This special collectors edition celebrates a unique collaboration between two of Londons greatest cultural institutions. Together The Royal Ballet and the National Gallery commissioned three acclaimed contemporary artists Chris Ofili, Conrad Shawcross and Mark Wallinger to work with international choreographers and composers to create three new ballets inspired by the Titian paintings Diana and Callisto, Diana and Actaeon and The Death of Actaeon. As well as designing the sets and costumes, the artists also produced new works for a show at the National Gallery. The book tells the story of this extraordinary, complex project from conception to stage and gallery. The artists notebooks, sketches and other material from the studio are reproduced to show how they evolved their initial ideas into working designs. Numerous views of the dancers rehearsals, the creation of the sets and the gallery installations, as well as dozens of unseen photographs of the performances themselves, take the reader behind the scenes to see the many processes and people involved in transforming the artists vision into a finished production. An introduction by National Gallery curator Dr Minna Moore Ede, explains how the collaboration came to fruition and unfolded. Dame Monica Masons foreword completes this stunning volume. Limited edition of 250 copies Presented with three original artists prints in a clothbound clamshell case.

Faces of Tradition in Chinese Performing Arts examines the key role of the individual in the development of traditional Chinese performing arts such as music and dance. These artists and their artistic works-the "faces of tradition"-come to represent and reconfigure broader fields of cultural production in China today. The contributors to this volume explore the ways in which performances and recordings, including singing competitions, textual anthologies, ethnographic videos, and CD albums, serve as discursive spaces where individuals engage with and redefine larger traditions and themselves. By focusing on the performance, scholarship, collection, and teaching of instrumental music, folksong, and classical dance from a variety of disciplines-these case studies highlight the importance of the individual in determining how traditions have been and are represented, maintained, and cultivated.

Elder Sanchez presents this salsa dance course, structured in 21 fun, easy-to-follow lessons. Multiple camera angles allow you to switch between the perspective of the man and woman as they dance, and in addition to teaching the steps Elder provides advice on what to wear on the dance floor.

This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice. Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance-breath, weight, tone, energy-informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools. This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

It brings together a substantial group of essays by an international team of scholars on a wide range of aspects of Rameau's operas. The individual essays are informed by a variety of disciplines or sub-disciplines - literature, archival studies, musical analysis, gender studies, ballet and choreography, dramaturgy and staging. The contents are addressed to a wide readership, including not only scholars but also practical musicians, stage directors, dancers and choreographers.

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.

Lighting Dance pioneers the discussion of the ability of lighting design to foreground shadow in dance performances. Through a series of experiments integrating light, shadow, and improvised dance movement, it highlights and analyses what it advances as an innovative expression of shadow in dance as an alternative to more conventional approaches to lighting design. Different art forms, such as painting, film, and dance pieces from Loie Fuller, the Russell Maliphant Dance Company, Elevenplay, Pilobolus, and the Tao Dance Theater served to inspire and contextualise the study. From lighting to psychology, from reviews to academic books, shadows are examined as a symbolic and manipulative entity. The book also presents the dance solo Sombreiro, which was created to echo the experiments with light, shadow, and movement aligned to an interpretation of cultural shadow (Jung 1954, in Samuels, Shorter, and Plaut 1986; Casement 2006; Ramos 2004; Stein 2004; and others). The historical development of lighting within dance practices is also outlined, providing a valuable resource for lighting designers, dance practitioners, and theatre goers interested in the visuality of dance performances.

Contributions by Darrell Gerohn Baksh, Jan de Cosmo, Frances Henry, Jeff Henry, A. D. Jones, Samantha Noel, Dwaine Plaza, Philip W. Scher, and Asha St. BernardWomen are performing an ever-growing role in Caribbean Carnival. Through a feminist perspective, this volume examines the presence of women in contemporary Carnival by demonstrating not only their strength in numbers, but also the ways in which women participate in the event. While decried by traditionalists, the bikinis, beads, and feathers of "pretty mas" convey both a newly found empowerment as a gendered resistance to oppression from men. Although research on Carnivals is substantial, especially in the Americas, the Subject of women in Carnival as a topic of inquiry remains fairly new. These essays address anthropological and historical facets of women and their practices in the Trinidad Carnival, including an analysis of how women's costuming and performance have changed over time. The modern costumes, which are well within the financial means of most mas players, demonstrate the new power of women who can now afford these outfits. In discussing the commodification and erotization of Carnival, the book emphasizes the unveiling of the female body and the hip-rolling sexual movements called winin or it. Through display of their bodies, contemporary women in Carnival express a form of female resistance. Intent on enjoying and expressing themselves, they seem invigorated by their place in the economy, as well as their sexuality, defying the moral controls imposed on them. Through an array of methods in qualitative research, including interviews, participant observation, and ethnography, this volume explains the new power of women in the evolution of Carnival mas in Trinidad amid the wider Caribbean diaspora.

