Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.

David G. Pier offers an ethnographic study of the Senator Extravaganza traditional dance competition in Uganda, and the performers, marketers, and other actors who were involved in it. Pier illustrates the event as part of a broader moment in Ugandan and African public culture - one in which marketing is playing an increasingly dominant role.

Chile had long forgotten about the existence of the country's Black population when, in 2003, the music and dance called the tumbe carnaval appeared on the streets of the city of Arica. Featuring turbaned dancers accompanied by a lively rhythm played on hide-head drums, the tumbe resonated with cosmopolitan images of what the African Diaspora looks like, and so helped bring attention to a community seeking legal recognition from the Chilean government which denied its existence. Tumbe carnaval, however, was not the only type of music and dance that Afro-Chileans have participated in and identified with over the years. In Styling Blackness in Chile, Juan Eduardo Wolf explores the multiple ways that Black individuals in Arica have performed music and dance to frame their Blackness in relationship to other groups of performers-a process he calls styling. Combining ethnography and semiotic analysis, Wolf illustrates how styling Blackness as Criollo, Moreno, and Indigena through genres like the baile de tierra, morenos de paso, and caporales simultaneously offered individuals alternative ways of identifying and contributed to the invisibility of Afro-descendants in Chilean society. While the styling of the tumbe as Afro-descendant helped make Chile's Black community visible once again, Wolf also notes that its success raises issues of representation as more people begin to perform the genre in ways that resonate less with local cultural memory and Afro-Chilean activists' goals. At a moment when Chile's government continues to discuss whether to recognize the Afro-Chilean population and Chilean society struggles to come to terms with an increase in Latin American Afro-descendant immigrants, Wolf's book raises awareness of Blackness in Chile and the variety of Black music-dance throughout the African Diaspora, while also providing tools that ethnomusicologists and other scholars of expressive culture can use to study the role of music-dance in other cultural contexts.

Performing arts in most parts of Maritime Southeast Asia are seen as an entity, where music and dance, sound and movement, acoustic and tactile elements intermingle and complement each other. Although this fact is widely known and referenced, most scholarly works in the performing arts so far have either focused on "music" or "dance" rather than treating the two in combination. The authors in this book look at both aspects in performance, moreover, they focus explicitly on the interrelation between the two, on both descriptive-analytical and metaphorical levels. The book includes diverse examples of regional performing art genres from Indonesia, Malaysia and the Philippines. All case studies are composed from the perspective of the relatively new approach and field of ethno-choreomusicology. This particular compilation gives an exemplary overview of various phenomena in movement-sound relations, and offers for the first time a thorough study of the phenomenon that is considered essential for the performing arts in Maritime Southeast Asia - the inseparability of movement and sound.

Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the 'cultural flow' of the dances is 'punctuated' by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar's transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.

This book sheds light on the purpose of Hindu dance as devotional. Dr. Sabrina D. MisirHiralall explains the history of Hindu dance and how colonization caused the dance form to move from sacred to a Westernized system that emphasizes culture. Postcolonialism is a main theme throughout this text, as religion and culture do not remain static. MisirHiralall points to a postcolonial return to Hindu dance as a religious and sacred dance form while positioning Hindu dance in the Western culture in which she lives.

Performing Englishness examines the growth in popularity and profile of the English folk arts in the first decade of the twenty-first century. In the only study of its kind, the authors explore how the folk resurgence speaks to a broader explosion of interest in the subject of English national and cultural identity. Combining approaches from British cultural studies and ethnomusicology, the book draws on ethnographic fieldwork, interviews with central figures of the resurgence and close analysis of music and dance as well as visual and discursive sources. Its presentation of the English case study calls for a rethinking of concepts such as revival and indigeneity. It will be of interest to students and scholars in cultural studies, ethnomusicology and related disciplines. -- .

This book explores dancing from the 1960s to the 1980s; though this period covers only twenty years, the changes during it were seismic. Nevertheless continuities can be found, and those are what this book examines. In dancing, it answers how we moved from the self-control that formed the basis for ballroom dancing, to ecstatic rave dancing. In terms of music, it answers how we moved from the beat groups to electronic dance music. In terms of youth, it answers how we moved from youth culture to club culture.

