Western contemporary dance and body-mind education have engaged in a "pas de deux" for more than four decades. The rich interchange of somatics and dance has altered both fields, but scholarship that substantiates these ideas through the findings of twentieth-century scientific advances has been missing. This book fills that gap and brings to light contemporary discoveries of neuroscience and somatic education as they relate to dance. Drawing from the burgeoning field of "embodiment"--itself an idea at the intersection of the sciences, humanities, arts, and technologies--"Body and Mind in Motion" highlights the relevance of somatic education within dance education, dance science, and body-mind studies.

This new edition of Dance Teaching Methods and Curriculum Design is ideal for preparing undergraduate students to teach dance education. Students will learn a conceptual and comprehensive model of dance education that embraces dance as an art form and a lifelong physical activity. Students will gain the tools they need to teach various dance forms, create effective lesson and unit plans, and develop a curriculum that meets arts and education standards. The second edition of this foundational text uses a holistic approach to dance pedagogy for teaching children through adults in school and community environments. It also introduces theories from multiple disciplines and helps students apply those theories and processes when creating lesson and unit plans. New Material Dance Teaching Methods and Curriculum Design offers much new material: Four new sample dance units (up from 10 in the previous edition) Many useful instructor ancillaries, including an instructor guide, a presentation package, and a test package; students can submit their work electronically, and quizzes are automatically graded Resources delivered on HKPropel, including a variety of projects, printable forms, and video clips that demonstrate selected steps, movements, exercises, and combinations of different dance forms Beyond Technique assignments, which have been field tested in university courses, to help students see firsthand what a dance teacher does The sample dance units offer a comprehensive guide for teaching popular dance forms, and they now cover a greater diversity of styles, including hip-hop, Mexican folkloric, African, and line dance. In addition, the new ancillaries offer scope and sequence plans and block time plans for all 14 dance units, as well as all printable forms from the book. Dance Portfolio Another great feature of the book is the dance portfolio that students will create as they work through the text. This portfolio will help them demonstrate their ability to create lesson plans, a unit plan, and a complete dance curriculum. The students will develop these abilities as they complete chapters 1 through 13. Chapter 14 then walks students through assembling the sections of the portfolio. Projects the student can complete to include within their portfolio are available on HKPropel. Step-by-Step Approach Dance Teaching Methods and Curriculum Design offers students a step-by-step course of study for how to teach dance and create sustainable dance programs in schools. The authors synthesize a wide variety of research and resources to support dance pedagogy and curriculum development, provide the infrastructure to meet the changing needs of students to teach dance in the 21st century, and supply extensive references for students to use to increase their dance education knowledge. Book Organization The text is organized into three parts. Part I covers information specific to teaching dance and understanding learners from grades preK through 12. Part II focuses on applying the dance knowledge gained from part I to the teaching and learning process in the four categories of dance forms. In part III, students learn how to develop unit plans and choose a curriculum design for their dance programs. Filling a Void Dance Teaching Methods and Curriculum Design, Second Edition, addresses the knowledge, skills, processes, and content that students need as they prepare to teach dance in various settings. This text fills a void in dance education literature, studying all the steps as it provides students the foundational knowledge and practical know-how they need to confidently begin teaching dance in schools, recreation programs, or private dance studios. Note: A code for accessing HKPropel is included with all new print books.

