The first anthropology book to be sold with a Compact Disc Interactive (CDi)
This original and radical book challenges dominant parameters of literacy by comparing the oral tradition of the Tamils in South India with the Western culture of printed text. In India, traditional texts are always performed; as a result, form and meaning can change depending on the occasion. This is the opposite of Western communication through publication which is a static representation of knowledge.
The author examines the reasons for the differences between the Indian and Western textual traditions, and describes how text lives through the performing arts of words, sound and imagery. She argues that interactive multimedia is the first Western communication form to represent oral traditions effectively. A Compact Disc Interactive (CD-i) - packaged with the book - allows readers to see for themselves how multimedia can add meaning and complement traditional text-based studies.
The CDi: The CDi offers a new learning experience that builds on the two-way creative process in an efficient and enjoyable way. A TV set and CDi player is all that is required to run the Philips CDi.

Honorable Mention, Latin American Studies Association Mexico Section Best Book in the HumanitiesA Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico's postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance-the emulation of Diaghilev's Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortola Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico's theatrical dance world, including Diego Rivera's collaborations with ballet composer Carlos Chavez; Carlos Merida's leadership of the National School of Dance; Jose Clemente Orozco's involvement in the creation of the Ballet de la Ciudad de Mexico; and Miguel Covarrubias, who led the "golden age" of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.

This book is the first to consider contemporary African dance theatre aesthetics in the context of phenomenology, whiteness, and the gaze. Rather than a discussion of African dance per se, the author challenges hegemonic perceptions of contemporary African dance theatre to interrogate the extent to which white supremacy and privilege weave through capitalist necropolitics and determine our perception of contemporary African dance theatre today. Multiple aesthetic strategies are discussed throughout the book to account for the affective experience of 'un-suturing' that touches white spectatorship and colonial guilt at their core. The critical analysis covers a broad range of dance choreography by artists from the Democratic Republic of Congo, Ivory Coast, South Africa, Canada, Europe, and the US as they travel, create, and show their works internationally to global audiences to contest racial divides and white supremacist politics.

Innovative historical study of the dance and musical lyrics of Tango. Interweaves tales of sexuality, gender, race, class, and national identity to examine relations between machismo, colonialism, and commodification as manifested in expressive culture"--Handbook of Latin American Studies, v. 57.

In May 2012, bestselling author Neil Gaiman stood at a podium at Philadelphia's University of the Arts to deliver the commencement address. For the next nineteen minutes he shared his thoughts about creativity, bravery, and strength: he encouraged the students before him to break rules and think outside the box. Most of all, he encouraged the fledgling painters, musicians, writers, and dreamers to make good art.

This book, designed by renowned graphic artist Chip Kidd, contains the full text of Gaiman's inspiring speech. Whether bestowed upon a young artist beginning his or her creative journey, or given as a token of gratitude to an admired mentor, or acquired as a gift to oneself, this volume is a fitting offering for anyone who strives to make good art.

Choreographing Shakespeare presents a hitherto unexplored history of the choreographers and performers who have created dance adaptations of Shakespeare. This book investigates forty dance works in genres such as ballet, modern dance, and hip-hop, produced between 1940 and 2016 by choreographers in Britain, America, and Europe, all of which use Shakespeare's plays and Sonnets as their source material. By combining scholarly analysis of these productions with practice-based conversations from six contemporary choreographers, Klett offers both breadth of coverage and in-depth analysis of how Shakespeare's poetic language is translated into the usually wordless medium of dance, and shows exactly how these dance adaptations move beyond the Shakespearean texts to engage with musical and choreographic influences. Ideal for students of Shakespeare and Dance Studies, Choreographing Shakespeare explores how dance adaptations strive to design legible and intelligible stories, while ultimately celebrating the beauty of pure movement.

