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 volume explores the prehistoric beginnings of Chinese art and its development during the Xia, Shang, and Zhou Dynasties. It analyses the conditions of the emergence of Chinese art and its transformation of form, content and function throughout the Three Dynasties, a historical period marked by important changes in the social and cultural Chinese landscape. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

This volume covers Chinese art during the reign of the Sui and Tang Dynasties during which the various disciplines of plastic and performing arts all entered a stage of unprecedented prosperity and development. It also traces new explorations in calligraphy, painting, and mural art and highlights architectural achievements during the historic period. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

This volume examines the progress of Chinese art during the time period of the Five Dynasties, Northern and Southern Song, Liao, Western Xia, Jin Dynasties as well as the Yuan Dynasty. A special focus lies on the analysis of cultural policies adopted during the reign of the respective dynasties and their effects on the development of dance, court music and drama. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

This volume investigates the artistic development during the Qing Dynasty, the last of imperial Chinese dynasties, and shows the importance of opera and playwriting during this time period. Further analysis is dedicated to the development of scroll painting and the revival of calligraphy and seal carving. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

This book is a perceptive and critical account of the first 75 years of The Royal Ballet, tracing the company's growth, and its great cultural importance - an indispensable book for all lovers of ballet. In 1931, Ninette de Valois started a ballet company with just six dancers. Within twenty years, The Royal Ballet - as it became - was established as one of the world's great companies. It has produced celebrated dancers, from Margot Fonteyn to Darcey Bussell, and one of the richest repertoires in ballet. The company danced through the Blitz, won an international reputation in a single New York performance and added to the glamour of London's Swinging Sixties. It has established a distinctive English school of ballet, a pure classical style that could do justice to the 19th-century repertory and to new British classics. Leading dance critic, Zoe Anderson, vividly portrays the extraordinary personalities who created the company and the dancers who made such an impact on their audiences. She looks at the bad times as well as the good, examining the controversial directorships of Norman Morrice and Ross Stretton and the criticism fired at the company as the Royal Opera House closed for redevelopment.

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.

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.

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.

Ballet is a paradox: much loved but little studied. It is a beautiful fairy tale; detached from its origins and unrelated to the men and women who created it. Yet ballet has a history, little known and rarely presented. These great works have dark sides and moral ambiguities, not always nor immediately visible. The daring and challenging quality of ballet as well as its perceived ???safe??? nature is not only one of its fascinations but one of the intriguing questions to be explored in this Companion. The essays reveal the conception, intent and underlying meaning of ballets and recreate the historical reality in which they emerged. The reader will find new and unexpected aspects of ballet, its history and its aesthetics, the evolution of plot and narrative, new insights into the reality of training, the choice of costume and the transformation of an old art in a modern world.

Arsenio Rodr\u00edguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. Garc\u00eda examines Rodr\u00edguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. Garc\u00eda recounts Rodr\u00edguez's battle for recognition at the height of \u0022mambo mania\u0022 in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodr\u00edguez and the Transnational Flows of Latin Popular Music follows Rodr\u00edguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. Garc\u00eda focuses on the roles that race, identity, and politics played in shaping Rodr\u00edguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.

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.

This book provides insight into how flamenco travels, the forms it assumes in new locales, and the reciprocal effects on the original scene. Utilising a postnational approach to cultural identity, Martin explores the role of non-native culture brokers in cultural transmission. This concept, referred to as 'cosmopolitan human hubs', builds on Kiwan and Meinhof's 'hubs' theory of network migration to move cultural migration and globalisation studies forwards. Martin outlines a post-globalisation flamenco culture through analysis of ethnographic research carried out in the UK, Sevilla and Madrid. Insight into these glocal scenes characterises flamenco as a historically globalized art complex, represented in various hubs around the world. This alternative approach to music migration and globalisation studies will be of interest to students and scholars across leisure studies, musicology, sociology and anthropology.

DANCER OFF HER FEET is an incredible true story that stands as an irrefutable witness to God's power to heal people both physically and spiritually. It has inspired and encouraged many thousands of people since its first publication in 1991. This edition contains a foreword written twelve years on, which brings Julie's story up to date and details the highs and lows she has since experienced.For three years, former ballet dancer Julie Sheldon was stricken with the neurological disease Dystonia, and her life hung in the balance. Crippled, enduring fierce muscle spasms, she was in intensive care when Canon Jim Glennon prayed for her. 'A corner was turned after that visit in June 1989, and by July I was out of hospital. In August I was out of the wheelchair and off crutches for good, and in September off all drugs. All the time there was this conviction of total healing, not just of the body but of the mind and spirit as well.'The news hit press headlines and amazed doctors: 'Julie has made a miraculous recovery,' said a professor of neurology. Julie herself would say, along with family and friends, that God has done a great deal more even than that.

This book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in tongues (glossolalia). Research for this work is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers (1931), Mark Godden's Angels in the Architecture (2012), Martha Clarke's Angel Reapers (2015) and Ralph Lemon's Geography trilogy (2005). The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process.