American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere is the first full-length examination of a Soviet cultural diplomatic effort. Following the signing of an American-Soviet cultural exchange agreement in the late 1950s, Soviet officials resolved to utilize the Bolshoi Ballet's planned 1959 American tour to awe audiences with Soviet choreographers' great accomplishments and Soviet performers' superb abilities. Relying on extensive research, Cadra Peterson McDaniel examines whether the objectives behind Soviet cultural exchange and the specific aims of the Bolshoi Ballet's 1959 American tour provided evidence of a thaw in American-Soviet relations. Interwoven throughout this study is an examination of the Soviets' competing efforts to create ballets encapsulating Communist ideas while simultaneously reinterpreting pre-revolutionary ballets so that these works were ideologically acceptable. McDaniel investigates the rationale behind the creation of the Bolshoi's repertoire and the Soviet leadership's objectives and interpretation of the tour's success as well as American response to the tour. The repertoire included the four ballets, Romeo and Juliet, Swan Lake, Giselle, and The Stone Flower, and two Highlights Programs, which included excerpts from various pre- and post-revolutionary ballets, operas, and dance suites. How the Americans and the Soviets understood the Bolshoi's success provides insight into how each side conceptualized the role of the arts in society and in political transformation. American-Soviet Cultural Diplomacy: The Bolshoi Ballet's American Premiere demonstrates the ballet's role in Soviet foreign policy, a shift to "artful warfare," and thus emphasizes the significance of studying cultural exchange as a key aspect of Soviet foreign policy and analyzes the continued importance of the arts in twenty-first century Russian politics.

From the mid-13th to the mid-18th century the ability to dance was an important social skill for both men and women. Dance performances were an integral part of court ceremonies and festivals and, in the 17th and 18th centuries, of commercial theatrical productions. Whether at court or in the public theater danced spectacles were multimedia events that required close collaboration among artists, musicians, designers, engineers, and architects as well as choreographers. In order to fully understand these practices, it is necessary to move beyond a consideration of dance alone, and to examine it in its social context. This original collection brings together the work of 12 scholars from the disciplines of dance and music history. Their work presents a picture of dance in society from the late medieval period to the middle of the 18th century and demonstrates how dance practices during this period participated in the intellectual, artistic, and political cultures of their day.

Competitive ballroom is much more than a style of dance. Rather, it is a continually evolving and increasingly global social and cultural arena of fashion, performance, art, sport, gender, and more. "Ballroom" explores the intersection of dance cultures, dress, and the body. the book presents the author's experiences at a range of international dance events in Europe, the US and UK, as well as featuring the views of individual dancers. "Ballroom" shows how dancing influences mind and body alike. For students of anthropology, dance, cultural, and performance studies, this book provides an ethnographic picture of how dancers and others live their lives both on and off the dance floor.

This volume presents a multidisciplinary perspective on dance scholarship and practice as they have evolved in India and its diaspora, outlining how dance histories have been written and re-written, how aesthetic and pedagogical conventions have changed and are changing, and how politico-economic shifts have shaped Indian dance and its negotiation with modernity.. Written by eminent and emergent scholars and practitioners of Indian dance, the articles make dance a foundational socio-cultural and aesthetic phenomena that reflects and impacts upon various cultural intercourses -- from art and architecture to popular culture, and social justice issues. They also highlight the interplay of various frameworks: global, national, and local/indigenous for studying these diverse performance contexts, using dance as a critical lens to analyse current debates on nationalism, transnationalism, gender and sexuality, and postcolonial politics. At the performace level, some articles question the accepted divisions of Indian dance (?classical?, ?folk?, and ?popular?) and critique the dominant values associated with classical dance forms. Finally, the book brings together both experiential and objective dimensions of bodily knowledge through dance.

This book celebrates and documents the resurgence of dance in Cambodia after the fall of the Khmer Rouge and the infamous Pol Pot regime. It honours the remarkable commitment of the few remaining masters of the art of dance who are reviving and preserving the famous classical dances, as well as the courage and resolution of young artists who are imaginatively pursuing their passion to forge new paths in contemporary dance. n 2003, Cambodian classical dance was awarded world heritage status by UNESCO this confirmed the importance, and perhaps the burden, of the task of preservation. This volume includes contributions from the royal family, eminent writers and commentators and the dancers themselves.

Monuments and reminders of the Killing Fields abound in the city of Phnom Penh. Nearly 2 million Cambodians, including many artists, perished during the killings or died of starvation and disease during the Khmer Rouge years. Today, the dancers, both young and old, move towards the future while respecting and honouring the past. This volume documents their journey.

