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.

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.

The Life and Works of Lev Ivanov is the first book-length study in any language of this Russian choreographer - Marius Petipa's colleague and Tchaikovsky's collaborator - who is widely celebrated yet virtually unknown. It follows Ivanov from his school days to a career as choreographer in one of the greatest ballet companies in the world - the Imperial Ballet of St Petersburg. That mileu, Ivanov's ballets, and their reception are described and lavishly documented.

The first book that historicizes the evolution of K-pop dance from the 1980s to the 2020s based on extensive archival research on backup dancers, trainees, idols, performance directors, and cover dancers. Vivid five-year-long (auto)ethnographic reflections, fieldwork, and interviews in CA, NY in the U.S., and Seoul, South Korea. A pioneering work that theorizes the timely topic of dance influencers on social media and its distinctive features as social media dance.

The life of the travelling musician hasn't changed much over the millennia. For a prehistoric harper, a medieval fiddler or a modern guitar player, the experience is pretty much the same: there are times when everything goes well and others when nothing does. But it's not just performing that can go wrong - listening can also be dangerous! Can you stop dancing when you get tired or must you keep going until the music stops ... if it ever does? What happens if it carries on past midnight? What if it turns you to stone? Pete Castle has selected a variety of traditional tales from all over the UK (and a few from further afield) to enthral you, whether you are a musician, a dancer, or a reader who likes to keep dangerous things like singing and dancing at arm's length.

A book on dance-making, centred on practitioners with disabilities but valuable for dancers in all situations. Aimed at the huge range of dance-makers looking to make their work accessible, inclusive and diverse. A leading book in the field on this topic, now updated and expanded to reflect current trends and debates.

A survey of the key moments in dance performance in the USA. Aimed at undergraduate students on Dance BA and BFA degrees in the United States. Deliberately takes a diverse, inclusive perspective, covering previously marginalised or overlooked figures' roles in the development of US dance.

A survey of the key moments in dance performance in the USA. Aimed at undergraduate students on Dance BA and BFA degrees in the United States. Deliberately takes a diverse, inclusive perspective, covering previously marginalised or overlooked figures' roles in the development of US dance.

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.

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.

dance, data, multimodal communication, dancers, neuro-cognitive science, contemporary dance, intangible cultural heritage, performing arts, cognitive linguistics, embodiment, design, and creativity studies

Performance generating systems are systematic and task-based dramaturgies that generate performance for or with an audience. In dance, such systems differ in ways that matter from more closed choreographed scores and more open forms of structured improvisation. Dancers performing within these systems draw on predefined and limited sources while working on specific tasks within constraining rules. The generating components of the systems provide boundaries that enable the performance to self-organize into iteratively shifting patterns instead of becoming repetitive or chaotic. This book identifies the generating components and dynamics of these works and the kinds of dramaturgical agency they enable. It explains how the systems of these creations affect the perception, cognition and learning of dancers and why that is a central part of how they work. It also examines how the combined dramaturgical and psychological effects of the systems performatively address individual and social conditions of trauma that otherwise tend to remain unchangeable and negatively impact the human capacity to learn, relate and adapt. The book provides analytical frameworks and practical insights for those who wish to study or apply performance generating systems in dance within the fields of choreography and dance dramaturgy, dance education, community dance or dance psychology. Featured cases offer unique insight into systems created by Deborah Hay and Christopher House, William Forsythe, Ame Henderson, Karen Kaeja and Lee Su-Feh.

Ideal for anyone with an interest in Hindu temple dance, Manipur dance, cross-cultural collaborations, and the globalising of Indian Classical Dance Comprehensive study of how an exceptional Hindu dance form developed on the global stage. Provides insight into the globalisation of Manipuri dance

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.

