The collective volume seeks to respond to these questions by exploring crip time in disability performance as both a concept and a phenomenon. Out of time has many different meanings, amongst them outmoded, out of step, under time pressure, no time left, or simply delayed. In the disability context it may also refer to resistant attitudes of living in "crip time" that contradict time as a linear process with a more or less predictable future. According to Alison Kafer, "crip time bends the clock to meet disabled bodies and minds." What does this mean in the disability arts? What new concepts of accessibility, crip futures, and crip resistance can be staged or created by disability performance? And how does the notion of "out of time" connect crip time with pandemic time in disability performance? The book tackles the topic from two angles: on the one hand from a theoretical point of view that connects performance analysis with crip and performance theory, on the other hand from a practice-based perspective of disability artists who develop new concepts and dramaturgies of crip time based on their own lived experiences and observations in the field of the performing and disability arts. The book gathers different types of text genres, forms and styles that mirror the diversity of their authors. Besides theoretical and academic chapters on disability performance the book also includes essays, poems, dramatic texts, and choreographic concepts that reflect upon the alternative knowledge in the disability arts.

This book expands understanding of conditions defining the creation and circulation of contemporary dance that differ across Europe. It focuses upon festival-making connected with the Balkan regional project 'Nomad Dance Academy' (NDA), the book highlights collective approaches to sustain a theorisation of festivals using the concepts of dissensus and imperceptible politics. Drawing from anthropological methods, three festivals PLESkavica, Slovenia, Kondenz, Serbia and LocoMotion, North Macedonia are explored through social, political, and historical currents affecting curatorial practice. This book closely follows how festival-makers navigate the values of international development that during and after the Yugoslav wars looked to art as part of peacekeeping and nation-building processes, and coincided with increasing discourse and practices of contemporary dance that gained momentum in the 1980s alongside European festivalisation. I show how contemporary dance acts as an agent for transformation, but also a carrier of older forms of social organisation, reflecting methods and values of Yugoslav Worker Self-management that are deployed by the groups creating the festivals. This book will be of interest to dance scholars as well as researchers tracing the long-term effects of the dissolution of the Socialist Federal Republic of Yugoslavia.

Risk, Failure, Play illuminates the many ways in which competitive martial arts differentiate themselves from violence. Presented from the perspective of a dancer and writer, this book takes readers through the politics of everyday life as experienced through training in a range of martial arts practices such as jeet kune do, Brazilian jiu jitsu, kickboxing, Filipino martial arts, and empowerment self-defense. Author Janet OaShea shows how play gives us the ability to manage difficult realities with intelligence and demonstrates that physical play, with its immediacy and heightened risk, is particularly effective at accomplishing this task. Risk, Failure, Play also demonstrates the many ways in which physical recreation allows us to manage the complexities of our current social reality. Risk, Failure, Play intertwines personal experience with phenomenology, social psychology, dance studies, performance studies, as well as theories of play and competition in order to produce insights on pleasure, mastery, vulnerability, pain, agency, individual identity, and society. Ultimately, this book suggests that play allows us to rehearse other ways to live than the ones we see before us and challenges us to reimagine our social reality.

This anthology examines maternity in contemporary performance at the intersection of a wide range of topics from nationhood to mental health, queer parenting, embodied dramaturgy, cultural practice, and immigration. Across the breadth of these themes, we interrogate the cultural implications and politics of how we script, perform, receive, and define mothers, challenging many of the normalizing and patriarchal tropes associated with the mother-as-character. This book includes critical essays examining twenty-first century dramatic literature, first-hand ethnographic accounts of motherhood in practice, interviews, feminist manifestos, and artist reflections. In its deliberately curated variety, this collection seeks to resist homogeneity and offer instead a range of approaches to key questions: what versions of motherhood get staged, and why? And what do dramatic representations tell us about the role of mothers in our own fraught contemporary moment? This collection will be of great interest to those in academia who are teaching, researching, or studying in the fields of Theatre and Performance Studies, American Studies, and Feminist and Gender Studies.

Representing the first comprehensive analysis of Gaga and Ohad Naharin's aesthetic approach, this book follows the sensual and mental emphases of the movement research practiced by dancers of the Batsheva Dance Company. Considering the body as a means of expression, Embodied Philosophy in Dance deciphers forms of meaning in dance as a medium for perception and realization within the body. In doing so, the book addresses embodied philosophies of mind, hermeneutics, pragmatism, and social theories in order to illuminate the perceptual experience of dancing. It also reveals the interconnections between physical and mental processes of reasoning and explores the nature of physical intelligence.