This book examines the political power of dance, particularly its transgressive potential. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement, dabke in Palestine and dance as a protest against human rights abuse in Israel, the book explores moments in which the form succeeds in transgressing politics as articulated in words. Close readings and critical analysis grounded in radical democratic theory combine to show how interpreting political dance as 'interruption' can unsettle conceptions of both politics and dance. -- .

Movements of Interweaving is a rich collection of essays exploring the concept of interweaving performance cultures in the realms of movement, dance, and corporeality. Focusing on dance performances as well as on scenarios of cultural movements on a global scale, it not only challenges the concept of intercultural dance performances, but through its innovative approach also calls attention to the specific qualities of "interweaving" as a form of movement itself. Divided into four sections, this volume features an international team of scholars together developing a new critical perspective on the cultural practices of movement, travel and migration in and beyond dance.

During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences.
Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill's Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada's Aboriginal Dance Program and the American Indian Dance Theatre.
Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage.
Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance,"

This book examines the political power of dance, particularly its transgressive potential. Focusing on readings of dance pioneers Isadora Duncan and Martha Graham, Gumboots dancers in the gold mines of South Africa, the One Billion Rising movement, dabke in Palestine and dance as a protest against human rights abuse in Israel, the book explores moments in which the form succeeds in transgressing politics as articulated in words. Close readings and critical analysis grounded in radical democratic theory combine to show how interpreting political dance as 'interruption' can unsettle conceptions of both politics and dance. -- .

Dance Matters Too: Markets, Memories, Identities is a rich intellectual contribution to the growing field of dance studies in India. It forges new avenues of scholarly inquiry and critical engagement and opens the field in innovative ways. This volume builds on Dance Matters (2009), which mapped the interdisciplinary breadth of the field. The chapters presented here continue to underline the uniqueness of a field that is a blend of critical scholarship on aesthetics and performance with the humanities and social sciences. Including diverse material, analytical approaches and perspectives from scholars and practitioners, this multidimensional volume explores debates on dance preservation and tradition in globalizing India, multimedia choreographies and the circulation of dance via electronic media, embodiment and memory, power, democracy and bourgeoning markets, classification and censorship, and corporatization and Bollywood. This tour de force will appeal to those in dance and performance studies, cultural studies, sociology as well as to readers interested in tradition, modernity, gender and globalization.

This book provides an engaging and contextualised insight into a South African township-based arts centre that has survived the vicissitudes of steady militarisation in townships during some of the worst years of apartheid as well as the exhilaration of a new democratic policy while attempting to circumnavigate different policies and funding dispensations. Sibikwa provides arts centres across the world and especially those in decolonising countries with strategies for survival in tumultuous times. This multi-disciplinary book maps and co-ordinates wider historical, political, and social contextual concerns and events with matters specific to a community-based east of Johannesburg and provides an exploration and analysis by experts of authentic theatre-making and performance, dance, indigenous music, arts in education and NGO governance. It has contemporary significance and raises important questions regarding inclusivity and transformation, the function and future of arts centres, community-based applied arts practices, creativity, and international partnerships. This study will be of great interest to students and scholars in theatre and performance, indigenous music, dance, and South African history.

Dance Appreciation is an exciting exploration of how to understand and think about dance in all of its various contexts. This book unfolds a brief history of dance with engaging insight into the social, cultural, aesthetic, and kinetic aspects of various forms of dance. Dedicated chapters cover ballet, modern, tap, jazz, and hip-hop dance, complete with summaries, charts, timelines, discussion questions, movement prompts, and an online companion website all designed to foster awareness of and appreciation for dance in a variety of contexts. This wealth of resources helps to uncover the fascinating history that makes this art form so diverse and entertaining, and to answer the questions of why we dance and how we dance. Written for the novice dancer as well as the more experienced dance student, Dance Appreciation enables readers to learn and think critically about dance as a form of entertainment and art.

