Wars in this century are radically different from the major conflicts of the 20th century-more amorphous, asymmetrical, globally connected, and unending. Choreographies of 21st Century Wars is the first book to analyze the interface between choreography and wars in this century, a pertinent inquiry since choreography has long been linked to war and military training. The book draws on recent political theory that posits shifts in the kinds of wars occurring since the First and Second World Wars and the Cold War, all of which were wars between major world powers. Given the dominance of today's more indeterminate, asymmetrical, less decisive wars, we ask if choreography, as an organizing structure and knowledge system, might not also need revision in order to reflect on, and intercede in, a globalized world of continuous warfare. In an introduction and sixteen chapters, authors from a number of disciplines investigate how choreography and war in this century impinge on each other. Choreographers write of how they have related to contemporary war in specific works, while other contributors investigate the interconnections between war and choreography through theatrical works, dances, military rituals and drills, the choreography of video war games and television shows. Issues investigated include torture and terror, the status of war refugees, concerns surrounding fighting and peacekeeping soldiers, national identity tied to military training, and more. The anthology is of interest to scholars in dance, performance, theater, and cultural studies, as well as the social sciences.

You are cordially invited to the wedding of the year! London, 1938. As the festive season approaches at the luxurious Buckingham Hotel, romance is in the air. The hotel staff are preparing for a once-in-a-lifetime event - the marriage of chambermaid Nancy Nettleton to debonair demonstration dancer Raymond de Guise. As wreaths are hung and carols are sung, life at the hotel is busier than ever. Guests arrive from around the world, seeking comfort, relaxation and refuge as tensions build across Europe and whispered rumours of war grow louder. Behind the scenes, the staff work tirelessly, ensuring the smooth operation of the hotel, not only keeping the confidences of their guests, but also protecting their own secrets . . . As Raymond takes Nancy in his arms for their first dance, one thing is certain - this will be a Christmas to remember. Be swept away by the new breath-taking romantic novel from Sunday Times bestselling author and Strictly Come Dancing star Anton Du Beke. "A novel that's like a hug!" Phillip Schofield

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.

Table of Contents

List of contributors

Acknowledgements

　

PART 1

Chapter 1. The Political is Personal: Smal Ndaba and Phyllis Klotz in Thumbnail Portraits of Origins and Orientations

Sarah Roberts

Chapter 2. Founding Sibikwa: A Professional Partnership Tempered in the Forge of Apartheid’s Final Years

Sarah Roberts

Chapter 3. Democracy, the First Decade: The Mandela-Mbeki Years (1994-2005)

Sarah Roberts

Chapter 4. The Trouble with Freedom: Mbeki’s Dream of an African Renaissance, Nation-building and Issues Surrounding HIV/AIDS in South Africa

Sarah Roberts

Chapter 5. Issues of Governance, Policy, Delivery, and Accountability Escalate: Sibikwa Responds to Developments in Arts and Culture Policy Documents and with Theatre-in-Education Projects

Sarah Roberts

　

Chapter 6. The Struggle for Social Justice in Confronting Gender-based Violence and Srategies of Intensifying an African Cultural Heritage as the Project Moves into the Future

Sarah Roberts

Appendix :1 A Chronology of Major Political Events, Cultural Developments and Sibikwa Plays

PART II

Chapter 7.Governance of Sibikwa Arts Centre: A Reflection on the Agility, Progress, and Longevity of the Organisation

Munyaradzi Chatikobo and Caryn Green

Chapter 8. Sibikwa’s Educational Programmes

Vanessa Bower and Hazel Barnes

Appendix 2: A Chronology of Educational and Vocational Training Programmes

Chapter 9. Living Proof: Thirty Years of Sibikwa’s Theatre Productions

Sarah Roberts

Appendix 3: A Chronology of Sibikwa Productions

Chapter 10. Celebrating Sibikwa’s Legacy of Dance and Physical Theatre from Community to Professional Dance Development

Clare Craighead and Lliane Loots

Appendix 4: A Chronology of Sibikwa Dance Company Productions and Festivals

Chapter 11. Keeping the African Sound Relevant

Evans Netshivhambe

Appendix 5: A Chronology of Sibikwa’s Music History

Chapter 12. Framing the Intersectional Gender Politics of the Sibikwa Legacy

Lliane Loots

Appendix 6- A Chronology of Gender Based Productions, Festivals and Training

Index

List of Contributors

Phyllis Klotz is the artistic director and co-founder of the Sibikwa Arts Centre in Benoni and has been at the forefront of arts training and development for youth for over 40 years. Her work has always been focused on the empowerment of young black females. She has been and still is involved in developmental theatre and arts education and is recognised as an expert in the development of community arts centres. She is the recipient of several awards for her contribution to South African theatre and has directed and co-written the seminal theatre piece, You Strike a Woman, You Strike a Rock. She has served on boards of the National Arts Council, State Theatre, CATHSSETA and the Market Theatre. She is also the recipient of the Naledi Lifetime Achievement Award.

