the exercises, you gain awareness of the body''s function and design and take in the knowledge of the principles through movement. This method, known as the Franklin Method, leads to greater understanding of your body, enhanced performance, and fewer injuries. Franklin developed the training systems within the book as well as a line of equipment, including the Franklin Band and Franklin Balls. Franklin has designed the exercises to transfer directly into dance steps; as such, they are appropriate for incorporating into the preparation time for dance classes. You can use the two 20-minute elastic-band workouts from the web resource to prepare you for class or rehearsal and build your strength and aerobic capacities. Immediate Benefits Conditioning for Dance offers you the culmination of decades of wisdom and experience in dance conditioning from a master teacher. By using its practical exercises, mind-body relationships, and conditioning routines, and in transferring the book knowledge to body experience, you will notice immediate benefits to your conditioning, strength, and flexibility. You will become kinesthetically aware, create great dance technique from within your own body, and begin to craft injury-free and artistically successful routines.
Digital Scenography by
Shortlisted for the PQ Best Publication Award in Performance Design & Scenography 2023 This book uses digital media theory to explore contemporary understandings of expanded scenography as spatial practice. It surveys and analyses a selection of ground-breaking, experimental digital media performances that comprise a genealogy spanning the last 30 years, in order to show how the arrival of digital technologies has profoundly transformed performance practice. Performances are selected based on their ability to elicit the unique specificities of digital media in new and original ways, thereby exposing both the richness and shortcomings of digital culture. O'Dwyer argues that contemporary scenography is largely propelled by and dependent on digital technologies and represents a rich, fertile domain, where unbridled creativity can explore new techniques and challenge the limits of knowledge. The 30-year genealogy includes works by Troika Ranch, Stelarc, Klaus Obermaier, Chunky Move, Onion Lab and Blast Theory. In addition to applying a broad scope of performance analysis and aesthetic theory, the work includes artists' interviews and opinions. The volume opens important aesthetic, philosophical and socio-political themes in order to highlight the impact of digital technologies on scenographic practice and the blossoming of experimental interdisciplinarity. Ultimately, the book is an exploration of how evolutionary leaps in technology contribute to how humans think, act, make work, engage one another, and therefore construct meaning and identity.
Digital Technologies and Learning in Physical Education by
There is evidence of considerable growth in the availability and use of digital technologies in physical education. Yet, we have scant knowledge about how technologies are being used by teachers, and whether or how these technologies are optimising student learning. This book makes a novel contribution by focusing on the ways in which teachers and teacher educators are attempting to use digital technologies in PE. The book has been created using the innovative 'pedagogical cases' framework. Each case centres on a narrative, written by a PE practitioner, explaining how and why technology is used in their practice to advance and accelerate learning. Each practitioner narrative is then analysed by a team of experts from different disciplines. The aim is to offer a multi-dimensional understanding of the possibilities and challenges of supporting young people's learning with digital technologies. Each case concludes with a practitioner reflection to illustrate the links between theory, research and practice. Digital Technologies and Learning in Physical Education encourages critical reflection on the use of technologies in PE. It is an essential resource for students on physical education, kinesiology or sport science courses, practitioners working in PE or youth sport, and researchers interested in digital technologies and education.
Making Video Dance by
Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen is the first workbook to follow the entire process of video dance production: from having an idea, through to choreographing for the screen, filming and editing, and distribution. In doing so, it explores and analyses the creative, practical, technical, and aesthetic issues that arise when making screen dance. This rigorously revised edition brings the book fully up to date from a technical and aesthetic point of view, and includes: An extended exploration of improvisation in the video dance-making process New writing about filming in the landscape Additional writing on developing a practice and working with scores and manifestos Updated information about camera use, including filming with mobile phones A step-by-step guide to digital non-linear editing of screen dance Ideas for distribution in the 21st century Insights into Katrina's own screen dance practice, with reference to specific works that she has directed and which are available to view online New and revised practical exercises New illustrations specially drawn for this edition
The Oxford Handbook of Dance and the Popular Screen by
The Oxford Handbook of Dance and the Popular Screen sets the agenda for the study of dance in popular moving images - films, television shows, commercials, music videos, and YouTube - and offers new ways to understand the multi-layered meanings of the dancing body by engaging withmethodologies from critical dance studies, performance studies, and film/media analysis. Through these arguments, the chapters demonstrate how dance on the popular screen might be read and considered through the different bodies and choreographies being shown.Questions the contributors consider include: How do dance and choreography function within the filmic apparatus? What types of bodies are associated with specific dances and how does this affect how dance(s) is/are perceived in the everyday? How do the dancing bodies on screen negotiate power,access, and agency? How are multiple choreographies of identity (e.g., race, class, gender, sexuality, and nation) set in motion through the narrative, dancing bodies, and/or dance style? What types of corporeal labors (dance training, choreographic skill, rehearsal, the constructed notion of"natural talent") are represented or ignored? What role does a specific film have in the genealogy of Hollywood dance film? How does the Hollywood dance film inform how dance operates in cultural meaning making?Whether looking at Bill "Bojangles" Robinson's tap steps in Stormy Weather, or Baby's leap into Johnny Castle's arms in Dirty Dancing, or even Neo's backwards bend in The Matrix, the book's arguments offer a powerful corrective to the lack of accessible scholarship on dance in the popularscreen.
