Engaging with a broad range of research and performance genres, The Oxford Handbook of Hip Hop Dance Studies offers the most comprehensive research on Hip Hop dance to date. Filling a lacuna in both Hip Hop and dance studies, the Handbook places practitioners' voices at the forefront and in dialogue with theoretical insights, rooted in critical race theory, anticolonialism, intersectional feminism, and more. Volume editors Mary Fogarty and Imani Kai Johnson have included influential dancers and scholars from around the world: from B-Boys Ken Swift, YNOT, and Storm, to practitioners of locking, waacking and House dance styles such as E. Moncell Durden, Terry Bright Kweku Ofosu, Fly Lady Di, and Leah McFly, and innovative academic work on Hip Hop dance by the most prominent researchers in the field. Throughout the Handbook contributors address individual and social histories of dance, Afrodiasporic and global lineages, the contribution of B-Girls from Honey Rockwell to Rokafella, the "studio-fication" of Hip Hop styles, and moves into theatre, TV, and the digital/social media space.

In early twentieth-century Europe, the watershed developments of pictorial abstraction, modern dance, and cinema coincided to shift the artistic landscape and the future of modern art. In Moving Modernism, Nell Andrew challenges assumptions about modernist abstraction and its appearance in the field of painting. By recovering performances, methods, and circles of aesthetic influence for avant-garde dance pioneers and filmmakers from the turn of the century to the interwar period - including dancer Loie Fuller, who presented to symbolist artists the possibility of prolonged or suspended vision; Valentine de Saint-Point, whose radical dance paralleled the abstractions of cubo-futurist painting; Sophie Taeuber and her Dada dance; the Belgian "pure plastics" choreographer known as Akarova; and the dance-like cinema of Germaine Dulac - Andrew demonstrates that abstraction was deployed not only as modernist form but as an apparatus of creation, perception, and reception across artistic media.

Tandem Dances: Choreographing Immersive Performance is the first book to propose dance and choreography as frames through which to examine immersive theatre, more broadly known as immersive performance. Indicative of a larger renaissance in storytelling during the digital age, immersive performance is influenced by emerging computer technologies, such as virtual reality and advances in video-gaming, as well as increased interest in new forms of experiential entertainment. The idea of tandemness - suggesting motion that is achieved by two bodies working together and acting in conjunction with one another - is critical throughout the book. Author Julia M. Ritter persuasively argues that practitioners of immersive productions deploy choreography as a structural mechanism to mobilize the bodies of cast and audience members to perform together. Furthermore, choreography is contextualized as an effective tool for facilitating audience participation towards immersion as an affect. Through a focus on Western dance histories, theories, and practices, Ritter's close choreographic analysis of immersive productions, along with unique insights from choreographers, directors, performers, and spectators, enlivens discourse across dramaturgy, kinesthesia, affect, and co-authorship. By foregrounding the choreographic in order to examine its specific impact on the evolution of immersive theater, Tandem Dances explores choreography as a discursive domain that is fundamentally related to creative practice, agendas of power and control, and concomitant issues of freedom and agency.

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.

Whether you're an absolute beginner or a Strictly Come Dancing wannabe, it's time to get up and dance Craig Revel Horwood's Ballroom Dancing gives you the confidence you need to take your first steps on the dancefloor. It even includes style tips from the style guru, Len Goodman, to give you that professional look. Discover the history, foot positions, turns, and more, to all your favourite Strictly dances: * Waltz * Social foxtrot * Quickstep * Tango * Rumba * Samba * Cha cha cha * Jive Ballroom dancing is totally cool, funky, and fantastically rewarding. What better way to get fit than tangoing your tension away, and foxtrotting the fat off your thighs? Happy dancing.

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 numerous histories of jazz dance and examine various aspects of the field, including trends, influences, training, race, aesthetics, international appeal, 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 vocabularly differs from ballet, this complex and compelling history captures the very essence of jazz dance.