The Moving Body in the Aural Skills Classroom-influenced by Dalcroze-eurhythmics-is a practical guide for college-level teachers and students interested in integrating the moving body into the traditional aural skills classroom. What distinguishes this book from other texts is its central concern with movement-to-music as a tool for developing musical perception and the kinesthetic aspects humans experience as performers. Moving to music and watching others move cultivates an active, multi-sensory learning experience, in which students learn by discovery and from each other. Improvisatory and expressive elements are built into exercises to encourage a dynamic link between musical training and artistic performance. Designed for a three- to four-semester undergraduate curriculum, the book contains a wealth of exercises that teach rhythmic, melodic, harmonic and formal concepts. Exercises not only develop the ear, but also awaken the muscular and nervous system, foster mind-body connections, strengthen the powers of concentration (being in the "musical now "), develop inner-hearing, short- and long-term memory, multi-tasking skills, limb autonomy, and expressive freedom. Exercises are presented in a graded, though flexible order allowing you to select individual exercises in any sequence. Activities involve movement through space (traveling movement) as well as movement in place (stationary movement) for those teaching in small classrooms. The text can be used as a teacher's manual, a supplementary aural-skills textbook, or as a stand-alone reference in a course dedicated to eurhythmics. Movement exercises are designed to enhance and work in conjunction with musical examples presented in other texts. Many exercises also provide an effective aural/sensory tool in the music theory classroom to complement verbal explanations. The approach integrates easily into any traditional college or conservatory classroom and is compatible with the following systems: fixed do, moveable do, and scale degrees. A companion website accompanies the text featuring undergraduate students performing select exercises.

Dance on the American Musical Theatre Stage: A History chronicles the development of dance, with an emphasis on musicals and the Broadway stage, in the United States from its colonial beginnings to performances of the present day. This book explores the fascinating tug-and-pull between the European classical, folk and social dance imports and America's indigenous dance forms as they met and collided on the popular musical theatre stage. The historical background influenced a specific musical theatre movement vocabulary and a unique choreographic approach that is recognizable today as Broadway style dancing. Throughout the book, a cultural context is woven into the history to reveal how the competing values within American culture, and its attempts as a nation to define and redefine itself, played out through developments in dance on the musical theatre stage. This book is central to the conversation on how dance influences and reflects society, and will be of interest to students and scholars of Musical Theatre, Theatre Studies, Dance and Cultural History.

The editors of this anthology analyze a broad range of themes and dance styles in order to examine how dance has helped to shape American identity. This volume focuses on dance and its social, cultural, and political constructs. The first volume, The Twentieth Century, explores a variety of subjects: white businessmen in Prescott, Arizona who created a ""Smoki tribe"" that performed ""authentic"" Hopi dances for over seventy years; swing dancing by Japanese-American teens in World War II internment camps; African American jazz dancing in the work of ballet choreographer Ruth Page; dancing in early Hollywood movie musicals; how critics identified ""American"" qualities in the dancing of ballerina Nana Gollner; the politics of dancing with the American flag; English Country Dance as translated into American communities; Bob Fosse's sociopolitical choreography; and early break dancing as Latino political protest.

Now re-issued, this compact book unravels the contribution of one of modern theatre's most charismatic innovators. Hijikata Tatsumi and Ohno Kazuo combines: * an account of the founding of Japanese butoh through the partnership of Hijikata and Ohno, extending to the larger story of butoh's international assimilation * an exploration of the impact of the social and political issues of post-World War II Japan on the aesthetic development of butoh * metamorphic dance experiences that students of butoh can explore * a glossary of English and Japanese terms. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

This book is a collection of essays that capture the artistic voices at play during a staging process. Situating familiar practices such as reimagining, reenactment and recreation alongside the related and often intersecting processes of transmission, translation and transformation, it features deep insights into selected dances from directors, performers, and close associates of choreographers. The breadth of practice on offer illustrates the capacity of dance as a medium to adapt successfully to diverse approaches and, further, that there is a growing appetite amongst audiences for seeing dances from the near and far past. This study spans a century, from Rudolf Laban's Dancing Drumstick (1913) to Robert Cohan's Sigh (2015), and examines works by Mary Wigman, Madge Atkinson (Natural Movement), Doris Humphrey, Martha Graham, Yvonne Rainer and Rosemary Butcher, an eclectic mix that crosses time and borders.