Playable bodies : dance games and intimate media by
What happens when machines teach humans to dance? Dance video games transform players' experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. Drawing on five years of research with players, game designers, and choreographers for the Just Dance and Dance Central games, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, and emerging surveillance technologies. Author Kiri Miller tracks the circulation of dance gameplay and related body projects across media platforms to reveal how dance games function as intimate media, configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.
Rethinking Dance History by
The need to 'rethink' and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book's contributions into: * Why Dance History? - the ideas, issues and key conversations that underpin any study of the history of theatrical dance. * Researching and Writing - discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making - from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.
Social Dance by
Feel confident on the dance floor--step by step! This third edition of Social Dance: Steps to Success will teach you all the moves for 10 of today's most popular dance styles: Merengue Four-count swing and hustle Waltz Six-count swing Foxtrot Polka Cha-cha Rumba Tango Salsa and mambo The first few learning steps in this book introduce you to the foundational skills and concepts you need for success on the dance floor. Each step you take is a smooth transition from the previous one. As you progress, you learn not only how your posture and footwork affect your balance but also how to connect your footwork with the music, adjust to a partner, make the transition between partner positions, and create sequences from variations of each dance's specific rhythmic step pattern. Each of the steps also explains why the concept or skill is important, indentifies the keys to correcting technique, helps you avoid common errors, and provides drills to practice at your own pace. The later steps show how to demonstrate dance etiquette, including how to adapt to a crowded social dance floor. Best of all, the enclosed DVD provides you with 93 minutes of video demonstration and a music soundtrack with 19 tracks for practice and demonstrations of key movements, footwork, and the dances themselves. Written by master teacher and dancer Judy Wright, this special book and DVD package is part of the best-selling Steps to Success activity series, with more than 2 million copies sold worldwide.
TV writing on demand : creating great content in the Digital Era by
TV Writing On Demand: Creating Great Content in the Digital Era takes a deep dive into writing for today's audiences, against the backdrop of a rapidly evolving TV ecosystem. Amazon, Hulu and Netflix were just the beginning. The proliferation of everything digital has led to an ever-expanding array of the most authentic and engaging programming that we've ever seen. No longer is there a distinction between broadcast, cable and streaming. It's all content. Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter. This book goes beyond an analysis of what makes great programming work. It is a master course in the creation of entertainment that does more than meet the standards of modern audiences--it challenges their expectations. Among other essentials, readers will discover how to: Satisfy the binge viewer: analysis of the new genres, trends and how to make smart initial decisions for strong, sustainable story. Plus, learn from the rebel who reinvented an entire format. Develop iconic characters: how to foster audience alignment and allegiance, from empathy and dialogue to throwing characters off their game, all through the lens of authenticity and relatability. Create a lasting, meaningful career in the evolving TV marketplace: how to overcome trips, traps and tropes, the pros and cons of I.P.; use the Show Bible as a sales tool and make the most of the plethora of new opportunities out there. A companion website offers additional content including script excerpts, show bible samples, interviews with television content creators, and more.
Video production handbook by 
Virtual Presenting by
Responding to the widespread and continued acceleration of virtual working practices in recent years, Virtual Presenting provides a clear guide to producing, presenting, and broadcasting in a remote context. Unlike traditional studio production where a presenter is surrounded by a crew and cameras, the virtual presenter is often isolated or connected to a remote crew. Virtual Presenting explains how to make an authentic connection across great spaces, linked only via the Internet. Topics covered include how to build a virtual setup; how to appear on camera; how to appear confident and comfortable; and how to optimize your presentation voice. The authors demonstrate how to tell effective stories across the entire new media landscape of webcasting, webinars, livestreams, and virtual events. Finally, success stories and case studies from teachers, students, and professionals are interwoven to show how these guidelines translate into best practices. Virtual Presenting will be a valuable resource for students of media production and remote broadcasting as well as professionals looking to become stronger communicators and visual presenters.
Video and Dance is both a theoretical and practical course that takes a thorough examination of the relationship of Video and Dance and how they could work together for documentation, archiving and as a specific and separate art form. This course is designed to introduce you to the historical and theoretical dynamics between the collaboration of two mediums and the possibilities for its application and exploration.