"Vandekeybus brought into focus a whole new genre of modern dance...Combat rolls, breakneck sprints and savagely wrestled duets became the defining vocabulary of a new generation." The Guardian. In 2016, Wim Vandekeybus' company Ultima Vez celebrates its 30th birthday. Never before has his oeuvre been recorded in a book. Until now. This extraordinary book is a visual trip through the most powerful images from his repertoire, a quest for the ideas and themes that inspire him. It aso contains unpublished texts, notes and scripts from his shows and films. A number of compagnons de route, such as David Byrne, Mauro Pawlowski, and Peter Verhelst, offer a personal textual contribution. Choreographer, filmmaker and photographer Wim Vandekeybus and his company Ultima Vez are at the top of the dance industry in Belgium - and around the world. After a cooperation with Jan Fabre, Vandekeybus founded his very own company Ultima Vez in 1986. His first performance, What the Body Does Not Remember (1987), was an international success and was awarded a Bessie Award (New York Dance and Performance Award), a prize awarded for pioneering work.

How to Land: Finding Ground in an Unstable World presents a new look at embodiment that treats gravity as the organizing force for thinking and moving through our twenty-first century world. Author Ann Cooper Albright argues that a renewed attention to gravity as both a metaphoric sensibility and a physical experience can help transform moments of personal disorientation into an opportunity to reflect on the important relationship between individual resiliency and communal responsibility. Long one of the nation's preeminent thinkers in dance improvisation, Albright asks how dancers are affected by repeated images of falling bodies, bombed-out buildings, and displaced peoples, as well as recurring evocations of global economies and governments in discursive free fall or dissolution. What kind of fear gets lodged in connective tissue when there is an underlying anxiety that certain aspects of our world are in danger of falling apart? To answer this question, she draws on analyses of perception from cognitive studies, tracing the discussions of meaning, body and language through the work of Mark Johnson, Thomas Csordas, and George Lakoff, among others. In addition, she follows the past decade of debate in contemporary media concerning the implications of the weightless and two-dimensional social media exchanges on structures of attention and learning, as well as their effect on the personal growth and socialization of a generation of young adults. Each chapter interweaves discussions of movement actions with their cultural implications, documenting specific bodily experiences and then tracing their ideological ripples out through the world.

Published in Valiz's new "Antennae" series devoted to new research in art, photography, architecture and design, "Moving Together" examines contemporary dance from both a practical and theoretical perspective. The author, Professor Rudi Laermans, analyzes three tendencies: pure dance, dance theater and (self-) reflexive dance. He proposes a theoretical framework for understanding how artistic cooperation figures into the creation of dance. Boasting a great design by the maverick Dutch studio Metahaven, "Moving Together" includes dialogues with some of the most influential names in contemporary dance spanning several generations: Anne Teresa De Keersmaeker, founder of the cutting-edge dance company Rosas; Jerome Bel, the controversial and experimental French choreographer; William Forsythe, known internationally for his work with Ballett Frankfurt (1984-2004) and The Forsythe Company (2005-present); as well as many others dance innovators.

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 Clasicas 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.

Alvin Ailey (1931-1989) was a choreographic giant in the modern dance world and a champion of African-American talent and culture. His interracial Alvin Ailey American Dance theatre provided opportunities to black dancers and choreographers when no one else would. His acclaimed Revelations" remains one of the most performed modern dance pieces in the twentieth century. But he led a tortured life, filled with insecurity and self-loathing. Raised in poverty in rural Texas by his single mother, he managed to find success early in his career, but by the 1970s his creativity had waned. He turned to drugs, alcohol, and gay bars and suffered a nervous breakdown in 1980. He was secretive about his private life, including his homosexuality, and, unbeknownst to most at the time, died from AIDS-related complications at age 58.Now, for the first time, the complete story of Ailey's life and work is revealed in this biography. Based on his personal journals and hundreds of interviews with those who knew him, including Mikhail Baryshnikov, Judith Jamison, Lena Horne, Katherine Dunham, Sidney Poitier, and Dustin Hoffman, Alvin Ailey is a moving story of a man who wove his life and culture into his dance.