Grand Hotel. My One and Only. Nine. The Best Little Whorehouse in Texas. A Day in Hollywood/A Night in the Ukraine. The Will Rogers Follies. For two decades, Tommy Tune was the maestro presiding over a string of glittering Broadway musicals that took the tradition of complete musical staging by a director-choreographer into a new era defined by spectacle and technology. He was last in a grand lineage led by Jerome Robbins, Gower Champion, Bob Fosse, and Michael Bennett, but also provided a link to a new generation of choreographers-turned-directors like Susan Stroman, Jerry Mitchell, and Casey Nicholaw. Unlike his fellow director-choreographers, Tune also maintained a successful performing career. His nine Tony Awards (plus a tenth, for Lifetime Achievement) were earned across four categories, not only for choreography and direction, but also as both featured and lead actor in a musical, for Seesaw and My One and Only-a distinction no one else can claim. Tune took the musical forward by looking backward, bringing satiric energy and contemporary style to a trove of show business antecedents-from clog dancing to showgirl formations, from precision kick lines to Fred Astaire and Ginger Rogers-style ballroom glides. He did the same with his concert and cabaret performances, drawing on classics from the Gershwins, Irving Berlin, and Cole Porter and performing them not as nostalgia but as vital, immediate statements of personal philosophy. Everything is Choreography: The Musical Theater of Tommy Tune is the first full scale book about the career of this prodigious artist. It celebrates and examines with a critical eye his major projects, and summons for readers a glorious period of dance, performance, and theatrical imagination.

This collection of new essays explores connections between dance, modernism, and modernity by examining the ways in which leading dancers have responded to modernity. Burt and Huxley examine dance examples from a period beginning just before the First World War and extending to the mid-1950s, ranging across not only mainland Europe and the United States but also Africa, the Caribbean, the Pacific Asian region, and the UK. They consider a wide range of artists, including Akarova, Gertrude Colby, Isadora Duncan, Katherine Dunham, Margaret H'Doubler, Hanya Holm, Michio Ito, Kurt Jooss, Wassily Kandinsky, Margaret Morris, Berto Pasuka, Uday Shankar, Antony Tudor, and Mary Wigman. The authors explore dancers' responses to modernity in various ways, including within the contexts of natural dancing and transnationalism. This collection asks questions about how, in these places and times, dancing developed and responded to the experience of living in modern times, or even came out of an ambivalence about or as a reaction against it. Ideal for students and practitioners of dance and those interested in new modernist studies, Dance, Modernism, and Modernity considers the development of modernism in dance as an interdisciplinary and global phenomenon.

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.

This book documents more than 20 years of performances of Drumming, a world-renowned dance piece on music by Steve Reich, through beautiful photography. Drumming is a widely admired dance piece choreographed by Anne Teresa De Keersmaeker (b. 1960), set to music by the minimalist composer Steve Reich and featuring costumes by Dries Van Noten, that has been performed continuously around the world since its debut in 1998. It is celebrated for its synthesis of an exceptionally refined structure with an expression of the sheer joy of dancing. Over the 22 years that this piece has been performed, photographers Herman Sorgeloos and Anne Van Aerschot have documented it. This book showcases their outstanding photographic archive, offering a unique view into the aesthetics of this piece. Mathematically precise movement, sustained repetition, geometric use of performance space, and continuous variation are qualities-epitomized in Drumming-that have all become hallmarks of De Keersmaeker's celebrated oeuvre. Distributed for Mercatorfonds

Celebrating the diversity of dance across the South Pacific, this volume studies the various experiences, motivations and aims for dance, emerging from the voices of dance professionals in the islands. In particular, it focuses on the interplay of cultures and pathways of migration as people move across the region discovering new routes and connect

Textbook for undergraduate or high school dance composition courses. Resource for dancers and dance educators.