Dance Appreciation is an exciting exploration of how to understand and think about dance in all of its various contexts. This book unfolds a brief history of dance with engaging insight into the social, cultural, aesthetic, and kinetic aspects of various forms of dance. Dedicated chapters cover ballet, modern, tap, jazz, and hip-hop dance, complete with summaries, charts, timelines, discussion questions, movement prompts, and an online companion website all designed to foster awareness of and appreciation for dance in a variety of contexts. This wealth of resources helps to uncover the fascinating history that makes this art form so diverse and entertaining, and to answer the questions of why we dance and how we dance. Written for the novice dancer as well as the more experienced dance student, Dance Appreciation enables readers to learn and think critically about dance as a form of entertainment and art.

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.

Focusing on Politics, Gender, and Identities, a group of international dance scholars provide a broad overview of new methodological approaches - with specific case studies - and how they can be applied to the study of ballet and modern dance.

With an introduction exploring the history of dance studies and the development of central themes and areas of concerns in the field, the book is then divided into three parts:

• politics explores 'Ausdruckstanz' - an expressive dance tradition first formulated in the 1920s by dancer Mary Wigman and carried forward in the work of Pina Bausch and others
• gender examines eighteenth century theatrical dance - a time when elaborate sets, costumes, and plots examined racial and sexual stereotypes
• identity is concerned with modern dance.

Exploring contemporary analytical approaches to understanding performance traditions, Dance Discourses' pedagogical structure makes it ideal for courses in performing arts and humanities.

This study considers the figure of the female dancer in French literary, visual, and performing art from 1830 to 1930. It explores how manifestations of the la danseuse shape notions of Modernism and asks why dance occupies a privileged position in a variety of Modernist media.

Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of new methodological approaches - with specific case studies - and how they can be applied to the study of ballet and modern dance. With an introduction exploring the history of dance studies and the development of central themes and areas of concerns in the field, the book is then divided into three parts: politics explores 'Ausdruckstanz' - an expressive dance tradition first formulated in the 1920s by dancer Mary Wigman and carried forward in the work of Pina Bausch and others gender examines eighteenth century theatrical dance - a time when elaborate sets, costumes, and plots examined racial and sexual stereotypes identity is concerned with modern dance. Exploring contemporary analytical approaches to understanding performance traditions, Dance Discourses' pedagogical structure makes it ideal for courses in performing arts and humanities.

Daniel Lewis's legacy as a hugely influential choreographer and teacher of modern dance is celebrated in this biography. It showcases the many roles he played in the dance world by organizing his story around various aspects of his work, including his years at the Juilliard School, dancing and touring with the Jose Limon Company, staging Limon's masterpieces around the world, directing his own company (Daniel Lewis Dance Repertory Company), writing and choreographing operas and musicals, and his years as dean of dance at New World School of the Arts. His life has spanned a particular period of growth of modern and contemporary dance, and his biography gives insight into how the artistic and journalistic perspectives on modern dance were influenced by what was occurring in the broader dance and arts communities. The book also offers rarely seen photographs and interviews with unique perspectives on many dance luminaries.

Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cubans dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.

"A Queer History of the Ballet "is the first book-length study of ballet's queerness. It theorizes the queer potential of the ballet look, and provides historical analyses of queer artists and spectatorships. It demonstrates that ballet was a crucial means of coming to visibility, of evolving and articulating a queer consciousness in periods when it was dangerous and illegal to be homosexual. It also shows that ballet continues to be a key element of the dance cultures through which queerness is explored. The book moves from the 19th century through the post-modern era, bringing together an important array of creative figures and movements, including Romantic ballet; Tchaikovsky; Diaghilev; Genet; Fonteyn; New York City Ballet; Neumeier; Bourne; Bausch; and Morris. It discusses the making and performance history of key works, including "La Sylphide, Giselle, Sleeping Beauty," and "Swan Lake."
"
A Queer History of the Ballet "will be especially useful to students and scholars involved in the growing number of courses on queer culture, theatre studies, dance history, gender studies, and cross-disciplinary approaches to literature. It is written in a lively, clear style that will make it accessible to the non-academic reader who has an interest in queer and/or dance history.

