Tarantella, a genre of Southern Italian folk music and dance, is an international phenomenon--seen and heard in popular festivals, performed across the Italian diaspora, even adapted for New Age spiritual practices. The boom in popularity has diversified tarantella in practice while setting it within a host of new, unexpected contexts. Incoronata Inserra ventures into the history, global circulation, and recontextualization of this fascinating genre. Examining tarantella's changing image and role among Italians and Italian Americans, Inserra illuminates how factors like tourism, translation, and world music venues have shifted the ethics of place embedded in the tarantella cultural tradition. Once rural, religious, and rooted, tarantella now thrives in settings urban, secular, migrant, and ethnic. Inserra reveals how the genre's changing dynamics contribute to reimagining Southern Italian identity. At the same time, they translate tarantella into a different kind of performance that serves new social and cultural groups and purposes. Indeed, as Inserra shows, tarantella's global growth promotes a reassessment of gender relations in the Italian South and helps create space for Italian and Italian-American women to reclaim gendered aspects of the genre.

This book explores Black British dance from a number of previously-untold perspectives. Bringing together the voices of dance-artists, scholars, teachers and choreographers, it looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture. It challenges the presumption that Blackness, Britishness or dance are monolithic entities, instead arguing that all three are living networks created by rich histories, diverse faces and infinite future possibilities. Through a variety of critical and creative essays, this book suggests a widening of our conceptions of what British dance looks like, where it appears, and who is involved in its creation.

'Packed end to end with ways to see the world in new ways' Mike Krieger, cofounder, Instagram 'Designed to spark creativity, help solve problems, foster connection and make our lives better' Gretchen Rubin 'Navigate today's world with agility, resilience and imagination' Lorraine Twohill, CMO, Google What do they teach you at the most prestigious design school in the world? For the first time, you can find out. This highly-visual guide brings to life the philosophies of some of the d.school's most inventive and unconventional minds, including founder David Kelley, Choreographer Aleta Hayes and Google Chief Innovation Evangelist Frederik Pferdt and more. Creative Acts for Curious People is packed with ideas about the art of learning, discovery and leading through creative problem solving. With exercises including: - 'Expert Eyes' to test your observation skills - 'How to Talk to Strangers' to foster understanding - 'Designing Tools for Teams' to build creative leadership Revealing the hidden dynamics of design, and delving inside the minds of the profession's most celebrated thought-leaders, this definitive guide will help you live up to your creative potential.

When World War II was over, a young bomber pilot with an itch for movement and action hung up his cap and learned another way to fly. Onstage with Martha Graham is the story of Stuart Hodes, a versatile and influential dancer who got his start with Martha Graham, an icon of modern dance. His memoir is a rare firsthand view of the dance world in the 1940s and through the end of the twentieth century.One of the few male dancers in Graham's company-and in the New York dance scene at the time-Hodes offers a unique perspective and a one-of-a-kind narrative. He describes how he fell into the art by chance, happening to walk into Graham's studio one day. He was soon hooked. He documents his experiences, travels, passions, and loves while learning from and performing with Graham, during which time he saw most of the United States, much of Europe, and some of Asia. Advancing quickly, he eventually danced as Graham's partner in Appalachian Spring, Deaths and Entrances, Every Soul Is a Circus, and Errand into the Maze.In his portrait of Martha Graham, who was the center of his dancing world, Hodes recounts conversations, revelations, bouts of temper and creativity, the daily ritual of deeply physical dancing, and the never-ending search for artistic validity. Direct, often humorous, and always authentic, Hodes shares his delight in dance as both hard work and a fantastic adventure.

Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period and explores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius. The volume is divided into two parts: while the second part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of cultural expression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not only to the highly encoded genre of pantomime, which dominated the stage in the Roman Empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volume defends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.

