Eurythmy is an art form that makes sounds visible. By incorporating zodiac gestures into their art, as indicated by Rudolf Steiner, eurythmists can draw on a deep connection between the earth and the cosmos. The zodiac, as representative of the whole cosmos, is a vital part of human spirituality, acting as the backdrop to human life. But it can be hard to fathom the zodiac's secrets, even through meditation. Barfod draws a parallel between meditative exercises and eurythmy practice, and shows how zodiac gestures in eurythmy can reveal cosmic insights. This is a book for eurythmy teachers and practitioners who want to deepen their art and spiritual work.

Music, Dance, and Drama in Early Modern English Schools is the first book to systematically analyze the role that the performing arts played in English schools after the Reformation. Although the material record is riddled with gaps, Amanda Eubanks Winkler sheds light on the subject through an innovative methodology that combines rigorous archival research with phenomenological and performance studies approaches. She organizes her study around a series of performance-based questions that demonstrate how the schoolroom intersected with the church, the court, the domicile, the concert room, and the professional theater, which allows her to provide fresh perspectives on well-known canonical operas performed by children, as well as lesser-known works. Eubanks Winkler also interrogates the notion that performance is ephemeral, as she considers how scores and playtexts serve as a conduit between past and present, and demonstrates the ways in which pedagogical performance is passed down through embodied praxis.

A facsimile reprint of the second edition published in Paris, 1780. Malpied's instructional manual describes Baroque dance steps and their correlation with music using the notation system published by Raoul-Auger Feuillet in 1700. Additionally, the manual contains information on the minuet and also provides an extensive discussion on hand and arm positions. Malpied's Trait is also important in that it describes, for the first time, the five positions for the arms, in conjunction with the five position of the feet. The work also notes detailed treatment of the arms, hands and fingers. Malpied's method shows a marked advance on the work of Feuillet and Rameau in the simplification of the recording of dance steps, and his book is noted for the simplification and clarification of the Feuillet method.

He sang and danced in the rain, proclaimed New York to be a wonderful town, and convinced a group of Parisian children that they had rhythm. One of the most influential and respected entertainers of Hollywood's golden age, Gene Kelly revolutionized film musicals with his innovative and timeless choreography. A would-be baseball player and one-time law student, Kelly captured the nation's imagination in films such as Anchors Aweigh (1945), On the Town (1949), An American in Paris (1951), and Singin' in the Rain (1952). In the first comprehensive biography written since the legendary star's death, authors Cynthia Brideson and Sara Brideson disclose new details of Kelly's complex life. Not only do they examine his contributions to the world of entertainment in depth, but they also consider his political activities -- including his opposition to the Hollywood blacklist. The authors even confront Kelly's darker side and explore his notorious competitive streak, his tendency to be a taskmaster on set, and his multiple marriages. Drawing on previously untapped articles and interviews with Kelly's wives, friends, and colleagues, Brideson and Brideson illuminate new and unexpected aspects of the actor's life and work. He's Got Rhythm is a balanced and compelling view of one of the screen's enduring legends.

John W. Bubbles was the ultimate song-and-dance man. A groundbreaking tap dancer, he provided inspiration to Fred Astaire, Eleanor Powell, and the Nicholas Brothers. His vaudeville team Buck and Bubbles captivated theater audiences for more than thirty years. Most memorably, in the role of Sportin' Life he stole the show in the original production of Gershwin's Porgy and Bess, in the process crafting a devilish alter ego that would follow him through life. Coming of age with the great jazz musicians, he shared countless stages with the likes of Duke Ellington, Cab Calloway, and Ella Fitzgerald. Some of his disciples believed his rhythmic ideas had a formative impact on jazz itself. In later years he made a comeback as a TV personality, revving up the talk shows of Steve Allen and Johnny Carson and playing comic foil to Bob Hope, Judy Garland, and Lucille Ball. Finally, after a massive stroke ended his dancing career, he made a second comeback-complete with acclaimed performances from his wheelchair-as a living legend inspiring a new generation of entertainers. His biggest obstacle was the same one blocking the path of every other Black performer of his time: unrelenting, institutionalized racism. Yet Bubbles was an entertainer of the old school, fierce and indestructible. In this compelling and deeply researched biography, his dramatic story is told for the first time.

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.