The Complete Guide to Dance Nutrition is the first complete textbook written by an experienced dietitian specialising in the field of dance nutrition and provideS both dancers-in-training and instructors with practical advice on dance nutrition for health and performance. It is also highly relevant for dance professionals. With an in-depth and extensive coverage on all nutrition topics relevant to dancers, this textbook covers nutrition for the scenarios dancers face, including day to day training and rehearsals, peak performance, injuries, immunonutrition, nutrition and stress management. Information is included on topics applicable to individual dancers including advice for dancers with type 1 diabetes and clinical conditions relating to gut health. This book guides the reader through the macronutrients making up the diet, their chemical structure and their role in health and optimal performance. Readers will be shown how to estimate energy and nutrient needs based on their schedule, type of dance undertaken, and personal goals before considering the practical aspects of dance nutrition; from nutrition planning to dietary supplements, strategies for assessing the need to alter body composition and guidance on undertaking health focused changes is presented. The Complete Guide to Dance Nutrition combines and condenses the author's knowledge and many years of experience working in the dance industry to translate nutrition science into a practical guide. Bringing together the latest research in dance science and nutrition, this book aims to be a trusted reference and practical textbook for students of Dance, Dance Nutrition, Dance Performance, Sport Nutrition and Sport Science more generally as well as for those training in the dance industry, dance teachers and professionals.

The Complete Guide to Dance Nutrition is the first complete textbook written by an experienced dietitian specialising in the field of dance nutrition and provideS both dancers-in-training and instructors with practical advice on dance nutrition for health and performance. It is also highly relevant for dance professionals. With an in-depth and extensive coverage on all nutrition topics relevant to dancers, this textbook covers nutrition for the scenarios dancers face, including day to day training and rehearsals, peak performance, injuries, immunonutrition, nutrition and stress management. Information is included on topics applicable to individual dancers including advice for dancers with type 1 diabetes and clinical conditions relating to gut health. This book guides the reader through the macronutrients making up the diet, their chemical structure and their role in health and optimal performance. Readers will be shown how to estimate energy and nutrient needs based on their schedule, type of dance undertaken, and personal goals before considering the practical aspects of dance nutrition; from nutrition planning to dietary supplements, strategies for assessing the need to alter body composition and guidance on undertaking health focused changes is presented. The Complete Guide to Dance Nutrition combines and condenses the author's knowledge and many years of experience working in the dance industry to translate nutrition science into a practical guide. Bringing together the latest research in dance science and nutrition, this book aims to be a trusted reference and practical textbook for students of Dance, Dance Nutrition, Dance Performance, Sport Nutrition and Sport Science more generally as well as for those training in the dance industry, dance teachers and professionals.

Focusing on visual approaches to performance in global cultural contexts, Perspectives in Motion explores the work of Adrienne L. Kaeppler, a pioneering researcher who has made a number of interdisciplinary contributions over five decades to dance and performance studies. Through a diverse range of case studies from Oceania, Asia, and Europe, and interdisciplinary approaches, this edited collection offers new critical and ethnographic frameworks for understanding and experiencing practices of music and dance across the globe.

This volume investigates performance cultures as rich and dynamic environments of knowledge practice through which distinctive epistemologies are continuously (re)generated, cultivated, and celebrated. Epistemologies are dynamic formations of rules, tools, and procedures not only for understanding but also for doing knowledges. This volume deals in particular with epistemological challenges posed by practices and processes of interweaving performance cultures. These challenges arise in artistic and academic contexts because of hierarchies between epistemologies. European colonialism worked determinedly, violently, and often with devastating effects on instituting and sustaining a hegemony of modern Euro-American rules of knowing in many parts of the world. Therefore, Interweaving Epistemologies critically interrogates the (im)possibilities of interweaving epistemologies in artistic and academic contexts today. Writing from diverse geographical locations and knowledge cultures, the book's contributors-philosophers, political scientists as well as practitioners and scholars of theater, performance, and dance-investigate prevailing forms of epistemic ignorance and violence. They introduce key concepts and theories that enable critique of unequal power relations between epistemologies. Moreover, contributions explore historical cases of interweaving epistemologies and examine innovative present-day methods of working across and through epistemological divides in non-hegemonic, sustainable, creative, and critical ways. Ideal for practitioners, students and researchers of theater, performance, and dance as well as of philosophy and history (of science), Interweaving Epistemologies emphasizes the urgent need to acknowledge, study and promote epistemological plurality and diversity in practices of performance making as well as in scholarship on theater and performance around the globe today.

This study is the first monograph on the work of French choreographer Jerome Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donne par l'auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature. Bel has developed a singular discourse on dance that has often been labelled 'conceptual'. By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.

Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow illustrates the ways in which Sokolow's choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s-1960s in the United States, Mexico, and Israel. Drawing upon extensive archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow's statements for workers' rights, anti-racism, and the human condition through her choreography for social change alongside her dancing and teaching for Martha Graham. Tracing a catalog of dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies the Negro Cultural Committee, New York State Committee for the Communist Party, Federal Theatre Project, Nuevo Grupo Mexicano de Clasicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow's work in conjunction with developments in ethnic definitions, diaspora, and nationalism in the US, Mexico, and Israel.