Dance is an activity that everyone can enjoy, and Dance Appreciation will help students do just that. Dance Appreciation is written to encompass the needs of a broad range of dance students, from high school to university level, and is appropriate for students who are new to dance as well as those who are experienced in the art form. The text will help learners discover more about themselves, connect with dance, and make it a relevant and vital part of their lives, whether it is their primary course of study, eventual career path, or simply a way to express themselves and enrich their lives. This text is the only dance appreciation resource that offers ancillary materials for instructors: Instructor ancillaries consisting of an instructor guide, test package, and PowerPoint presentation package make the teaching experience both easier and more effective, whether teaching in face-to-face or online settings. Five video segments demonstrate elements of dance and offer associated learning and movement activities, bringing the content to life for students. Textbook elements such as learning objectives, key terms, Enduring Understanding statements, Spotlight special elements, and chapter discussion questions help students navigate the chapters and retain the essential content. In addition, related resources delivered through HKPropel supply students with learning activities, individual and group projects, handouts, time lines, suggestions for further reading, video recommendations, and more to facilitate the learning experience. Dance Appreciation helps students understand dance from the perspectives of dancers, choreographers, and professionals in other careers related to dance. Students are introduced to a broad range of dance genres, forms, and styles, and they learn to forge a relationship with dance as an art form, connecting it with other academic and artistic disciplines and with their own life experiences. The text is organized into three parts. Part I, Exploring Dance, provides a foundational understanding of who dances and why, and it introduces the elements of dance and movement principles. Part II, Selected Dance Genres and Styles, covers Western dance genres, examining classical concert dance forms, hip-hop, and aerial and site-specific dance, highlighting notable artists and events. In part III, Connecting With Dance, students delve into aspects of dance performance and production, learning approaches for viewing and responding to dance performances and exploring the role of global interactions, especially through online content and social media, in developing and transmitting new dance forms and styles. Throughout the text, readers will learn about dance-related career paths. Dance Appreciation offers instructors an up-to-date, comprehensive resource-complete with an array of ancillaries-that ensures that students have the opportunity to become informed, discerning, and responsive dance audience members and gain a broad appreciation of dance as an art form and a lifetime physical activity. Note: A code for accessing HKPropel is included with all new print books.

This newly-updated second edition explores Pina Bausch's work and methods by combining interviews, first-hand accounts, and practical exercises from her developmental process for students of both dance and theatre. This comprehensive overview of her work offers new and exciting insight into the theatrical approach of a singular performance practitioner. This is an essential introduction to the life and work of one of the most significant choreographers/directors of the twentieth and twenty-first centuries. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.

This book explores Salome's quintessential veiled dance through readings of fictional and poetic texts, dramatic productions, dance performances and silent films, arguing for the central place of this dancer - and her many interpreters - to the wider formal and aesthetic contours of modernism. Loie Fuller, Maud Allan, Oscar Wilde, Ida Rubinstein, Alla Nazimova, Djuna Barnes, Germaine Dulac, Edward Gordon Craig, W. B. Yeats, Ninette de Valois and Samuel Beckett are foregrounded for their innovative engagements with this paradigmatic fin-de-siecle myth, showing how the ephemeral stuff of dance became a constitutive element of the modernist imagination during this period.

"Ballet inspires me. Human beings have the capacity to express themselves through many art forms, but when it comes to dance - and especially classical modern ballet - I am always amazed by that unbelievably elevated form of expression. It's so precise and so incredibly skilled; I admire that enormously." - Photographer and filmmaker Erwin Olaf "The fact that the photographer is looking through the camera lens means they have a different perspective from looking directly at the figure. That is voyeuristic. The camera can do something that the audience member can't: zooming in for a close-up." - Choreographer Hans van Manen The grand master of Dutch dance, Hans van Manen, celebrates his 90th birthday this year. That has given rise to international celebrations by leading ballet companies with the Hans van Manen festival from 8 to 29 June 2022, the exclusive publication Dance in Close-Up and the exhibition of the same name in Galerie Ron Mandos in Amsterdam from 19 June to 17 July 2022. From the 1970s to the 1990s, Hans van Manen was not only one of the world's leading choreographers, but also an internationally acclaimed photographer. It was during this period that the then very young photographer Erwin Olaf met the famed artist, who immediately took him under his wing and introduced him to the world of the visual arts and studio photography. This book celebrates their 40 years of friendship, with a photo series in which Van Manen directs moments from his choreographic career, recorded with the utmost precision by Erwin Olaf. With text contributions from the authors Nina Siegal and Michael James Gardner.

The dance circle (called the cypher) is a common signifier of breaking culture, known more for its spectacular moves than as a ritual practice with foundations in Africanist aesthetics. Yet those foundations-evident in expressive qualities like call and response, the aural kinesthetic, the imperative to be original, and more-are essential to cyphering's enduring presence on the global stage. What can cyphers activate beyond the spectacle? What lessons do cyphers offer about moving through and navigating the social world? And what possibilities for the future do they animate? With an interdisciplinary reach and a riff on physics, author Imani Kai Johnson centers the voices of practitioners in a study of breaking events in cities across the US, Canada, and parts of Europe. Dark Matter in Breaking Cyphers: the Life of Africanist Aesthetics in Global Hip Hop draws on over a decade of research and provides a detailed look into the vitality of Africanist aesthetics and the epistemological possibilities of the ritual circle.

