This newly-updated second edition explores Pina Bausch's work and methods by combining interviews, first-hand accounts, and practical exercises from her developmental process for students of both dance and theatre. This comprehensive overview of her work offers new and exciting insight into the theatrical approach of a singular performance practitioner. This is an essential introduction to the life and work of one of the most significant choreographers/directors of the twentieth and twenty-first centuries. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners offer unbeatable value for today's student.

Texas shows its best moves in dance halls that dot its landscape. Wherever they've found fiddlers and dance floors, Texans have been tickled into motion. And for a century and a half, they've been kicking up dust in dance halls across the state. Writing about the eighteen she knows best, Gail Folkins celebrates how these halls still bring people together and foster joy. Folkins etches portraits of proprietors who give space for music and dancing, of musicians who furnish the soundtrack for dramas and comedies that play out across hardwood or concrete floors, and of people who come to dance, listen, or simply share the experience with friends and neighbors. Paired with Marcus Weekley's photographs, some whirling and some dreamy, they capture beat and motion, even the scent of sawdust on the floor. Drawn in, we witness daytime preparations for evenings to come, and the quiet that returns after the dancers go home and the musicians have packed up for the night. Moving from Twin Sisters near New Braunfels to legendary Luckenbach, we meet the third generation in a family of makers of music and keepers of dance halls. And then there are the descendants of Czech Catholic settlers coming to dance under the giant letters KJT (Katolika Jednota Texaska). At Coupland Dance Hall, we sense ghostly apparitions of pioneer women in long skirts. Very much in the twenty-first century, we share a dance floor with tourists and university types among the kitschy accoutrements at Austins Broken Spoke.

Body and space refer to vital and interrelated dimensions in the experience of sounds and music. Sounds have an overwhelming impact on feelings of bodily presence and inform us about the space we experience. Even in situations where visual information is artificial or blurred, such as in virtual environments or certain genres of film and computer games, sounds may shape our perceptions and lead to surprising new experiences. This book discusses recent developments in a range of interdisciplinary fields, taking into account the rapidly changing ways of experiencing sounds and music, the consequences for how we engage with sonic events in daily life and the technological advancements that offer insights into state-of-the-art methods and future perspectives. Topics range from the pleasures of being locked into the beat of the music, perception-action coupling and bodily resonance, and affordances of musical instruments, to neural processing and cross-modal experiences of space and pitch. Applications of these findings are discussed for movement sonification, room acoustics, networked performance, and for the spatial coordination of movements in dance, computer gaming and interactive artistic installations.

This lively collection of articles on dancer and choreographer Jose Limón provides a valuable insight into the life and times of the important Mexican American choreographer.
Born in Mexico, Limon came to the United States at the age of seven. Caught between his native and adopted cultures, Limon used this cultural tension to shape his craft while working with his mentor Doris Humphrey. Incorporating bold choreography into performances that broke the mold of how male dancers had been perceived, Limon often depicted flawed men caught in complex dramas.
Limon's dance company was the first to be invited by the State Department to represent the U.S. on a tour of South America, and is the first modern dance company to survive the death of its founder.

'He achieves the miraculous,' the sculptor Auguste Rodin wrote of dancer Vaslav Nijinsky. 'He embodies all the beauty of classical frescoes and statues'. Like so many since, Rodin recognised that in Nijinsky classical ballet had one of the greatest and most original artists of the twentieth century, in any genre. Immersed in the world of dance from his childhood, he found his natural home in the Imperial Theatre and the Ballets Russes, he had a powerful sponsor in Sergei Diaghilev - until a dramatic and public failure ended his career and set him on a route to madness. As a dancer, he was acclaimed as godlike for his extraordinary grace and elevation, but the opening of Stravinsky's The Rite of Spring saw furious brawls between admirers of his radically unballetic choreography and horrified traditionalists. Nijinsky's story has lost none of its power to shock, fascinate and move. Adored and reviled in his lifetime, his phenomenal talent was shadowed by schizophrenia and an intense but destructive relationship with his lover, Diaghilev. 'I am alive' he wrote in his diary, 'and so I suffer'. In the first biography for forty years, Lucy Moore examines a career defined by two forces - inspired performance and an equally headline-grabbing talent for controversy, which tells us much about both genius and madness. This is the full story of one of the greatest figures of the twentieth century, comparable to the work of Rosamund Bartlett or Sjeng Scheijen.

First Published in 1998. Routledge is an imprint of Taylor and Francis, an informa company.