A history of the development of ballet designed for dance history courses. The discussion moves from the origins of dance through the middle ages onto the beginnings of ballet, to Renaissance spectacle in Italy, and the beginnings of ballet in France. Then in the second part of the book, the maturation of ballet as a style is studied, from the 1600s through the 1800s, in Europe. The last part of the book focuses on the changes n ballet through the twentieth century.

In the first full-length study of the English dancer-actress Hester Santlow, Moira Goff focuses on her unusual career at Drury Lane between 1706 and 1733. Goff charts Santlow's repertoire and makes extensive use of archival resources to investigate both her dancing and acting skills. Santlow made a unique contribution to the development of dance on the London stage, through her dancing roles in dance dramas by John Weaver and pantomimes by John Thurmond and Roger, as well as the virtuoso dances created for her by Mr. Isaac and Anthony L'Abbe. Goff examines Santlow's fascinating personal life, including her relationships with the politician James Craggs the Younger and the Drury Lane actor-manager Barton Booth. Santlow was unusual in making the transition from successful dancer-actress to independent and respectable widow. Goff also traces her life after retirement as her daughter's family rose from the gentry towards the aristocracy. This book will be of interest to dance and theatre historians, to women's studies scholars, and to all who are engaged with ongoing debates on the lives and careers of women on the seventeenth- and eighteenth-century stage.

Argentine Queer Tango: Dance and Sexuality Politics in Buenos Aires investigates changes in tango dancing in Buenos Aires during the first decade of the twenty-first century and its relationship to contemporary social and cultural transformations. Mercedes Liska focuses on one of the proposed alternatives to conventional tango, queer tango, which proposes to rethink one of the alleged icons of a national culture from a feminist conception and to imagine social transformation processes from bodily experiences. Specifically, this book analyzes the value of bodily experiences, the redefinition of the mind-body relationship, and the transformation in the dynamics of the dance from the heteronormative movements of tango. In doing so, Liska addresses the ways in which bodily techniques and gender theories are involved in the denaturing and corporeality decoding of tango and its historical senses as well as the connections between different tango dance practices spread throughout the world.

Dancing Motherhood explores how unique factors about the dance profession impact mothers working in it. Ali Duffy introduces the book by laying a foundation of social and cultural histories and trends leading to the issues mothers in dance negotiate today. This study then reveals perspectives from mothers in dance working in areas such as performance choreography, dance education, writing, and advocacy though survey and interview data. Based on participant responses, recommendations for changes in policy, hiring, evaluation, and other work practices to better support working mothers in dance are outlined and discussed. Finally, essays from five working mothers in dance offers more intimate, personal stories and guidance geared to mothers, future mothers, and colleagues and supervisors of mothers in the dance field. By describing lived experiences and offering suggestions for improved working conditions and self-advocacy, this book initiates expanded discussion about women in dance and promotes change to positively impact dancing mothers, their employers, and the dance field.

Dance and Organisation is the first comprehensive work to integrate dance theory and methods into the study of management, which have developed an interest in the arts and the humanities. Dance represents dynamics and change and puts the moving body at the centre, which has been ignored and oppressed by traditional management theory. 'Being' a leader however also means to 'move' like one, and critical lessons can be learned from ballerinas and modern dancers. Leadership is a dialogue, as in the work of musicians, conductors and DJs who manage groups without words. Movement in organisational space, in a museum or a techno club can be understood as a choreography and site-specific performance. Movement also is practically used for leadership and employee development workshops and can be deployed as an organisational research method. By taking a firm interdisciplinary stance in dance studies and organisational research to explore management topics, reflecting on practitioner accounts and research projects, the book seeks to make an innovative contribution to our understanding of the moving body, generating new insights on teamwork, leadership, gender in management, organisational space, training and research methods. It comprises an important contribution to the organizational behaviour and critical management studies disciplines, and looks to push the boundaries of the academic literature.