The first monograph on the work of British choreographer Jonathan Burrows, this book examines his artistic practice and poetics as articulated through his choreographic works, his writings and his contributions to current performance debates. It considers the contexts, principles and modalities of his choreography, from his early pieces in the 1980s to his latest collaborative projects, providing detailed analyses of his dances and reflecting on his unique choreomusical partnership with composer Matteo Fargion. Known for its emphasis on gesture and humour, and characterised by compositional clarity and rhythmical patterns, Burrows' artistic work takes the language of choreography to its limits and engages in a paradoxical, and hence transformative, relationship with dance's historical and normative structures. Exploring the ways in which Burrows and Fargion's poetics articulates movement, performative presence and the collaborative process in a 'minor' register, this study conceptualises the work as a politically compelling practice that destabilises major traditions from a minoritarian position.

(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.

This cornerstone of the World of Art series is a succinct, vivid and authoritative guide to the rich history of western dance in all its incarnations from 16th-century court ballet to the genre-shattering contortions of 21st-century theatrical dance. Updated for the new millennium to feature the latest styles, performers and technology, this third edition reaffirms its status as the essential introduction to the subject.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Dancers experience pain, joy, frustration, rapture, failure, applause, and are above the worldly concerns of food, money, and financial security. They live only to dance.

Or do they?

The reality is dancers of all ages, types, and skill levels often experience incredible physical and psychological stress and have traditionally bore their pain in stoic silence.

In this much needed new book, Dance Magazine's Linda Hamilton offers dancers the same type of advice and understanding they have come to trust from her popular monthly column. Psychologist Hamilton--a former dancer with New York City Ballet under the legAndary George Balanchine--offers a complete resource for coping with the day to day pressures of being a dancer. Page after page is filled with the insight that can only come from a person who has been intimately involved in the world of dance.

Hamilton outlines strategies for dancers for dealing with a variety of common physical and psychological issues and shows how to be true to your passion and bring back the joy in dancing. The book is filled with answers to dancer's most often asked questions and offers practical methods for dealing with such difficult problems as eating disorders, substance abuse, ruthless competition, and performance anxiety. Advice for Dancers will teach you how to:

• Achieve you physical potential and select the dance technique that's right for you
• Find out which teaching practices you can trust and why
• Learn how to reach your optimal weight without compromising your energy, health, and career
• Develop healthy relationships both inside and outside the dance studio
• Use a variety of resources to get work, roles, and promotions
• Perform technical feats in front of an audience even when you are frightened

Advice for Dancers is a result of Hamiltion's extensive research and years clinical work with dancers and includes information for a survey of more that 1,000 dancers from across the country.

From the propulsive rhythm of the African dancer, to the swinging ragtime of the American jazz age, tap dancing has evolved into a unique blend of cultural expression, improvisation and creativity, open to all ages and abilities. With clear step-by-step instructions, The Essential Guide to Tap Dance covers basic steps such as the shuffle, pick up and paddle, before building these into traditional combinations such as the time step and shim sham. Additional material includes the history and development of tap dancing; rhythm and musicality; learning the language of tap dancing; the role of improvisation and choreography and finally, the basic steps to advanced techniques. This is the perfect companion to instruct the beginner tap dancer and expand the more experienced dancer's technique, offering full-colour pictures, helpful instruction and essential notes on this vibrant and accessible dance form.

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.

When Misty Copeland first placed her hands on the ballet barre at an after-school community centre, no one expected the undersized, underprivileged and anxious thirteen-year-old to become one of America's most groundbreaking dancers. A true prodigy, she was attempting in months roles that take most dancers years to master. But when Misty became caught between the control and comfort she found in the world of ballet and the harsh realities of her own life, she had to choose to embrace both her identity and her dreams, and find the courage to be one of a kind. In this instant New York Times bestseller, Misty Copeland tells the story of her historic journey to become the first African-American principal ballerina at the prestigious American Ballet Theatre. With an insider's passion, Misty opens a window into the life of an artist who lives life centre stage, from behind the scenes at her first classes to her triumphant roles in some of the world's most iconic ballets. Life in Motion is a story of passion, identity and grace for anyone who has dared to dream of a different life.

This book analyses the world-renowned Belgian choreographer's key approaches and dramaturgical strategies through selected case studies from his oeuvre between 2000 and 2010, from Rien de Rien to Babel(words). It investigates Cherkaoui's choreographic and dramaturgic interventions in debates on the nation, culture, religion and language, by emphasising the transcultural, transreligious and geopolitical dimensions of the dialogues and exchanges he explored during this initial decade. Engaged spectatorship refers to the ongoing thinking, talking, research and writing that the spectator is invited to do in order to fulfil the work's macro-dramaturgical potential to resist nationalism, populism and religious fundamentalism. The book meticulously explores Cherkaoui's rich, multi-layered theatrical imagery and aural landscapes to demonstrate the agile and ever-shifting interpretive acts the works elicit from their audiences. Offering a full-length analysis of Cherkaoui's work, the book is essential reading for students, researchers, practitioners and Cherkaoui fans.