Smal Ndaba is the co-founder and managing director of the Sibikwa Arts Centre; as an actor, playwright and director he has toured all over Southern Africa, the USA and Europe and has gained both national and international recognition for his work. He has initiated arts programmes to assist street children and juvenile prisoners; he assists South African and Mozambican community arts centres to build capacity. The majority of plays directed and written by Smal, focus on community issues. Smal has over 30 years’ experience working in the community arts and imparts his knowledge frequently through conducting workshops in South Africa, Zimbabwe, Botswana and the USA. He is joint winner of the Naledi Lifetime Achievement Award 2005 with co-director Phyllis Klotz.

Prof Hazel Barnes is retired head of the Drama and Performance Studies Programme at the University of KwaZulu-Natal, Pietermaritzburg campus where she lectured, researched, performed and directed theatre and also developed the applied drama and theatre option. She was the university orator for a number of years and also assistant Dean. Since retirement she has been a Mellon visiting scholar at the University of Cape Town and visiting lecturer and chair of the research committee of the Drama for Life Programme University of the Witwatersrand. She has written on the use of applied drama with the deaf, for reconciliation and trauma recovery, and on the work of South African playwrights, Greig Coetzee, whose plays she has anthologised, and Mandla Mothwe.

Vanessa Bower studied English and Speech & Drama and taught at various institutions in Cape Town. In 1998 she joined the staff of Sibikwa Community Theatre Project, where she facilitated teacher training programmes for seven years. She was later involved in the Learnership Programmes and subsequently trained a number of artists in arts facilitation at Sibikwa, in preparation for the Artists in Schools Programme. She has published a book on Assessment of Arts & Culture and has produced Creative Arts teacher support manuals for the Gauteng Department of Education. She has also provided training in Workplace Communications.

Munyaradzi Chatikobo is a Lecturer in Drama for Life and Cultural Policy and Management in the Wits School of Arts. He has considerable experience in Cultural Leadership and Arts Management training. His academic and research interests are in Cultural Policy and Management which includes Community Arts, Culture and Development, Cultural and Creative Industries, Culture and Diplomacy as well as Social and Cultural Entrepreneurship. He is a board member for Nhimbe Trust and CHIPAWO Trust in Zimbabwe. He is also a Non-Executive Director of Andani.Africa. He is a registered PhD candidate in the Wits School of Arts and his area of study is Cultural Policy and Community Theatre in South Africa. In 2018 he teamed up with Avril Joffe, Johanna Mavhungu and Annabell Lebethe to author a book chapter on Cultural Governance in South Africa. The chapter appears in a book edited by Ian W King and Annick Schramme titled Cultural Governance in the Global Context; An International Perspective on Arts Organisations (Palgrave).

Clare Craighead has been the company manager to Flatfoot Dance Company for the past 15 years. She holds an MA degree in Drama and Performance Studies from UKZN and has published in Critical Arts, South African Theatre Journal, South African Dance Journal and Agenda: A Journal of Feminist Media. Craighead spearheaded and continues to facilitate the JOMBA! Contemporary Dance Festival’s graduate writing residency programme. "JOMBA! KHULUMA". which is an intensive platform that takes graduate students - under festival conditions - through the rigours of reviewing and critically engaging dance. She has also been a contract lecturer/tutor to UKZN’s Drama and Performance Studies and Gender Studies Programmes and has a long-standing position as a moderator for Embury Institute for Education’s "Education and Diversity" module. Currently she is working as a lecturer at Durban University of Technology’s Drama and Production Studies Department.