* Interdisciplinary book that weaves together ideas from psychology, philosophy, neuroscience, and dance. * Considers how movement is central to our sense of reality, our sense of self, and our relationships with others and the surrounding world. * Accessibly written book that foregrounds the author's voice and experiences

This collection of articles by Susan W. Stinson, organized thematically and chronologically by the author, reveals the evolution of the field of arts education in general and dance education in particular, through narrative and critical reflections by this unique scholar and a few co-authors. It also includes contextual insights not available elsewhere. The author's pioneering embodied research work in arts and dance education continues to be relevant to researchers today. The selected chapters and articles were predominantly previously published in a variety of journals, conference proceedings and books between 1985 and the present. Each section is preceded by an introduction and the author has written a post scriptum for each article to offer a commentary or response to the article from the current perspective.

Music in 17th and early 18th century Italy was wonderfully rich and varied: in theatrical and secular vocal chamber music alone, we saw the rise of the solo song and cantata, and the birth and growth of opera, all establishing important new structural and expressive paradigms. But this was also a complex time of uncertainty and change, as 'old' and 'new' interacted in subtle and often surprising ways. There is still much to document, explore and explain in terms of composers and repertories and their multi-layered contexts. This collection of essays by European, British and American musicologists seeks to consolidate the recent growth interest in seventeenth century studies. It includes discussions of leading composers (d'India, Monteverdi, Rovetta, Steffani, Albinoni, Vivaldi and Handel), repertories (chamber laments, staged balli and operatic mad-scenes), geographical issues (the arrival of Neapolitan opera in Venice), institutional contexts, and iconography. Inspiration for the book was drawn from the poineering research of Nigel Fortune, to whom the volume is dedicated on his 70th birthday.

This essential pocket guide to this enduringly popular art, is a perfect introduction to over eighty of the most performed ballets today. Spanning nearly two centuries of classical dancing, this indispensable book begins in the Romantic era of the 1830s, moves through the great Tchaikovskly ballets of Tsarist St Petersburg, to the inspirational work of Diaghilev at the beginning of the twentieth century and the luminous neo-classicism of Balanchine. Ashton and Macmillan are covered in depth, and the most recent ground-breaking work brings us up to the present day.

The effort to win federal copyright protection for dance choreography in the United States was a simultaneously racialized and gendered contest. Copyright and choreography, particularly as tied with whiteness, have a refractory history. This book examines the evolution of choreographic works from being federally non-copyrightable, unless they partook of dramatic or narrative structures, to becoming a category of works potentially copyrightable under the 1976 Copyright Act. Crucial to this evolution is the development of whiteness as status property, both as an aesthetic and cultural force and a legally accepted and protected form of property. The choreographic inheritances of Loie Fuller, George Balanchine, and Martha Graham are particularly important to map because these constitute crucial sites upon which negotiations on how to package bodies of both choreographers and dancers - as racialized, sexualized, nationalized, and classed - are staged, reflective of larger social, political, and cultural tensions.

Across spatial, bodily, and ethical domains, music and dance both emerge from and give rise to intimate collaboration. This theoretically rich collection takes an ethnographic approach to understanding the collective dimension of sound and movement in everyday life, drawing on genres and practices in contexts as diverse as Japanese shakuhachi playing, Peruvian huayno, and the Greek goth scene. Highlighting the sheer physicality of the ethnographic encounter, as well as the forms of sociality that gradually emerge between self and other, each contribution demonstrates how dance and music open up pathways and give shape to life trajectories that are neither predetermined nor teleological, but generative.

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society. Supporting growing interest among scholars and performers spanning numerous disciplines, this book contributes quality new scholarship to spur further research on this overshadowed period of American music and dance. Organized in three parts, the chapters offer methodological and interpretative guidance and model varied approaches to contemporary scholarship. The first part introduces important bibliographic tools and models their use in focused examinations of individual objects of material musical culture. The second part illustrates methods of situating dance and its music in early American society as relevant to scholars working in multiple disciplines. The third part examines contemporary performance of early American music and dance from three distinct perspectives ranging from ethnomusicological fieldwork and phenomenology to the theatrical stage. Dedicated to scholar Kate Van Winkle Keller, this volume builds on her legacy of foundational contributions to the study of early American secular music, dance, and society. It provides an essential resource for all those researching and performing music and dance from the revolutionary era through the early nineteenth century.