Gender and Dance in Modern Iran: Biopolitics on Stage investigates the ways dancing bodies have been providing evidence for competing representations of modernity, urbanism, and religiosity across the twentieth century. Focusing on the transformation of the staged dancing body, its space of performance, and spectatorial cultural ideology, this book traces the dancing body in multiple milieus of performance, including the Pahlavi era's national artistic scene and the popular cafe and cabaret stages, as well as the commercial cinematic screen and the post-revolutionary Islamized theatrical stage. It links the socio-political discourses on performance with the staged public dancer, in order to interrogate the formation of dominant categories of "modern," "high," and "artistic," and the subsequent "othering" of cultural realms that were discursively peripheralized from the "national" stage. Through the study of archival and ethnographic research as well as a diverse literature pertaining to music, theater, cinema, and popular culture, it combines a close reading of primary sources such as official documents, press materials, and program notes with visual analysis of filmic materials and imageries, as well as interviews with practitioners. It offers an original and informed exploration into the ways performing bodies and their public have been associated with binary notions of vice and virtue, morality and immorality, commitment and degeneration, chastity and eroticism, and veiled-ness and nakedness. Engaging with a range of methodological and historiographical methods, including postcolonial, performance, and feminist studies, this book is a valuable resource for students and scholars of Middle East history and Iranian studies, as well as gender studies and dance and performance studies.

This companion volume to The Courtly Consort Suite in German-Speaking Europe surveys an area of music neglected by modern scholars: the consort suites and dance music by musicians working in the seventeenth-century German towns. Conditions of work in the German towns are examined in detail, as are the problems posed by the many untrained travelling players who were often little more than beggars. The central part of the book explores the organisation, content and assembly of town suites into carefully ordered printed collections, which refutes the concept of the so-called 'classical' suite. The differences between court and town suites are dealt with alongside the often-ignored variation suite from the later decades of the seventeenth century and the separate suite-writing traditions of Leipzig and Hamburg. While the seventeenth-century keyboard suite has received a good deal of attention from modern scholars, its often symbiotic relationship with the consort suite has been ignored. This book aims to redress the balance and to deal with one very important but often ignored aspect of seventeenth-century notation: the use of blackened notes, which are rarely notated in a meaningful way in modern editions, with important implications for performance.

The challenges that young women go through in order to be successful in the world of dance are well known. However, little is known about the experiences of young men who choose to take dance classes in non-professional settings. Dancing Boys is one of the first scholarly works to demystify the largely unknown challenges of adolescent males in dance. Through an ethnographic study of sixty-two adolescent male students, Zihao Li captures the authentic stories and experiences of boys participating in dance classes in a public high school in Toronto. Accompanied by the boys' artwork and photographs and supported by a documentary-style video, the study explores their motivations for dancing, their reflections on masculinity and gender, and the internal and external factors that impact their decisions to continue to dance professionally or in informal settings. With the author's reflections on his own journey as a professional dancer woven throughout, Dancing Boys will spark discussion on how and why educators can engage adolescent males in dance.

This book, Evolving Synergies: Celebrating Dance in Singapore, is a noteworthy contribution to the discourse of the Singapore dance scene. It discusses the evolution of Singapore's dance landscape, and its place in the city-state's social, cultural and historical development.

Raqs sharqi, the Egyptian dance form also known as belly dance, has for generations captured imaginations around the globe. Yet its origins have been obscured by misinformation and conjecture, rooted in Orientalist attitudes about the Middle East-a widely accepted narrative suggests the dance was created in response to Western influences and desires. Drawing on an array of primary sources, the author traces the early development of raqs sharqi in the context of contemporary trends in Egyptian arts and entertainment. The dance is revealed to be a hybrid cultural expression, emerging with the formation of Egyptian national identity at the end of the 19th century, when Egypt was occupied by the British.

The first English-language monograph on the French dancer and model, Cleo de Merode and the Rise of Modern Celebrity Culture explores the haunting legacy of this intriguing and glamorous figure, an international celebrity at the dawn of modern celebrity culture. Situating Merode at a pivotal moment in the history of fame and visual culture, this study analyzes how technological and societal changes led to our star-struck modernity. Merode was one of the earliest examples of fame born from mass visual culture, as newly available postcards circulated her image around the globe. Through Merode, Michael D. Garval illuminates broader trends of the Belle A0/00poque: persistent statue fetishism within a vibrant monumental culture, rampant exoticism amid unprecedented colonial expansion, the rapid growth of the illustrated press, the rise of female show business personalities, the advent of cinema and x-rays, and a burgeoning sense of new visual possibilities. The volume examines how Merode heralded modern celebrity icons; problematizes the status of women and women's bodies under intense public scrutiny; and exposes the paradoxes of a society captivated by a mass media-driven dream of intimacy from afar.Cleo de Merode and the Rise of Modern Celebrity Culture probes the neglected prehistory of a visual culture obsessed with celebrities and their images.