This book illuminates the relationship between philosophy and experimental choreographic practice today in the works of leading European choreographers. A discussion of key issues in contemporary performance from the viewpoint of Deleuze, Spinoza and Bergson is accompanied by intricate analyses of seven groundbreaking dance performances.

Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.

Ten international dramaturg-scholars advance proposals that reset notions of agency in contemporary dance creation. Dramaturgy becomes driven by artistic inquiry, distributed among collaborating artists, embedded in improvisation tasks, or weaved through audience engagement, and the dramaturg becomes a facilitator of dramaturgical awareness.

A far-reaching examination of exoticism, cultural internationalism and modernism's encounters with Indonesian tradition, Performing Otherness examines how Indonesia entered world stages through imperialism as an antimodern phantasm and through nationalism became a means of intercultural communication and cultural diplomacy.

Belle-epoque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.

Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act of every opera - is essential to understanding the work. The book considers the operas of Lully - his lighter works as well as his tragedies - and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Academie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera.

This is the first authorized biography of four twentieth-century American Indian ballerinas: Marjorie Tallchief, Rosella Hightower, Marjorie Tallchief, and Yvonne Chouteau. Each grew up in Oklahoma during the 1920s and 1930s and went on to achieve international fame. Lili Cockerille Livingston, who worked with all four ballerinas during her own career as a dancer, draws upon her extensive interviews with the women to bring their stories to life while also shedding new light both on the development of New York City Ballet, American Ballet Theatre, and the now-defunct Harkness Ballet and Grand Ballet du Marquis de Cuevas.

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.

"Teaching Dance as Art in Education" is a comprehensive introductory textbook that helps dance education majors and dance specialists understand and incorporate the aesthetic foundations of educational dance in grades K-12. Unlike other models of teaching dance, this book delineates what a standards-oriented, aesthetically driven program should encompass for both the dance specialist and his or her K-12 students.

"Teaching Dance as Art in Education" fosters an understanding of dance as arts education and defines the dance specialist's roles and responsibilities, including how the national arts initiatives and student-centered inquiry affect the teaching of dance. It explains how to advance student growth in the areas most critical to teaching dance: the physical, mental, artistic, and social. Content is delineated through four cornerstones of dance as art in education:

-Dancing and performing

-Creating and composing

-Knowing history, culture, and context

-Analyzing and critiquingThese cornerstones are subsequently integrated into the K-12 Dance Cornerstone Curriculum Framework, which enables dance specialists to develop substantive and sequential dance experiences for students as they progress from kindergarten through grade 12. The framework distills all the skills and concepts that dance specialists need, including developmental expectations for different ages.

"Teaching Dance as Art in Education" also presents a new instructional approach, the Eight-Step Plan, that facilities integration of all four dance education cornerstones into each unit to make the lessons more coherent. Further, the many features in the textbook help dance specialists become aware of not only their unique roles and responsibilities when teaching educational dance but also how to develop an arts-oriented, professional teaching portfolio.

The following user-friendly features are interwoven throughout the book:

-Reflect and Respond: Case studies, or scenarios, invite the reader to consider an issue or situation and develop a response.

-Questions to Ponder: Thought-provoking questions at the end of each chapter help readers extend and apply chapter concepts.

-Rich Resources: Suggested resources, such as books, videos, and Web sites, supplement the topics covered in the chapter.

-Notebook or Portfolio: Practical exercises to complete, record, and compile into an arts-oriented teaching portfolio are useful for future job interviews.

-Inspirational Quotes: Selected quotes from famous dancers, choreographers, and teachers support the topics covered."Teaching Dance as Art in Education" reveals how to meet the National Standards in Dance Education without being driven by them, and it goes one step further--it marries dance with arts education in a way that makes teaching educational dance clear and distinct.