Meet Bruno Tonioli--"Strictly Come Dancing" judge, wildcat choreographer, and stardust magnet. With his irrepressible personality and Italian exuberance, Bruno has become a TV sensation, settling the fate of Britain's ballroom hopefuls during the nation's favorite Saturday night show. Bruno's journey is mind-blowing. He fled from home at eighteen to join the dance company La Grande Eugene and traveled around Europe; he later coached the actress Goldie Hawn as a dance instructor, and orchestrated lavish productions for TV, film, and pop videos, where he worked alongside The Rolling Stones, Freddie Mercury, Duran Duran, and Tina Turner. Along the way Bruno has tangoed with high fashion, performed the cha cha cha with untameable pop vixens Bananarama, and danced an emotional waltz with bereavement and breakdown before settling in the perfect location--a seat on the judging panel of "Strictly Come Dancing," where he wowed the nation at home and in Hollywood with his passion for dance and an excitable turn of phrase. "My Story" tears away the glittery wrapping of this most exuberant and loveable of TV stars. Strap yourselves in for a wild and sexy ride with more frills than Versailles.

This book explores the potential of movement as a means of eliciting conflict transformation and unfolding peace at the intrapersonal and relational levels. It examines how peace and dance have been related in different cultures and investigates embodied ways to creatively tap the energies of conflicts, inspiring possibilities of transformation and new dynamics in relationships. Drawing on Wolfgang Dietrich's Many Peaces theory, the book discusses how different expressions of dance have been connected to different interpretations of peace and strategies for transformation. Delving into elicitive approaches to conflict transformation, the book develops an innovative framework for applying movement as an elicitive method, which it vividly presents through the author's own experiences and interviews with participants in workshops. Given its scope, the book will appeal to scholars, practitioners and artists working at the nexus of peace, conflict transformation and the arts.

Dancing Women: Female Bodies Onstage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective. Setting the creation of specific dances in socio-political and cultural contexts, Sally Banes shows that choreographers have created representations of women that are shaped by - and that in part shape - society's continuing debates about sexuality and female identity.
Broad in its scope and compelling in its argument Dancing Women:
* provides a series of re-readings of the canon, from Romantic and Russian Imperial ballet to contemporary ballet and modern dance
* investigates the gaps between plot and performance that create sexual and gendered meanings
* examines how women's agency is created in dance through aspects of choreographic structure and style
* analyzes a range of women's images - including brides, mistresses, mothers, sisters, witches, wraiths, enchanted princesses, peasants, revolutionaries, cowgirls, scientists, and athletes - as well as the creation of various women's communities on the dance stage
* suggests approaches to issues of gender in postmodern dance
Using an interpretive strategy different from that of other feminist dance historians, who have stressed either victimization or celebration of women, Banes finds a much more complex range of cultural representations of gender identities.

This book locates the philosophy of Ubuntu as the undergirding framework for indigenous dance pedagogies in local communities in Uganda. Through critical examination of the reflections and practices of selected local dance teachers, the volume reveals how issues of inclusion, belonging, and agency are negotiated through a creatively complex interplay between individuality and communality. The analysis frames pedagogies as sites where reflective thought and kinaesthetic practice converge to facilitate ever-evolving individual imagination and community innovations.

This book offers a set of eleven discipline-specific chapters from across the arts, humanities, psychology, and medicine. Each contributor considers the creative potential of error and/or ambiguity, defining these terms in the particular context of that discipline and exploring their values and applications. Themes include error in choreography, poetry, media art, healthcare, psychology, critical typography and mixed reality performance. The book emerges from a core question of how dance research and HCI can inform each other through consideration of error, ambiguity and 'messiness' as methodological tools. The digital age had heralded the possibility that error could be eradicated by the logic of computers but several chapters focus on glitch in arts practices that exploit errors in computer programmes, or even create programmes specifically to produce errors. Together, the chapters explore how error can take us somewhere different or somewhere new, to develop a new, more interesting way of working.

This transdisciplinary study scientifically reports the way the established contemporary dance sector in Europe operates from a micro-perspective. It provides a dance scholarly and sociological interpretation of its mechanisms by coupling qualitative data (interview material, observations, logbooks, and dance performances) to theoretical insights. The book uncovers the sometimes contradicting mechanisms related to the precarious project-oriented labor and art market that determine the working and living conditions of contemporary dance artists in Europe's dance capitals Brussels and Berlin. In addition, it examines how these working and living conditions affect the work process and outcome. From a sociological perspective, the book engages with the relevant contemporary social issue of precarity and this within the much-at-risk professional group of contemporary dance artists. In this regard, the research brings novelty within the subject area, particularly by employing a unique methodological approach. Although the research is initially set up in a specific geographical context and within a specific research population, the book offers insights into issues that affect our neoliberal society at large. The research findings show potential to make a relevant contribution with regards to precarity within dance studies and performance studies, but also labor studies and cultural sociology.

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.

