Through seven key case studies from Khan's oeuvre, this book demonstrates how Akram Khan's 'new interculturalism' is a challenge to the 1980s western 'intercultural theatre' project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.

Here is the vibrant, colorful, high-stepping story of tap - the first comprehensive, fully documented history of a uniquely American art form, exploring all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of such contemporary tap luminaries as Gregory Hines, Brenda Bufalino, Dianne Walker, and Savion Glover. In Tap Dancing America, Constance Valis Hill, herself an accomplished jazz tap dancer, choreographer, and performance scholar, begins with a dramatic account of a buck dance challenge between Bill "Bojangles" Robinson and Harry Swinton at Brooklyn's Bijou Theatre, on March 30, 1900, and proceeds decade by decade through the 20th century to the present day. She vividly describes tap's musical styles and steps - from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the '20s, '30s and '40s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s right up to today. Tap was long considered "a man's game," and Hill's is the first history to highlight such outstanding female dancers as Ada Overton Walker, Kitty O'Neill, and Alice Whitman, at the turn of the 20th century, as well as the pioneering women composers of the tap renaissance, in the 70s and 80s, and the hard-hitting rhythm-tapping women of the millennium such as Chloe Arnold, Ayodele Casel, Michelle Dorrance, and Dormeshia Sumbry Edwards. Written with uncanny foresight, the book features dancers who have become international touring artists and have performed on Broadway, won Emmy and Tony Awards, and received the prestigious Dance Magazine, Adele and Fred Astaire, and Jacob's Pillow Dance awards. Presented with all the verve and grace of tap itself and drawing on eyewitness accounts of early performances as well as interviews with today's greatest tappers, Tap Dancing America fills a major gap in American dance history and places tap firmly center stage.

Modes of Explanation is the first book in decades to attempt to bring these conflicting approaches together and to offer a compelling narrative to explore how the paradox of 'explanation' can converge.

Salsa is both an American and transnational phenomenon, however women in salsa have been neglected. To explore how female singers negotiate issues of gender, race, and nation through their performances, Poey engages with the ways they problematize the idea of the nation and facilitate their musical performances' movement across multiple borders.

Dance has proliferated in movies, television, Internet, and retail spaces while the spiritual power of dance has also been linked with mass consumption. Walter marries the cultural studies of dance and the religious aspects of dance in an exploration of consumption rituals, including rituals of being persuaded to buy products that include dance.

Examining performers from the ancient Mediterranean world to the modern Islamic Middle East, including India and Pakistan, Shay explores the careers, artistic performances, and legacies of these individuals who were forced to produce entertainment and art for, and have sex with, any and all patrons.

Dance Ethnography and Global Perspectives presents the work of dance scholars whose professional fieldwork spans several continents and includes studies of the dance and movement systems of varied global communities.

While remapping the region by examining enduring historical and cultural connections, this study discusses multiple traditions and practices of theatre and performance in five South Asian countries within their specific political and socio-cultural contexts.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

Choreographic Dwellings: Practising Place offers new readings of the kinaesthetic experiences of site-specific and nomadic performance, parkour, installation and walking practices. It extends the remit of the choreographic by reframing the kinaesthetic qualities of place as action.

Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.

Ist die Stimme nur Toninstrument fur Sprache oder ist ihr Klang selbst signifikant? Wer spricht, was singt in einer Stimme? Welche Rolle spielt ihre Theatralisierung fur Subjekt-, Koerper- und Sprachkonzepte? Wie schafft Stimme Prasenz? Wie eine Signatur? Wie wird ein Ursprung der Stimme, wie Audiovision dramatisiert? Welchen Einfluss hat der Einsatz von Mikrofon, Lautsprecher, Sound-Design? Was bewirken Aufzeichnungstechnologien? Welche Rolle haben akusmatische Stimmen? Was kennzeichnet eine Ethik der Stimme, eine Stimm-Politik? Wie verhalt sich die poetische zur Autorenstimme? Auf solche Fragen antwortet dieser Band mit Analysen der Praxis von (experimentellem) Theater, Oper, Tanz, Medien, wie auch von poetisch strukturierten Texten, die performativ eine AEsthetik der Stimme entwerfen.

The effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographic works from being federally non-copyrightable to becoming a category potentially copyrightable under the 1976 Copyright Act, specifically examining Loie Fuller, George Balanchine, and Martha Graham.