Dr Lliane Loots holds the position of Lecturer in the Drama and Performance Studies Programme at the University of KwaZulu-Natal. She has a MA degree in Gender Studies and completed her PhD in 2018 looking at contemporary dance/performance histories on the African continent. As an artist/scholar her PhD research is framed within an ethnographic and autoethnographic paradigm with a focus on narrative as methodology. Loots has published widely within this area of academic/praxis enquiry. Loots holds the founding position of Artistic Director for UKZN’s Centre for Creative Arts annual international JOMBA! Contemporary Dance Experience – a festival that turns 23 in 2021. She has recently completed a 3-year stretch on the National Arts Festival’s Artistic Committee for dance. Loots founded Flatfoot Dance Company as a professional dance company in 2003 when it grew out of a dance training programme that originally began in 1994. As the artistic director and resident choreographer for Flatfoot, she has won numerous national choreographic awards and commissions and has travelled extensively in Europe, America and within the African continent with her dance work. Loots was awarded the Chevalier des Arts et des Lettres (Knight in the Order of Arts and Letters) by the French government in 2017 for her work in the South African dance sector.

Dr Evans Netshivhambe (ORCiD: 0000-0003-0362-4110) is a young South African composer lecturing in African music at the University of Pretoria with an interest in African music identity through African art composition. His PhD in African music composition incorporates Venda rhythmic elements into African art music, exploring a new 'sound world' through composition. He is currently a lecturer in African music studies, at the University of Pretoria. In 2008, Evans was awarded third prize in a choral music competition held by the Southern African Music Rights Organisation (SAMRO), which showcased 20th century choral music style. He also received three commissions from the SAMRO Foundation (in 2010, 2011 and 2012 respectively).

Dr Sarah Roberts’(ORCiD:0000-0002-4383-4668) areer synthesises professional practice with a commitment to education, development and scholarship. Recently retired from the University of the Witwatersrand, where she was an Associate Professor, she has developed and implemented a range of undergraduate courses in cultural studies, performance and design in the Division of Theatre and Performance. Her focus on developing improvisation skills and the agency of actors as an ensemble is documented in publications in the Journal of the Shakespeare Society of Southern Africa and the Journal of Contemporary Drama in English. A multi-award-winning professional production designer, her portfolio includes significant productions emerging from South Africa since 1985 including designing the stage for the Union Building Gardens for President Nelson Mandela’s inauguration in addition to landmark productions across the spectrum of musical theatre, contemporary dance and drama, including Sarafina!, Sophiatown andNothing But the Truth. These productions, including a significant number of Sibikwa productions over the span of thirty years, have been feted nationally and internationally. One of the original Board members of Sibikwa at its inception, she served as a trustee for the project for ten years and has since continued to be closely associated with a range of Sibikwa projects, productions and conferences.

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"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.

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.

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.

Ballet impresario Sergey Pavlovich Diaghilev and composer Sergey Sergeyevich Prokofiev are eminent figures in twentieth-century cultural history, yet this is the first detailed account of their fifteen-year collaboration. The beginning was not trouble-free, but despite two false starts (Ala i Lolli and the first version of its successor, Chout) Diaghilev maintained his confidence in the composer. With his guidance and encouragement Prokofiev established his mature balletic style. After some years of estrangement during which Prokofiev wrote for choreographer Boris Romanov and conductor/publisher Serge Koussevitsky, Diaghilev came to the composer's rescue at a low point in his Western career. The impresario encouraged Prokofiev's turn towards 'a new simplicity' and offered him a great opportunity for career renewal with a topical ballet on Soviet life (Le Pas d'acier). Even as late as 1928-29 Diaghilev compelled Prokofiev to achieve new heights of expressivity in his characterizations (L'Enfant prodigue). Although Western scholars have investigated Prokofiev's operas, piano works, and symphonies, little attention has been paid to his early ballets written for Diaghilev's Ballets Russes. Despite Prokofiev's devotion to opera, it was his ballets for Diaghilev as much as his concertos and solo piano works that earned his renown in Western Europe in the 1920s. Stephen D. Press discusses the genesis of each ballet, including the important contributions of the scenic designers (Mikhail Larionov, Georgy Yakulov and Georges Rouault) and the choreographer/dancers (Leonid Massine, Serge Lifar and George Balanchine), and the special relationship between the ballets' progenitors.