Examining corporeal expressions of indigenousness from an historical perspective, this book highlights the development of cultural hybridity in New Zealand via the popular performing arts, contributing new understandings of racial, ethnic, and gender identities through performance. The author offers an insightful and welcome examination of New Zealand performing arts via case studies of drama, music, and dance, performed both domestically and internationally. As these examples show, notions of modern New Zealand were shaped and understood in the creation and reception of popular culture. Highlighting embodied indigenous cultures of the past provides a new interpretation of the development of New Zealand's cultural history and adds an unexplored dimension in understanding the relationships between M?ori (indigenous New Zealander) and P?keh? (non-M?ori) throughout the late nineteenth and into the early twentieth centuries.

The arts have a crucial role in empowering young people with special needs through diverse dance initiatives. Inclusive pedagogy that integrates all students in rich, equitable and just dance programmes within education frameworks is occurring alongside enabling projects by community groups and in the professional dance world where many high-profile choreographers actively seek opportunities to work across diversity to inspire creativity. Access and inclusion is increasingly the essence of projects for disenfranchised and traumatised youth who find creative expression, freedom and hope through dance. This volume foregrounds dance for young people with special needs and presents best practice scenarios in schools, communities and the professional sphere. International perspectives come from Australia, Brazil, Cambodia, Canada, Denmark, Fiji, Finland, India, Indonesia, Jamaica, Japan, Malaysia, New Zealand, Norway, Papua New Guinea, Portugal, Singapore, South Africa, Spain, Taiwan, Timor Leste, the UK and the USA.

Sections include:

inclusive dance pedagogy

equality, advocacy and policy

changing practice for dance education

community dance initiatives

professional integrated collaborations

Table of Contents



0. Prelims

i. List of contributors

ii. Acknowledgement

iii. Introduction

1.Inclusive dance pedagogy

Chapters

1.1 Making no difference: inclusive dance pedagogy (Sarah Whatley and Kate Marsh)

1.2 Developing inclusive dance pedagogy: dialogue, activism and aesthetic transformative learning (Tone Pernille Østern)



Case narratives

1.3 Beyond technique: diversity in dance as a transformative practice (Phillip Channells)

1.4 Exploring the relationship between dance and disability: a personal journey (Jackie Prada)



1.5 “Sowing dance” body movement for children from six months to three years old: the experience in Mesquita, Brazil (Luciana Veiga)

1.6 Dance for children with dyspraxia: the impact of Royal Academy of Dance, London, projects (Lesley Ovenden)

2.Equality, advocacy and policy

Chapters

2.1 Values and principles shaping community dance (Ralph Buck and Barbara Snook)

2.2 The Ugly Duckling: stories of dance and disability from Denmark and South Africa (Gerard M. Samuel)

2.3 Dance, education and participation: the “Planters” project in Girona, Spain (Gemma Carbó Ribugent)

Case narratives

2.4 Building identity through dance: exploring the influence of dance for individuals with special needs (Nicole J. Reinders)

2.5 Encountering and embodying difference through dance: reflections on a research project in a primary school in Finland (Liisa Jaakonaho)

2.6 New spaces for creativity and action: recent developments in the Applied Performing Arts in Barcelona (Jordi Baltà, Eva Garcia and Raimon Àvila)

3. Changing practice for dance education

Chapters

3.1 Making change: the identification and development of talented young dancers with disabilities (Imogen Aujla, Emma Redding and Veronica Jobbins)

3.2 Reflections from a/r/tography: perspectives to review creative activities with special needs children (Chung-Shiuan Chang and Shu-Hwa Jung)

3.3 Learning in action: intersecting approaches to teaching dance in Timor-Leste and Australia (Kym Stevens and Avril Huddy)

Case narratives

3.4 Exploring disability and dance: a Papua New Guinean experience (Naomi Faik-Simet)



3.5 ASEAN Para Games 2015: dancing for inclusivity (Filomar Cortezano Tariao)

3.6 Dancing partners

dancing peers: a wheelchair dance collaborative (Miriam Giguere and Rachel Federman-Morales)