This collection of new essays explores connections between dance, modernism, and modernity by examining the ways in which leading dancers have responded to modernity. Burt and Huxley examine dance examples from a period beginning just before the First World War and extending to the mid-1950s, ranging across not only mainland Europe and the United States but also Africa, the Caribbean, the Pacific Asian region, and the UK. They consider a wide range of artists, including Akarova, Gertrude Colby, Isadora Duncan, Katherine Dunham, Margaret H'Doubler, Hanya Holm, Michio Ito, Kurt Jooss, Wassily Kandinsky, Margaret Morris, Berto Pasuka, Uday Shankar, Antony Tudor, and Mary Wigman. The authors explore dancers' responses to modernity in various ways, including within the contexts of natural dancing and transnationalism. This collection asks questions about how, in these places and times, dancing developed and responded to the experience of living in modern times, or even came out of an ambivalence about or as a reaction against it. Ideal for students and practitioners of dance and those interested in new modernist studies, Dance, Modernism, and Modernity considers the development of modernism in dance as an interdisciplinary and global phenomenon.

'Eurythmy is that very thing which dancers with a true idealism have been unconsciously seeking - that inner harmony and balance that was a natural condition of the Greeks, visible in their statues and carved figures, so that, even in a standing pose, movement seems to flow through them.' Eurythmy is an expressive art of movement in which specific gestures relate to the sounds and rhythms of speech, to the tones and rhythms of music and to soul experiences, such as joy and sorrow. In this succinct and accessible booklet, the authors present a clear introduction to this contemporary art form in the context of the impulse of dance today. What is eurythmy, and how does it relate to other arts of movement and dance? What is eurythmy's purpose, and why did Rudolf Steiner create it in the early twentieth century? These and many more questions are answered in this extended essay, supplemented by 35 sketches of eurythmy figures by Rudolf Steiner that illustrate gestures of movement, feeling and character.

Merce Cunningham reached the age of 75 in 1994, an age at which many creative artists are content to rest on their laurels, or at least to leave behind whatever controversies they may have caused during their careers. No so Cunningham. In the first place, his 70s have been a time of intense creativity in which he has choreographed as many as four new works a year. Cunningham is a strongly committed as ever to the discovery of new ways of moving and of making movement, refusing to be hampered by the physical limitations that have come with age. Since 1991 every new work has been made at least in part with the use of the computer program Life Forms, which enables him to devise choreographic phrases that he himself would be unable to perform - and which challenge and develop the virtuosity of the young dancers in his company. The essays collected in this special issue of Choreography and Dance were written over the last few years and discuss various aspects of the work of Cunningham as seen both from the outside and the inside.

In this sparkling, innovative, fully-illustrated work, world-renowned choreographer Annie-B Parson translates the components of dance-time, proximity, space, motion and tone- into text. As we follow Parson through her days-at home, reading, and on her walks down the street-and in and out of conversations on everything from Homer's Odyssey to feminist art to social protest, she helps us see how everyday movement creates the wider world. Dance, it turns out, is everything and everywhere. With the insight and verve of a soloist, Parson shows us how art-making is a part of our everyday lives and our political life as we move, together and apart, through space.

How do I get a job as a dancer? Where and when should I train? How can I protect my body from injury? How do I become a choreographer? These and many more such questions asked by young or aspiring dancers are answered in this book - the most revealing and instructive book yet on what it means to be a dancer. Here is advice from some of the best dancers and choreographers in the world, crossing the fields of ballet, contemporary, South Asian dance, musical theatre and hip hop, and covering subjects both motivational and mundane, from tapping into your own reserves of creativity and resilience, to the important matter of when to eat your pre-show banana. The twenty-five experts in these pages have performed with the likes of the Royal Ballet, English National Ballet, Rambert, Matthew Bourne's New Adventures and BalletBoyz; they range from stars of the West End stage to TV talent-show successes and Kylie's backing dancers - as well as some of Britain's leading choreographers. They are Carlos Acosta, Matthew Bourne, Teneisha Bonner, Darcey Bussell, Lauren Cuthbertson, Maxine Doyle, Tommy Franzen, Adam Garcia, Jonathan Goddard, Matthew Golding, Melissa Hamilton, Wayne McGregor, Steven McRae, Stephen Mear, Cassa Pancho, Seeta Patel, Arlene Phillips, Arthur Pita, Kate Prince, Matthew Rees, Tamara Rojo, Kenrick 'H2O' Sandy, Hofesh Shechter, Aaron Sillis and Marlon 'Swoosh' Wallen.

Borrowing from contemporary semiotics and post-structuralist criticism, Foster outlines four models for representation in dance which are illustrated through an analysis of the works of contemporary choreographers and through historical examples beginning with court ballets of the Renaissance.