This book considers dancer, teacher, and choreographer Mary Wigman, a leading innovator in Expressionist dance whose radical explorations of movement and dance theory are credited with expanding the scope of dance as a theatrical art. Now reissued, this book combines: a full account of Wigman's life and work an analysis of her key ideas detailed discussion of her aesthetic theories, including the use of space as an "invisible partner" and the transcendent nature of performance a commentary on her key works, including Hexentanz and The Seven Dances of Life an extensive collection of practical exercises designed to provide an understanding of Wigman's choreographic principles and her uniquely immersive approach to dance. 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.

The author takes a new approach to teaching notation through movement exercises, thus enlarging the scope of the book to teachers of movement and choreography as well as the traditional dance notation students. Updated and enlarged to reflect the most recent scholarship and through a series of exercises, this book guides students through: movement, stillness, timing, shaping, accents travelling direction, flexion and extension rotations, revolutions and turns supporting balance relationships. All of these movements are related to notation, so the student learns how to notate and describe the movements as they are performed.

Your Move: A New Approach to the Study of Movement and Dance establishes a fresh and original framework for looking at dance. In examining the basic elements of dance - the Alphabet of Movement - and using illustrations of movement technique and notation symbols it provides a new way to see, to teach and to choreograph dance. This book gives a list of primary actions upon which all physical activity is gased, focusing on both the functional and expressive sides of movement. It draws upon the author's broad experience in ballet, modern and ethnic dance to reinterpret movement and to shed new light on the role of movement in dance. Your Move is an important book not only for dancers but also for instructors in sport and physical therapy. Each copy of Your Move comes complete with exercise sheets, which can also be purchased separately. A teacher's guide has also been designed providing notes on each chapter, approaches to the exploration of movement, interpretation of the reading studies, additional information of motif description and answers to the exercise sheets. An optional audio cassette, with music written and recorded especially for use with the book, is also available.

Kathak, the classical dance of North India, combines virtuosic footwork and dazzling spins with subtle pantomime and soft gestures. As a global practice and one of India's cultural markers, kathak dance is often presented as heir to an ancient Hindu devotional tradition in which men called Kathakas danced and told stories in temples. The dance's repertoire and movement vocabulary, however, tell a different story of syncretic origins and hybrid history - it is a dance that is both Muslim and Hindu, both devotional and entertaining, and both male and female. Kathak's multiple roots can be found in rural theatre, embodied rhythmic repertoire, and courtesan performance practice, and its history is inextricable from the history of empire, colonialism, and independence in India. Through an analysis both broad and deep of primary and secondary sources, ethnography, iconography and current performance practice, Margaret Walker undertakes a critical approach to the history of kathak dance and presents new data about hereditary performing artists, gendered contexts and practices, and postcolonial cultural reclamation. The account that emerges places kathak and the Kathaks firmly into the living context of North Indian performing arts.

Every dissertation is individual and unique - particularly for dance students, who must combine a wide range of approaches into a tailor-made research methodology. What Moves You? fosters a creative approach to dissertations and final projects. By guiding the development of a personal study program, this volume encourages dance students to take ownership of their artistic and academic work, a skill essential both to successful undergraduate study, and to making the first steps towards a career in dance. Rather than propose a prescriptive, step-by-step mantra, Charlotte Nichol and Lise Uytterhoeven draw upon contributions from students, teachers, examiners and practitioners to broaden the notion of 'research' and demystify the purpose of the dissertation.

Every dissertation is individual and unique - particularly for dance students, who must combine a wide range of approaches into a tailor-made research methodology. What Moves You? fosters a creative approach to dissertations and final projects. By guiding the development of a personal study program, this volume encourages dance students to take ownership of their artistic and academic work, a skill essential both to successful undergraduate study, and to making the first steps towards a career in dance. Rather than propose a prescriptive, step-by-step mantra, Charlotte Nichol and Lise Uytterhoeven draw upon contributions from students, teachers, examiners and practitioners to broaden the notion of 'research' and demystify the purpose of the dissertation.