4. Community dance initiatives

Chapters

4.1 Dance and affect: re-connecting minds to bodies of young adult survivors of violence in India (Urmimala Sarkar Munsi)

4.2 Digital stories: three young people’s experience in a community dance class (Sue Cheesman and Elaine Bliss)

4.3 Community initiatives for special needs dancers: an evolving ecology in Singapore (Stephanie Burridge)

Case narratives

4.4 Celebrating diversity: a Jamaican story (Carolyn Russell Smith)

4.5 “I Can… “: a Cambodian inclusive arts project (Laura Evans)

4.6 Learning together through dance: making cultural connections in Indonesia (Gianti Giadi)

4.7 From the ground up: a Portuguese dance education collaboration with regional communities (Madalena Victorino in conversation with Annie Greig)

5. Professional integrated collaborations

Chapters

5.1 Pulling back from being together: an ethnographic consideration of dance, digital technology and hikikomori in Japan and the UK (Adam Benjamin)

5.2 Freefalling with ballet (David Mead)

5.3 Troubling access and inclusion: a phenomenological study of children’s learning opportunities in artistic-educational encounters with a professional contemporary dance production (Charlotte Svendler Nielsen)

Case narratives

5.4 Dancing in wheelchairs: a Malaysian story (Leng Poh Gee and Anthony Meh Kim Chuan)

5.5 “Twilight”: connection to place through an intergenerational multi-site dance project (Cheryl Stock)

5.6 Navi’s story: access to collective identity through intercultural dance in the Fiji Islands (Sachiko Soro)

5.7 The value of extended residencies conducted by Restless Dance Theatre in schools 2014-2015 (Nick Hughes, Michelle Ryan and India Lennerth)

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1925-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

A fascinating demonstration of how U.S. representations of veils, harems, and belly dancers have operated as nostalgic and exotic symbols to help rationalize dominant U.S. narratives about power and progress.

For premodern audiences, poetic form did not exist solely as meter, stanzas, or rhyme scheme. Rather, the form of a poem emerged as an experience, one generated when an audience immersed in a culture of dance encountered a poetic text. Exploring the complex relationship between medieval dance and medieval poetry, Strange Footing argues that the intersection of texts and dance produced an experience of poetic form based in disorientation, asymmetry, and even misstep. Medieval dance guided audiences to approach poetry not in terms of the body's regular marking of time and space, but rather in the irregular and surprising forces of virtual motion around, ahead of, and behind the dancing body. Reading medieval poems through artworks, paintings, and sculptures depicting dance, Seeta Chaganti illuminates texts that have long eluded our full understanding, inviting us to inhabit their strange footings askew of conventional space and time. Strange Footing deploys the motion of dance to change how we read medieval poetry, generating a new theory of poetic form for medieval studies and beyond.

When it was first published in Germany in 1995, Poetics of Dance was already seen as a path-breaking publication, the first to explore the relationships between the birth of modern dance, new developments in the visual arts, and the renewal of literature and drama in the form of avant-garde theatrical and movement productions of the early twentieth-century. Author Gabriele Brandstetter established in this book not only a relation between dance and critical theory, but in fact a full interdisciplinary methodology that quickly found foothold with other areas of research within dance studies. The book looks at dance at the beginnings of the 20th century, the time during which modern dance first began to make its radical departure from the aesthetics of classical ballet. Brandstetter traces modern dance's connection to new innovations and trends in visual and literary arts to argue that modern dance is in fact the preeminent symbol of modernity. As Brandstetter demonstrates, the aesthetic renewal of dance vocabulary which was pursued by modern dancers on both sides of the Atlantic - Isadora Duncan and Loie Fuller, Valeska Gert and Oskar Schlemmer, Vaslav Nijinsky and Michel Fokine - unfurled itself in new ideas about gender and subjectivity in the arts more generally, thus reflecting the modern experience of life and the self-understanding of the individual as an individual. As a whole, the book makes an important contribution to the theory of modernity.