Moving Sites explores site-specific dance practice through a combination of analytical essays and practitioner accounts of their working processes. In offering this joint effort of theory and practice, it aims to provide dance academics, students and practitioners with a series of discussions that shed light both on approaches to making this type of dance practice, and evaluating and reflecting on it. The edited volume combines critical thinking from a range of perspectives including commentary and observation from the fields of dance studies, human geography and spatial theory in order to present interdisciplinary discourse and a range of critical and practice-led lenses through which this type of work can be considered and explored. In so doing, this book addresses the following questions: * How do choreographers make site-specific dance performance? * What occurs when a moving body engages with site, place and environment? * How might we interpret, analyse and evaluate this type of dance practice through a range of theoretical lenses? * How can this type of practice inform wider discussions of embodiment, site, space, place and environment? This innovative and exciting book seeks to move beyond description and discussion of site-specific dance as a spectacle or novelty and considers site-dance as a valid and vital form of contemporary dance practice that explores, reflects, disrupts, contests and develops understandings and practices of inhabiting and engaging with a range of sites and environments. Dr Victoria Hunter is Senior Lecturer in Dance at the University of Chichester.

A comprehensive overview of the dance culture of Singapore, this book embodies storytelling, personal reflections, memories, and histories of the artists. The extensive calendar of events encompassing companies and soloists from diverse dance practices, such as Indian, Malay and Chinese and a variety of Western contemporary dances, underline Singapore as a vibrant player in the evolution of Asian culture.

This book is an ode to the mythological heritage of Bharatanatyam. The visual narrative captures the rich heritage of this temple dance and its original exponents, the Devadasis or 'handmaidens of the deity'. Its repertoire of movements and moods bring alive the fascinating stories of Hindu gods and goddesses and their kaleidoscopic lives. In the following pages, the authors have traced the myths and legends that are cherished in our performing arts, to delight the culture-curious reader. And what is interesting is that in these stories, the reader will discover the inter-connectedness of ancient mythologies around the world. Perhaps such discoveries go a long way in validating the role that art plays in connecting civilisations. The book is designed to engage the reader without pedagogy or scholastic strictures, but with a lightness of touch, that entertains while it informs. Because the vision here is to weave information, anecdotes and trivia, together in the spirit of a popular cultural ranconteur. Replete with rare photographs curated from the Sohinimoksha World Dance and Communications archives, complemented by a lucid narrative that wraps facts in the language of romance and adventure, this book promises to be a collector's item for those who value the legacy of India's most celebrated dance form. For glimpses of some live performances by Sohini Roychowdhury, and her Sohinimoksha World Dance troupe, celebrating the music, dance, mythology of India and the World, go on-line to 'Dancing With The God.... with Sohinimoksha World Dance' at https://youtu.be/naR7p6SKiko

Relatively little has been written about how ballet teachers become teachers themselves and how each generation passes on its experience to the next. The teacher-dancer relationship within the context of the Russian classical tradition is a theme of "A Life Well Danced". It is presented through the lens of a young girl who lived through emigration and displacement at the time of the Russian Revolution, who experienced this again as an adult after the Second World War and who went on to establish a successful career as a teacher, examiner and choreographer. The book also touches on the teaching and performing of European character dance which is also an under-appreciated field. "A Life Well Danced" was inspired by the author's direct connection through Zybina and her teachers, Nicolai Legat in London, Evgenia Eduardova in Berlin and Elena Poliakova in Belgrade, to the flowering of Russian classical ballet in the late nineteenth and early twentieth centuries when Marius Petipa was choreographing works such as Swan Lake and Sleeping Beauty. An interview with Zybina provides the framework for material in memoirs and first-hand accounts that are drawn upon for their lively descriptions of the Imperial Theatre School and the Mariinsky ballet company in St. Petersburg. Born in Moscow, Zybina and her family fled to Europe at the time of the Russian Revolution. Her first marriage to an English diplomat took her to Belgrade and a career as a dancer and ballet mistress in Yugoslavia. The Second World War saw her still in Yugoslavia with her second husband when they and a number of close friends worked in intelligence on behalf of the Allies. A strange twist of events, brought them to England where Zybina established her ballet school and became an examiner for the Federation of Russian Classical Ballet and the Society of Russian Style Ballet Schools.

Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.

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

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.