Whether you're an absolute beginner or a Strictly Come Dancing wannabe, it's time to get up and dance Craig Revel Horwood's Ballroom Dancing gives you the confidence you need to take your first steps on the dancefloor. It even includes style tips from the style guru, Len Goodman, to give you that professional look. Discover the history, foot positions, turns, and more, to all your favourite Strictly dances: * Waltz * Social foxtrot * Quickstep * Tango * Rumba * Samba * Cha cha cha * Jive Ballroom dancing is totally cool, funky, and fantastically rewarding. What better way to get fit than tangoing your tension away, and foxtrotting the fat off your thighs? Happy dancing.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

Balanchine and the Lost Muse is a dual biography of the early lives of two key figures in Russian ballet, in the crucial time surrounding the Russian revolution: famed choreographer George Balanchine and his close childhood friend, ballerina Liidia (Lidochka) Ivanova. Tracing the lives and friendship of these two dancers from years just before the 1917 Russian Revolution to Balanchine's escape from Russia in 1924, author Elizabeth Kendall sheds new light on a crucial flash point in the history of ballet-one where politics and art meet in legendary St. Petersburg, both culture and nation struggling to reconfigure themselves in the wake of the birth of modern Russia. Drawing upon extensive archival research, Kendall weaves a fascinating tale of this crucial period in the life of the man who would ultimately go on to be the most influential choreographer in modern ballet. Abandoned by his mother on the steps of the St. Petersburg Imperial Ballet Academy in 1913 at the age of nine, Balanchine spent his formative years studying the art of dance in Russia's tumultuous capital city. It was there, as he struggled to support himself while studying and performing ballet, where Balanchine met Ivanonva, the first dancer with whom he would ever compose and dance. A talented and bold dancer who grew close to the Bolshevik elite in her adolescent years, Ivanova was a source of great inspiration to Balanchine-both during their youth together, and later in life, after her tragic and mysterious death just days before she had planned to leave Russia with Balanchine and their friends in 1924. Although he would have a great number of muses, many of them lovers, the dark beauty of his dear friend Lidochka haunted much of his work for years to come. Part biography and part urban cultural history, Balanchine and the Lost Muse presents a sweeping account of the heyday of modern ballet and the culture at the heart of the unmoored ideals, futuristic visions, and human decadence that characterized the Russian Revolution.

Dance theatre has become a site of transformation in the Irish performance landscape. This book conducts a socio-political and cultural reading of dance theatre practice in Ireland from Yeats' dance plays at the start of the 20th century to Celtic-Tiger-era works of Fabulous Beast Dance Theatre and CoisCeim Dance Theatre at the start of the 21st.

This volume of essays combines research from neuroscience, conscious studies, methods of training performers, modes of creating a staged narrative, Asian aesthetics, and post-modern theories of performance in an examination of the relationship between consciousness and performance.

Religious life and public life are both passionately performed, but often understood to exclude one another. This book's array of voices investigates the publics hailed by religious performances and the challenges they offer to theories of the democratic public sphere.

Street theatre invades a public space, shakes it up and disappears, but the memory of the disruption haunts the site for audiences who experience it. This book looks at how the dynamic interrelationship of performance, participant and place creates a politicized aesthetic of public space that enables the public to rehearse democratic practices.

Theatre and Performance in the Asia-Pacific is an innovative study of contemporary theatre and performance within the framework of modernity in the Asia-Pacific. It is an analysis of the theatrical imaginative as it manifests in theatre and performance in Australia, Indonesia, Japan and Singapore.

Through discussion of a dazzling array of artists in India and the diaspora, this book delineates a new language of dance on the global stage. Myriad movement vocabularies intersect the dancers' creative landscape, while cutting-edge creative choreography parodies gender and cultural stereotypes, and represents social issues.

Frank Kidson (1855-1926) and Mary Neal (1860-1944) were both notable for their involvement in the development of a scholarly movement relating to English folk traditions, Neal was also a prominent social campaigner and suffragette. Originally published in 1915, this volume provides a concise introduction to English folk songs and folk dances. The text is divided in two parts, with the first, written by Kidson, being assigned to songs and the second, written by Neal, being assigned to dances. This is a beautifully presented book, containing illustrations and numerous musical scores, that will be of value to anyone with an interest in folk traditions.