NOW A MAJOR FILM BY RALPH FIENNES, THE WHITE CROW 'A gripping account of an extraordinary life' Daily Telegraph Born on a train in Stalin's Russia, Rudolf Nureyev was ballet's first pop icon. No other dancer of our time has generated the same excitement - both on and off stage. Nureyev's achievements and conquests became legendary: he rose out of Tatar peasant poverty to become the Kirov's thrilling maverick star; slept with his beloved mentor's wife; defected to the West in 1961; sparked Rudimania across the globe; established the most rhapsodic partnership in dance history with the middle-aged Margot Fonteyn; reinvented male technique; gatecrashed modern dance; moulded new stars; and staged Russia's unknown ballet masterpieces in the West. He and his life were simply astonishing. 'Magnificent, a triumph. Captures every facet of this extraordinary man' Mail on Sunday 'The definitive study of a man who, in his combination of aesthetic grace and psychological grime, can truly be called a sacred monster' Observer 'Undoubtedly the definitive biography' Sunday Telegraph

"When I learned about improvisation from Anna, it was like receiving the other half of the hemisphere. Without improvisation I would not have developed the work that I'm doing."--Trisha Brown
"Anna Halprin--who, with her husband, the architect Lawrence Halprin, is considered to be the wellspring of what we call postmodern dance--has spent most of her long life shattering rules, conventions, expectations, and long-cherished ideals like so many porcelain teacups. . . . In this new cultural history and intellectual biography, Janice Ross has unscrolled a story--with her subject's full collaboration--that continuously reveals and surprises. It is a groundbreaking achievement in dance scholarship, commensurate with the work of Sally Banes, the scholar of postmodern dance to whom this book is affectionately dedicated."--Mindy Aloff, author of "Dance Anecdotes"
"This book is an eye-opener. It is fascinating to learn about the different creative periods in Anna Halprin's life, from her involvement with Jewish identity and culture, dance education, and Bauhaus emigres in the thirties and forties to her relationship with the Beat poets in San Francisco, her influential summer workshops, and her exploration of ritual and performance from the fifties to the present."--Mark Franko, author of "Excursion for Miracles: Paul Sanasardo, Donya Feuer and Studio for Dance (1955-1964)"
"Janice Ross has done a masterful job of capturing the life, work, and impact of the little midwestern woman whose influence shaped the dance revolutions of the 1960s and 1970s, and whose greatest accomplishment may have been 'finding dance culture where no one else had looked.' Ross illuminates the West Coastroots of postmodernism, and outlines Halprin's accomplishments as a healer, which are still accruing after more than sixty years."--Elizabeth Zimmer, dance critic and editor

Anne Teresa De Keersmaeker (b. 1960) founded her dance company, Rosas, in 1983. Her work is grounded on a rigorous exploration of the relationship between dance and music, and over the years she has engaged the musical structures and scores of different periods and genres, from early music to contemporary expressions of classical and popular music. Her choreographic practice draws from geometric principles, nature, and social structures to offer unique perspectives on the articulation of the body in space and time. The minimalism of De Keersmaeker's earliest pieces gave way over the years to ingenious constructions for large ensembles. Then in 2007, the choreography underwent a fundamental change with the emergence of a new kind of minimalism, a paring down to essential principles of sparseness; the spatial constraints of geometric patterns; an unwavering commitment to elementary gestures, notably walking, breathing, and speaking; and a close adherence to a score, musical or otherwise, for the choreographic writing. Photographers Anne Van Aerschot and Herman Sorgeloos were privileged witnesses to this process, and their images, gathered here for the first time, offer an exceptionally acute look at Rosas's work over the last decade. Distributed for Mercatorfonds

In distinction to many extant histories of ballet, The Oxford Handbook of Contemporary Ballet prioritizes connections between ballet communities as it interweaves chapters by scholars, critics, choreographers, and working professional dancers. The book looks at the many ways ballet functions as a global practice in the 21st century, providing new perspectives on ballet's past, present, and future. As an effort to dismantle the linearity of academic canons, the fifty-three chapters within provide multiple entry points for readers to engage in balletic discourse. With an emphasis on composition and process alongside dances created, and the assertion that contemporary ballet is a definitive era, the book carves out space for critical inquiry. Many of the chapters consider whether or not ballet can reconcile its past and actually become present, while others see ballet as flexible and willing to be remolded at the hands of those with tools to do so.