Originally published as a special issue of Research in Dance Education, now with an added chapter, this text acknowledges and celebrates the increasingly diverse careers and employment networks in which dance professionals and dance educators are engaged. Addressing issues and developments relating to the workplace of dance, the text explores what it means to transcend the boundary between dance as passion, and dance as employment. Chapters explore challenges of professional practice including limitations on access, precarity, bodily risk, gender inequality, and sexual harassment, and challenge the status quo to offer readers new ways of thinking about dance, and how this might translate into professional practice and work. Ultimately celebrating the passion which motivates dancers to embark on a professional career, and highlighting the elation and joy which such employment can bring, this volume encourages dance professionals, students, and educators to imagine things differently and develop teaching approaches, curricula, work places, and communities which capitalise on the diversity and dedication of individuals in the field. This text will be of great interest to graduate and postgraduate students, researchers, academics, professionals in the field of Dance, Dance Education, Choreography and related art forms, Curriculum studies and Sociology of Education.

The Ramayana, one of the two pre-eminent Hindu epics, has played a foundational role in many aspects of India's arts and social norms. For centuries, people learned this narrative by watching, listening, and participating in enactments of it. Although the Ramayana's first extant telling in Sanskrit dates back to ancient times, the story has continued to be retold and rethought through the centuries in many of India's regional languages, such as Hindi, Tamil, and Bengali. The narrative has provided the basis for enactments of its episodes in recitation, musical renditions, dance, and avant-garde performances. This volume introduces non-specialists to the Ramayana's major themes and complexities, as well as to the highly nuanced terms in Indian languages used to represent theater and performance. Two introductions orient readers to the history of Ramayana texts by Tulsidas, Valmiki, Kamban, Sankaradeva, and others, as well as to the dramaturgy and aesthetics of their enactments. The contributed essays provide context-specific analyses of diverse Ramayana performance traditions and the narratives from which they draw. The essays are clustered around the shared themes of the politics of caste and gender; the representation of the anti-hero; contemporary re-interpretations of traditional narratives; and the presence of Ramayana discourse in daily life.

No matter what field a person is working in or preparing for, collaboration and integration of ideas and knowledge are important to success. Interdisciplinary Arts provides a portal to that success by introducing students to the integration of arts concepts that they can apply to any field or endeavor they undertake. This unique text draws from the separate but related disciplines of theatre, dance, and visual arts to help students explore creative and innovative thinking and problem solving. The authors guide the students through the creative process, using exercises, journal prompts, and other tools to aid them in creating original works that employ those arts concepts. Interdisciplinary Arts uses strategies and terminology from multiple areas of artistic practice to enrich students' perspectives as artists and as problem solvers and communicators. It also spotlights various artists from history and presents case studies about former students who have created exciting projects, broadening students' understanding of what might be possible and spurring more creative thinking. As students delve into the text and its resources and prompts, they will address these types of questions: How can I look past the first solution to find the right solution? How can I train myself to be creative? How can I better articulate how my study of the arts informs my decision-making in other fields? How can the arts help me get a job in my chosen field? Interdisciplinary Arts helps students discover their expressive capabilities and integrate them fully into their lives. They will learn to break through barriers by looking at things in new ways and by allowing their experiences in each discipline to inform their work in others. Their creative journey will take them through a four-step creative process: A thumbnail sketch that acts as a rough draft or outline for their project A feedback phase, where they learn to assimilate their ideas and others' ideas about their project A presentation phase, where they showcase their work A reflection phase, where they consider why they made the work, what it means to them, and what they learned from it The book also comes with an instructor guide that offers chapter overviews, teaching tips, additional exercises, a sample syllabus, and more. A student web resource includes all the activities and journal prompts as well as editable worksheets and additional resources. Students engaging with Interdisciplinary Arts will come away with a better sense of cross-disciplinary thinking, their own capacity for creativity, and the connections between their body, mind, and spirit. They will find that their creative energies flow more freely, and they will be able to see how to transfer the skills they learned through this text to a host of endeavors throughout their lives. Note: A code for accessing HKPropel is included with all new print books.

Examines the pivotal role of dance in the Italian operas of Handel, perhaps the greatest opera composer between Monteverdi and Mozart. George Frideric Handel set himself apart from his contemporaries by employing choreographed instrumental music to complement and reinforce the emotional impact of his operas. Of his fifty-three operas, no fewer than fourteen -- including ten written for the London stage -- feature dances. Dance in Handel's London Operas explores the relationship between music, drama, and dance in these London works, dispelling the notion that dance was a largely peripheral element in Italian-language operas prior to those of Gluck. Taking a chronological approach, Sarah McCleave examines operas written throughout various periods in Handel's life, beginning with his early London operas,including his time at the Royal Music Academy and the "Salle" operas of the 1730s, and concluding with his unstaged dramatic opera Alceste (1750). In considering the various influences on Handel (particularly the London stage), McCleave blends analysis of information from eighteenth-century treatises with that found in more modern studies, offering an informed and imaginative understanding of the role dance played in the work of this major figure --one who remained responsive throughout his career to the vital and innovative theatrical environment in which he worked. Sarah McCleave is a lecturer at The School of Creative Arts at Queen's University Belfast.