The Art of Tango offers a systematic exploration of the performance, arrangement and composition of the universally popular tango. The author discusses traditional practices, the De Caro school and the pioneering oeuvre of four celebrated innovators: Pugliese, Salgan, Piazzolla and Beytelmann. With an in-depth focus on both reception and practice, the volume and its companion website featuring supplementary audio-visual materials analyse, decode, compare and discuss literature, scores and recordings to provide a deeper understanding of tango's artistic concepts, characteristics and techniques. River Plate tango is explored through the lens of artistic research, combining the study of oral traditions and written sources. In addition to a detailed examination of the various approaches to tango by the musicians featured in this book, three compositions by the author embodying creative applications of the research findings are discussed. The volume offers numerous tools for developing skills in practice, inspiring new musical output and the continuation of research endeavours in the field. Illustrating the many possibilities of this musical language that has captivated musicians and audiences worldwide, this book is a valuable resource for everyone with an interest in tango, whether they be composers, performers, arrangers, teachers, music lovers or scholars in the field of popular music studies.

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 unique work is an annotated collection and collation of Western writing on Indian dance from the period of Marco Polo's travels to India to the formulation of the anti-devadasi bill in 1930, and a little beyond. The book reproduces more than 250 extracts from important texts, which provide examples of how dance in India was perceived as an art, as well its position in the broader cultural, religious, social, and ethical environment. Though some excerpts from these texts are cited in other writings on Indian dance history, there is no other available work that reproduces such a large number of historical writings on Indian dance and places them in a fluid historical context.

Dance, USA, Mexico, Dance festival, Japanese, cultural studies, heritage, Butoh

The Artist and Academia explores the relationship between artistic and academic ways of knowing. Historically, these have often been presented as opposites; the former characterized as passionate and intuitive and the latter portrayed as systematic and rigorous. Recent scholarship presents a more complex picture. Artistic knowledge demands high levels of skill and rigor, while academic research requires creativity and innovative thinking. This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia. The contributions include in-depth, scholarly discussions on the nature of knowledge and creativity, as well as personal artistic statements from musicians, dancers, actors and writers. Additionally, it explores both the mediational and subversive spaces created by the meeting of artistic and academic traditions. While the book addresses global themes by global writers, its core case study is an educational experiment called the Irish World Academy of Music and Dance at the University of Limerick in Ireland. Established in 1994, it set out to reconfigure the place of the artist in the context of contemporary higher education. The material is clustered into three parts. Part One and Part Two explore the artist as mediator, educator and subversive in academia. Grounded in close-to-practice research, Part Three concludes the volume with a set of case studies from the Irish World Academy. Artistic and academic knowledge come together in this unique set of pieces to explore the development of more inclusive and imaginative pedagogical values.

History, Art politics, African, African American, Performance

aesthetic objects, performance, art, Aesthetic, theatre, live art, sociology cultural studies and cultural geography.

This volume explores the history of dance on the historically black college and university (HBCU) campus, casting a first light on the historical practices and current state of college dance program practice in HBCUs. The author addresses how HBCU dance programs developed their institutional visions and missions in a manner that offers students an experience of American higher education in dance, while honoring how the African diaspora persists in and through these experiences. Chapters illustrate how both Western and African diaspora dances have persisted, integrated through curriculum and practice, and present a model for culturally inclusive histories, traditions, and practices that reflect Western and African diasporas in ongoing dialogue and negotiation on the HBCU campus today.

Scottish Dance Beyond 1805 presents a history of Scottish music and dance over the last 200 years, with a focus on sources originating in Aberdeenshire, when steps could be adapted in any way the dancer pleased. The book explains the major changes in the way that dance was taught and performed by chronicling the shift from individual dancing masters to professional, licensed members of regulatory societies. This ethnographical study assesses how dances such as the Highland Fling have been altered and how standardisation has affected contemporary Highland dance and music, by examining the experience of dancers and pipers. It considers reactions to regulation and standardisation through the introduction to Scotland of percussive step dance and caller-facilitated ceilidh dancing. Today's Highland dancing is a standardised and international form of dance. This book tells the story of what changed over the last 200 years and why. It unfolds through a series of colourful characters, through the dances they taught and the music they danced to and through the story of one dance in particular, the Highland Fling. It considers how Scottish dance reflected changes in Scottish society and culture. The book will be of interest to scholars and postgraduates in the fields of Dance History, Ethnomusicology, Ethnochoreology, Ethnology and Folklore, Cultural History, Scottish Studies and Scottish Traditional Music as well as to teachers, judges and practitioners of Highland dancing and to those interested in the history of Scottish dance, music and culture.