Rudolf Laban was one of the leading dance theorists of the twentieth century. His work on dance analysis and notation raised the status of dance as both an art form and a scholarly discipline. This is the first book to combine: an overview of Laban's life, work and influences an exploration of his key ideas, including the revolutionary "Laban Movement Analysis" system analysis of his works Die Grunen Clowns and The Mastery of Movement and their relevance to dance theater from the 1920s onwards a detailed exercise-based breakdown of Laban's key teachings. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

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. Across stage, 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, dancing bodies 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 to the 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 and experience of dance and, in response, how dancing bodies negotiate, critique, and resist the aesthetic and social structures of the competition paradigm.

Collaborative practices are in the very nature of theatre. One of the most thriving, vibrant and exciting theatre cultures in the world is Brazil, offering plurality of various forms of theatrical expression. Brazilian Collaborative Theatre provides the collection of fifteen interviews with the leading contemporary theater directors, performers and choreographers and their respective groups, investigating their creative approaches and experiences of theatre making processes. We explore the cultural landscape that constitutes present day collaborative theatre in Brazil, in which practitioners are concerned with the very real questions; such as how theater is created and produced, for which audiences and through which models of cultural production? Within the Brazilian performing arts and cultural context, this book of interviews is unique as it brings voices of most established and prolific creators in present day Brazilian arts theatre scene. It also looks closely at autonomous performance and authorial staging and goes beyond text and playwright and examines the collaborative and interdisciplinary nature of theatre that predominated from the 1980s into the following decades. The main aim of the book is to offer new knowledge on present-day performing arts in Brazil, key artists and their companies that can have wildly influence on other cultures, creators and the audiences alike.

Could something as simple and seemingly natural as falling into step have marked us for evolutionary success? In "Keeping Together in Time" one of the most widely read and respected historians in America pursues the possibility that coordinated rhythmic movement--and the shared feelings it evokes--has been a powerful force in holding human groups together.As he has done for historical phenomena as diverse as warfare, plague, and the pursuit of power, William H. McNeill brings a dazzling breadth and depth of knowledge to his study of dance and drill in human history. From the records of distant and ancient peoples to the latest findings of the life sciences, he discovers evidence that rhythmic movement has played a profound role in creating and sustaining human communities. The behavior of chimpanzees, festival village dances, the close-order drill of early modern Europe, the ecstatic dance-trances of shamans and dervishes, the goose-stepping Nazi formations, the morning exercises of factory workers in Japan--all these and many more figure in the bold picture McNeill draws. A sense of community is the key, and shared movement, whether dance or military drill, is its mainspring. McNeill focuses on the visceral and emotional sensations such movement arouses, particularly the euphoric fellow-feeling he calls "muscular bonding." These sensations, he suggests, endow groups with a capacity for cooperation, which in turn improves their chance of survival.

A tour de force of imagination and scholarship, "Keeping Together in Time" reveals the muscular, rhythmic dimension of human solidarity. Its lessons will serve us well as we contemplate the future of the human community and of our various local communities.

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.

Astaire by Numbers looks at every second of dancing Fred Astaire committed to film in the studio era-all six hours, thirty-four minutes, and fifty seconds. Using a quantitative digital humanities approach, as well as previously untapped production records, author Todd Decker takes the reader onto the set and into the rehearsal halls and editing rooms where Astaire created his seemingly perfect film dances. Watching closely in this way reveals how Astaire used the technically sophisticated resources of the Hollywood film making machine to craft a singular career in mass entertainment as a straight white man who danced. Decker dissects Astaire's work at the level of the shot, the cut, and the dance step to reveal the aesthetic and practical choices that yielded Astaire's dancing figure on screen. He offers new insights into how Astaire secured his masculinity and his heterosexuality, along with a new understanding of Astaire's whiteness, which emerges in both the sheer extent of his work and the larger implications of his famous "full figure" framing of his dancing body. Astaire by Numbers rethinks this towering straight white male figure from the ground up by digging deeply into questions of race, gender, and sexuality, ultimately offering a complete re-assessment of a twentieth-century icon of American popular culture.

How did flamenco-a song and dance form associated with both a despised ethnic minority in Spain and a region frequently derided by Spaniards-become so inexorably tied to the country's culture? Sandie Holguin focuses on the history of the form and how reactions to the performances transformed from disgust to reverance over the course of two centuries. Holguin brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.

Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.