This book offers a comprehensive overview of electronic dance music (EDM) and club culture. To do so, it interlinks a broad range of disciplines, revealing their (at times vastly) differing standpoints on the same subject. Scholars from such diverse fields as cultural studies, economics, linguistics, media studies, musicology, philosophy, and sociology share their perspectives. In addition, the book features articles by practitioners who have been active on the EDM scene for many years and discuss issues like gender and diversity problems in general, and the effects of gentrification on club culture in Berlin. Although the book's main focus is on Berlin, one of the key centers of EDM and club culture, its findings can also be applied to other hotspots. Though primarily intended for researchers and students, the book will benefit all readers interested in obtaining an interdisciplinary overview of research on electronic dance music.

This magnificent new biography of the extraordinary impresario of the arts and creator of the Ballets Russes 100 years ago draws on important new research, notably from Russia. 'Scheijen masterfully recounts the phenomenal way in which Diaghilev contrived, under virtually impossible circumstances, to nurture a sequence of works ... he triumphs in making clear the degree to which, despite the cosmopolitanism of so much of the work, Russia was at the core of Diaghilev' Simon Callow, Guardian 'It's a fabulous, complicated, very sexy story and Sjeng Scheijen takes us through it with a steadying calm that fudges none of the outrage on or off stage' Duncan Fallowell, Daily Express 'Magnificent ... filled with extraordinary glamour' Rupert Christiansen, Daily Mail

This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a "South-South" axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of "tradition" and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different "global stage," the argument widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice. Winner of the 2022 Oscar G. Brockett Prize for Dance Research

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.

This detailed portrait of George Balanchine presents new approaches to his choreography. The book examines Balanchine from diverse perspectives and discusses unexplored aspects of his work, such as the notion of Balanchine as an architect, and his experiments with the African-American dance tradition. The articles complement and reinforce each other, taking interdisciplinary perspectives and encouraging a reexamination of, and expansion of, existing opinions.

This visually stunning publication celebrates a unique collaboration between two of the UK's leading cultural institutions, the National Gallery and The Royal Ballet. Together they commissioned three contemporary artists - Chris Ofili, Conrad Shawcross and Mark Wallinger - to work with international choreographers and composers to create three new ballets inspired by Titian's paintings Diana and Actaeon, The Death of Actaeon and Diana and Callisto. As well as designing all the sets and costumes, the artists also produced entirely new works in response to Titian's masterpieces 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, installations and production work, and 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. All three creative teams offer through interviews and personal statements their own reflections on the project and on working with very different art forms. An introduction by National Gallery curator and originator of the project, Minna Moore Ede, explains how it came to fruition and how both aspects of the collaboration unfolded. A foreword by Dame Monica Mason, outgoing director of The Royal Ballet, completes the volume.

In dieser Studie stellt der Autor Fausts Werdegang vom Gelehrten zum OEkonomen, Landesplaner und Unternehmer dar und zeigt durch die innovative "geographische Deutung" des funften Akts, inwiefern durch Fausts Neulandgewinnung eine bluhende Kulturlandschaft hat entstehen koennen. Bislang bestand in der Faust-Forschung weitgehend Konsens daruber, dass Faust am Ende des Dramas ein Egomane und ein Illusionist ist und dass dessen Neulandprojekt scheitern wird. Der Autor zeigt hier, dass ganz im Gegenteil Fausts wirtschaftliches Wirken und damit sein ganzes Leben (trotz so mancher Schattenseiten) von Erfolg gekroent ist. Durch diese neue Sichtweise weist das Buch den Weg zu einem positiven Faust-Bild.

Rich in satire, Monique Mojica's critique of the misrepresentation of Indigenous women in American myth, literature, and documentary confronts a longstanding history of sexual violence and condemns colonial traditions that represent Indigenous women as little more than creators and healers. Since it was first published in 1991, Princess Pocahontas and the Blue Spots has become a classic in Canadian theatre and is still widely studied at universities and colleges around the world. The remarkable CBC radio play Birdwoman and the Suffragettes: A Story of Sacajawea is also included.

Molissa Fenley, one of the most influential artists of postmodern dance, has had a lasting impact on performance. In dance, she has explored extreme effort and duration in highly crafted patterns and performed with an explosive, joyous energy that infused her work with endurance, balance, and life force. She challenged modern dance orthodoxy and redefined the character of a woman's moving body in the late twentieth century, bringing postmodernized ritual to the stage.
"Rhythm Field" is a vivid and probing portrait of Fenley's four-decade career, written by her fellow artists. The collection functions as a multifaceted look into one woman's complex performing arts legacy. The result is itself an aesthetic undertaking that investigates the ways in which Fenley straddles dance traditions, art genres, and gender norms and has been a model to the field. The collection offers several scholarly analyses of the choreographer's work, and is, above all, a vibrant record from the field. "Rhythm Field" sits at a necessary midpoint between criticism and scholarship.