Hip hop on film : performance culture, urban space, and genre transformation in the 1980s by
Early hip hop film musicals have either been expunged from cinema history or excoriated in brief passages by critics and other writers. Hip Hop on Film reclaims and reexamines productions such as Breakin' (1984), Beat Street (1984), and Krush Groove (1985) in order to illuminate Hollywood's fascinating efforts to incorporate this nascent urban culture into conventional narrative forms. Such films presented musical conventions against the backdrop of graffiti-splattered trains and abandoned tenements in urban communities of color, setting the stage for radical social and political transformations. Hip hop musicals are also part of the broader history of teen cinema, and films such as Charlie Ahearn's Wild Style (1983) are here examined alongside other contemporary youth-oriented productions. As suburban teen films banished parents and children to the margins of narrative action, hip hop musicals, by contrast, presented inclusive and unconventional filial groupings that included all members of the neighborhood. These alternative social configurations directly referenced specific urban social problems, which affected the stability of inner-city families following diminished governmental assistance in communities of color during the 1980s. Breakdancing, a central element of hip hop musicals, is also reconsidered. It gained widespread acclaim at the same time that these films entered the theaters, but the nation's newly discovered dance form was embattled--caught between a multitude of institutional entities such as the ballet academy, advertising culture, and dance publications that vied to control its meaning, particularly in relation to delineations of gender. As street-trained breakers were enticed to join the world of professional ballet, this newly forged relationship was recast by dance promoters as a way to invigorate and "remasculinize" European dance, while young women simultaneously critiqued conventional masculinities through an appropriation of breakdance. These multiple and volatile histories influenced the first wave of hip hop films, and even structured the sleeper hit Flashdance (1983). This forgotten, ignored, and maligned cinema is not only an important aspect of hip hop history, but is also central to the histories of teen film, the postclassical musical, and even institutional dance. Kimberley Monteyne places these films within the wider context of their cultural antecedents and reconsiders the genre's influence.
Looking at Contemporary Dance by
With a focus on dance innovation from the late 19th century to the present, this history provides dance students with accessible information on the major contributors to the art. Organized chronologically by the decades in which innovators were born or dance organizations were founded, the study shows the similarities and generational character that arise from shared influence. Rather than illustrations or photographs, this modern guide offers links to YouTube videos and other internet references to view examples of the work discussed. The scope is international, with coverage of German, Swedish, Belgian, Dutch, Taiwanese, Russian, Finnish, and Spanish pioneers of the avant-garde to illustrate that dance is a global language that continues to break boundaries and explore new ideas. Just a few of the 120 artists and performers featured include Martha Graham, Doris Humphrey, George Balanchine, Mark Morris, Twyla Tharp, Merce Cunningham, Paul Taylor, Jose Limon, Katherine Dunham, Chunky Move, and Trey McIntyre.
Sound and Image : Aesthetics and Practices by
Sound and Image: Aesthetics and Practices brings together international artist scholars to explore diverse sound and image practices, applying critical perspectives to interrogate and evaluate both the aesthetics and practices that underpin the audiovisual. Contributions draw upon established discourses in electroacoustic music, media art history, film studies, critical theory and dance; framing and critiquing these arguments within the context of diverse audiovisual practices. The volume's interdisciplinary perspective contributes to the rich and evolving dialogue surrounding the audiovisual, demonstrating the value and significance of practice-informed theory, and theory derived from practice. The ideas and approaches explored within this book will find application in a wide range of contexts across the whole scope of audiovisuality, from visual music and experimental film, to narrative film and documentary, to live performance, sound design and into sonic art and electroacoustic music. This book is ideal for artists, composers and researchers investigating theoretical positions and compositional practices which bring together sound and image.
Staging Dance by
Staging Dance is a practical handbook that covers all aspects of putting on a dance production. It highlights the current diversity of dance activities, choosing examples from working dance groups and from individual dancers. The book includes sections on choreography, music and sound, designing and making sets and costumes, lighting design and technical implementation and stage management. Funding, planning and publicity are also covered. Staging Dance will prove invaluable not only to dance artists, but also those working along side them: musicians, designers, lighting technicians, administrators and directors.
The Time of Our Lives by
A low-budget independent film made by a now defunct video company in the late 1980s, "Dirty Dancing" became a sleeper hit with a huge, primarily young audience. Even twenty-five years on, the film has found millions of devoted fans around the world through TV, video, and DVD releases. In "The Time of Our Lives: "Dirty Dancing" and Popular Culture" editors Yannis Tzioumakis and Si?n Lincoln bring together leading scholars of film, media, music, culture, theater, dance, and sociology to examine for the first time the global cultural phenomenon of "Dirty Dancing." Tzioumakis and Lincoln begin by assessing "Dirty Dancing"'s cultural impact in the decades since its release and introduce contributors in four sections. Essays in ""Dirty Dancing" in Context" look at the film from several perspectives, including its production and distribution history, its blending of genres, its treatment of race, and its place in the political and visual culture of the 1980s. In "Questions of Reception," contributors examine the many ways that the film has been received since its release, while those in "The Production of Nostalgia" focus on the film's often critiqued production of an idealized past. Finally, contributors in "Beyond the Film" examine the celebrated synergies that the film achieved in the "high concept" film environment of the 1980s, and the final two essays deal with the successful adaptation of the film for the stage. With the enormous cultural impact it has made over the years, "Dirty Dancing" offers many opportunities for thought-provoking analysis. Fans of the movie and students and scholars of cultural, performance, and film history will appreciate the insight in "The Time of Our Lives."
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