History of Dance, Second Edition, offers readers a panoramic view of dance from prehistory to the present. The text covers the dance forms, designs, artists, costumes, performing spaces, and accompaniments throughout the centuries and around the globe. Its investigative approach engages students in assignments and web projects that reinforce the learning from the text, and its ancillaries for both teachers and students make it easy for students to perceive, create, and respond to the history of dance. New to This Edition History of Dance retains its strong foundations from the first edition while adding these new and improved features: * An instructor guide with media literacy assignments, teaching tips, strategies for finding historical videos, and more * A test bank with hundreds of questions for creating tests and quizzes * A presentation package with hundreds of slides that present key points and graphics * A web resource with activities, extensions of chapter content, annotated links to useful websites, and study aids * Developing a Deeper Perspective assignments that encourage students to use visual or aesthetic scanning, learn and perform period dances, observe and write performance reports, develop research projects and WebQuests (Internet-based research projects), and participate in other learning activities * Experiential learning activities that help students dig deeper into the history of dance, dancers, and significant dance works and literature * Eye-catching full-color interior that adds visual appeal and brings the content to life Also new to this edition is a chapter entitled "Global Interactions: 2000-2016," which examines dance in the 21st century. Resources and Activities The web resources and experiential learning activities promote student-centered learning and help students develop critical thinking and investigative skills.Teachers can use the experiential learning activities as extended projects to help apply the information and to use technology to make the history of dance more meaningful. Three Parts History of Dance is presented in three parts. Part I covers early dance history, beginning with prehistoric times and moving through ancient civilizations in Greece, Crete, Egypt, and Rome and up to the Renaissance. Part II explores dance from the Renaissance to the 20th century, including a chapter on dance in the United States from the 17th through 19th centuries. Part III unfolds the evolution of American dance from the 20th century to the present, examining imported influences, emerging modern dance and ballet, and new directions for both American ballet and modern dance. Chapters Each chapter focuses on the dancers and choreographers, the dances, and significant dance works and literature from the time period. Students will learn how dance design has changed through the ages and how new dance genres, forms, and styles have emerged and continue to emerge. The chapters also include special features, such as History Highlight sidebars and Time Capsule charts, to help students placee dancers, events, and facts in their proper context and perspective. Vocabulary words appear at the end of each chapter, as do questions that prompt review of the chapter's important information. The text is reader-friendly and current, and it is supported by the national standards in dance, arts education, social studies, and technology education. Through History of Dance, students will acquire a well-rounded view of dance from the dawn of time to the present day. This influential text offers students a foundation for understanding and a springboard for studying dance in the 21st century.

Anne Green Gilbert's Brain-Compatible Dance Education, Second Edition, strikes the perfect balance between hard science and practicality, making it an ideal resource for dance educators working with dancers of all ages and abilities. Gilbert presents the latest brain research and its implications for dance educators and dancers. She makes the research findings accessible and easy to digest, always connecting the science to the teaching and learning that takes place in classrooms and studios. This new edition of Brain-Compatible Dance Education features Gilbert's unique BrainDance warm-up, made up of eight developmental movement patterns for people of all ages, from birth to older adults. This BrainDance warm-up helps dancers improve focus and productivity as it invigorates their minds and bodies and gets their synapses firing. In addition, this edition offers the following new material: * 24 new lesson plans geared to all age groups, from birth on up * New tips and tools to strengthen your teaching skills and provide a foundation for advocating for dance in schools and communities * A new web resource that includes 11 video clips of BrainDance with variations for diverse audiences, as well as printable lesson plans, posters, charts, and assessment templates The video clips on the web resource are great teaching aids that show you real-world examples of how the movements are done. The clips show dancers from infants to seniors, from beginners to advanced students, and those with special needs. The text is organized into three parts. Part I presents the theory behind brain-compatible dance education, offering an overview of the latest brain research, outlining the 10 principles of brain-compatible dance education, and exploring how to plan engaging lessons and use tools to assess your dancers. Part II describes the lesson plan elements in depth, including warming up, exploring concepts, developing skills, creating, and cooling down. In part III, Gilbert offers her new sequential and holistic lesson plans for ages 0 through 4, 5 through 8, 9 through 18, and adults. Brain-Compatible Dance Education, Second Edition, will revitalize your dance classes by improving your students' focus as they perform the repetitions that are so necessary for skill development. It will help you understand the vital link between movement and cognition, develop holistic lesson plans for any age and population, and bring the joy of movement into students' lives.

"'Irmgard Bartenieff has a profound knowledge of the human body and how it moves. I am delighted that this will now be made available to many more people.'." -- George Balanchine of Director, New York City Ballet "'Irmgard Bartenieff's pioneering work in the multiple applications of Labananalysis has had a transforming influence on many areas of movement training. Her careful and detailed development of the spatial principles into active corrective work has illuminated and altered the training of people as varied as dancers, choreographers, physical therapists, movement and dance therapists, and psychotherapists. Anthropologists and non-verbal communication researchers have found their world view necessarily altered by her fundamental innovations. The field of body/mind work will need to adapt to include her clear working through of basic principles.'." -- Kayla Kazahn Zalk of President, American Dance Guild