This book provides insight into how flamenco travels, the forms it assumes in new locales, and the reciprocal effects on the original scene. Utilising a postnational approach to cultural identity, Martin explores the role of non-native culture brokers in cultural transmission. This concept, referred to as 'cosmopolitan human hubs', builds on Kiwan and Meinhof's 'hubs' theory of network migration to move cultural migration and globalisation studies forwards. Martin outlines a post-globalisation flamenco culture through analysis of ethnographic research carried out in the UK, Sevilla and Madrid. Insight into these glocal scenes characterises flamenco as a historically globalized art complex, represented in various hubs around the world. This alternative approach to music migration and globalisation studies will be of interest to students and scholars across leisure studies, musicology, sociology and anthropology.

Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time, including Diaghilev, Ida Rubinstein, Benois and Nijinsky. In this book, the first study dedicated to Ravel's ballets, Deborah Mawer explores these relationships and argues that ballet music should not be regarded in isolation from its associated arts. Indeed, Ravel's views on ballet and other stage works privilege a synthesized aesthetic. The first chapter establishes a historical and critical context for Ravel's scores, engaging en route with multimedia theory. Six main ballets from Daphnis et Chloe through to Bolero are considered holistically alongside themes such as childhood fantasy, waltzing and neoclassicism. Each work is examined in terms of its evolution, premiere, critical reception and reinterpretation through to the present; new findings result from primary-source research, undertaken especially in Paris. The final chapter discusses the reasons for Ravel's collaborations and the strengths and weaknesses of his interpersonal relations. Mawer emphasizes the importance of the performative dimension in realizing Ravel's achievement, and proposes that the composer's large-scale oeuvre can, in a sense, be viewed as a balletic undertaking. In so doing, this book adds significantly to current research interest in artistic production and interplay in early twentieth-century Paris.

Dance intersects with ethnicity in a powerful variety of ways and at a broad set of venues. Dance practices and attitudes about ethnicity have sometimes been the source of outright discord, as when African Americans were - and sometimes still are - told that their bodies are 'not right' for ballet, when Anglo Americans painted their faces black to perform in minstrel shows, when 19th century Christian missionaries banned the performance of particular native dance traditions throughout much of Polynesia, and when the Spanish conquistadors and church officials banned sacred Aztec dance rituals. More recently, dance performances became a locus of ethnic disunity in the former Yugoslavia as the Serbs of Bosnia attended dance concerts but only applauded for the Serbian dances, presaging the violent disintegration of that failed state. The Oxford Handbook of Dance and Ethnicity brings together scholars from across the globe in an investigation of what it means to define oneself in an ethnic category and how this category is performed and represented by dance as an ethnicity. Newly-commissioned for the volume, the chapters of the book place a reflective lens on dance and its context to examine the role of dance as performed embodiment of the historical moments and associated lived identities. In bringing modern dance and ballet into the conversation alongside forms more often considered ethnic, the chapters ask the reader to contemplate previous categories of folk, ethnic, classical, and modern. From this standpoint, the book considers how dance maintains, challenges, resists or in some cases evolves new forms of identity based on prior categories. Ultimately, the goal of the book is to acknowledge the depth of research that has been undertaken and to promote continued research and conceptualization of dance and its role in the creation of ethnicity. Dance and ethnicity is an increasingly active area of scholarly inquiry in dance studies and ethnomusicology alike and the need is great for serious scholarship to shape the contours of these debates. The Oxford Handbook of Dance and Ethnicity provides an authoritative and up-to-date survey of original research from leading experts which will set the tone for future scholarly conversation.