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.

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.

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.

Dance, Music and Cultures of Decolonisation in the Indian Diaspora provides fascinating examples of dance and music projects across the Indian Diaspora to highlight that decolonisation is a creative process, as well as a historical and political one. The book analyses creative processes in decolonising projects, illustrating how dance and music across the Indian Diaspora articulate socio-political aspirations in the wake of thinkers such as Gandhi and Ambedkar. It presents a wide range of examples: post-apartheid practices and experiences in a South African dance company, contestations over national identity politics in Trinidadian music competitions, essentialist and assimilationist strategies in a British dance competition, the new musical creativity of second-generation British-Tamil performers, Indian classical dance projects of reform and British multiculturalism, feminist intercultural performances in Australia, and performance re-enactments of museum exhibits that critically examine the past. Key topics under discussion include postcolonial contestations, decolonising scholarship, dialogic pedagogies and intellectual responsibility. The book critically reflects on decolonising aims around respect, equality and the colonial past's redress as expressed through performing arts projects. Presenting richly detailed case studies that underline the need to examine creative processes in the cultures of decolonisation, Dance, Music and Cultures of Decolonisation in the Indian Diaspora will be of great interest to scholars of South Asian Studies, Diaspora Studies, Performing Arts Studies and Anthropology. The chapters were originally published as a special issue of South Asian Diaspora.

(Music Sales America). A selection of songs from Einaudi's 2007 album, specially transcribed for solo piano. The composer writes, In this folio you will find most of the music from the Divenire album. There are a number of pieces in this book, particularly those that are accompanied by orchestra or feature electronic sounds, that I have altered in order to achieve a better solo piano transcription. I have also replaced the piece Svanire, for cello and strings, with Luce, a solo piano piece that is available on iTunes as a bonus track.

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, choreographers and 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: the performers 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 of scholarship, 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. Acknowledging and 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.

This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.

This dynamic collection documents the rich and varied history of social dance and the multiple styles it has generated, while drawing on some of the most current forms of critical and theoretical inquiry. The essays cover different historical periods and styles; encompass regional influences from North and South America, Britain, Europe, and Africa; and emphasize a variety of methodological approaches, including ethnography, anthropology, gender studies, and critical race theory. While social dance is defined primarily as dance performed by the public in ballrooms, clubs, dance halls, and other meeting spots, contributors also examine social dance's symbiotic relationship with popular, theatrical stage dance forms.
Contributors are Elizabeth Aldrich, Barbara Cohen-Stratyner, Yvonne Daniel, Sherril Dodds, Lisa Doolittle, David F. Garcia, Nadine George-Graves, Jurretta Jordan Heckscher, Constance Valis Hill, Karen W. Hubbard, Tim Lawrence, Julie Malnig, Carol Martin, Juliet McMains, Terry Monaghan, Halifu Osumare, Sally R. Sommer, May Gwin Waggoner, Tim Wall, and Christina Zanfagna.

'AM-MAZ-ING!' Craig Revel Horwood We all have dreams, from little wishes to life-altering ambitions. But we rarely act on these dreams - we don't know where to start, don't have time, or we feel we're not good enough. Our lives carry on as usual, leaving us wondering what could have been. In Dream, Believe, Succeed, Camilla Sacre-Dallerup shows it doesn't have to be this way. From the age of two Camilla dreamed of being a dancer, and now she is an internationally renowned dancer, life coach and much-admired motivational speaker. Drawing on her own experiences of relentless hard work, heartache and international success, Camilla offers inspiring ways of achieving your ambitions through positivity and action. Transform your mindset with easily applicable tools and exercises. Find inspiration through Camilla's own experiences and case studies. And apply simple, practical techniques to help you live your dreams and find lasting happiness. Dream, Believe, Succeed is the paperback edition of Strictly Inspirational, with a new chapter, 'My Journey Continues', sharing Camilla's growth since 2013, and brand-new tips on gratitude, flow and thriving through change.

Lighting Dance pioneers the discussion of the ability of lighting design to foreground shadow in dance performances. Through a series of experiments integrating light, shadow, and improvised dance movement, it highlights and analyses what it advances as an innovative expression of shadow in dance as an alternative to more conventional approaches to lighting design. Different art forms, such as painting, film, and dance pieces from Loie Fuller, the Russell Maliphant Dance Company, Elevenplay, Pilobolus, and the Tao Dance Theater served to inspire and contextualise the study. From lighting to psychology, from reviews to academic books, shadows are examined as a symbolic and manipulative entity. The book also presents the dance solo Sombreiro, which was created to echo the experiments with light, shadow, and movement aligned to an interpretation of cultural shadow (Jung 1954, in Samuels, Shorter, and Plaut 1986; Casement 2006; Ramos 2004; Stein 2004; and others). The historical development of lighting within dance practices is also outlined, providing a valuable resource for lighting designers, dance practitioners, and theatre goers interested in the visuality of dance performances.