"Beyond Dance: Laban's Legacy of Movement Analysis "offers students of dance and movement a brief introduction to the life and work of Rudolf Laban, and how this work has been extended into the fields of movement therapy, communications, early childhood development, and other fields. Rudolf Laban's landmark system of movement analysis has been applied to dance movement through both Labanotation (his system of writing down movement) and also through "effort-shape analysis," a system that was developed out of Laban's work by his followers to better understand how movement occurs. Laban's followers--notably Warren Lamb--used this as a basis to study movement in a broader context, from how to make work more efficient in agriculture and industry to how to better communicate through body movement and gesture.
While many dance students know of Laban and his work as it applies to their field, few know the full story of how this technique has developed and grown. For many who enter into the fields of dance movement therapy, performance, and communications, there are valuable lessons to be learned from Laban and his follower's works. "Beyond Dance: Laban's Legacy of Movement Analysis "offers a concise introduction to this world.
Refreshingly free of jargon and easy to understand, the work offers dance students--and others interested in human movement--a full picture of the many possibilities inherent in Laban's theories. For many who will pursue careers "beyond dance," this work will be a useful guidebook into related areas.
This will be ideally suited to students of Laban movement theory in dance and movement therapy, and will be used in advanced courses in these areas as useful, briefintroduction to the field.

Covering fifty years of British dance, from Margot Fonteyn to innovative contemporary practitioners such as Wendy Houstoun and Nigel Charnock, Yes? No! Maybe is an innovative approach to performing and watching dance.

Emilyn Claid brings her life experience and interweaves it with academic theory and historical narrative to create a dynamic approach to dance writing.

Using the 1970s revolution of new dance as a hinge, Claid looks back to ballet and forward to British independent dance which is new dancea (TM)s legacy. She explores the shifts in performer-spectator relationships, and investigates questions of subjectivity, absence and presence, identity, gender, race and desire using psychoanalytical, feminist, postmodern, post-structuralist and queer theoretical perspectives.

Artists and practitioners, professional performers, teachers, choreographers and theatre-goers will all find this book an informative and insightful read.

The only scholarly book in English dedicated to recent European contemporary dance, "Exhausting Dance: Performance and the Politics of Movement" examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US.
Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies.
In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers:
* Jerome Bel (France)
* Juan Dominguez (Spain)
* Trisha Brown (US)
* La Ribot (Spain)
* Xavier Le Roy (France-Germany)
* Vera Mantero (Portugal)
and visual and performance artists:
* Bruce Nauman (US)
* William Pope.L (US).
This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.

Bob Fosse (1927-87) is recognized as one of the most significant figures in the post-World War II American musical theater. With his first Broadway musical, The Pajama Game in 1954, the "Fosse style" was already fully developed, with the hunched shoulders, turned in stance, and stuttering, staccato jazz movements. Fosse moved decisively into the role of director with Redhead in 1959 and was a key figure in the rise of the director-choreographer in the Broadway musical. He also became the only star director of musicals of his era-a group that included Jerome Robbins, Gower Champion, Michael Kidd, and Harold Prince- to equal his Broadway success in films. Following his unprecedented triple crown of show business awards in 1973 (an Oscar for Cabaret, Emmy for Liza With a Z, and Tony for Pippin), Fosse assumed complete control of virtually every element of his projects. But when at last he had achieved complete autonomy, his final projects, the film Star 80 and the musical Big Deal, both written and directed by Fosse, were rejected by audiences and critics. A fascinating look at the evolution of Fosse as choreographer and director, Big Deal: Bob Fosse and Dance in the American Musical considers Fosse's career in the context of changes in the Broadway musical theater over four decades. It traces his early dance years and the importance of early mentors George Abbott and Jerome Robbins on his work. It examines how each of the important women in his adult life-all dancers-impacted his career and influenced his dance aesthetic. Finally, the book investigates how his evolution as both artist and individual mirrored the social and political climate of his era and allowed him to comfortably ride a wave of cultural changes.

"Dances of Shakespeare" gives a brief introduction to how to perform all of the dance styles featured in Shakespeare's plays. Designed for the practicing director, actor, or choreographer, it gives clear instruction on how to perform popular dances of Shakespeare's day, including masques, brawls, canaries, corantos, galliards, jigs, La Volta, pavans, morris dances, and roundels. Accompanied by clear illustrations, these instructions allow even the dance-challenged to quickly master enough technique to suit amateur, community, college, or semi-professional productions. Other useful features include a chronological listing of popular dances similar in spirit to those of Shakespeare's days, designed for those staging Shakespeare's work in periods other than as written, as well as an appendix list of the plays grouped by what is called for in the text: a "dance," a "masque," or a specific dance form. Dances of Shakespeare is a "must have" for all student directors and performers interested in staging Shakespeare's works.

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.

Moving through Conflict: Dance and Politics in Israel is a pioneering project in examining the Israeli-Palestinian conflict through dance. It proposes a research framework for study of the social, cultural, aesthetic and political dynamics between Jews and Arabs as reflected in dance from late 19th-century Palestine to present-day Israel. Drawing on multiple disciplines, this book examines a variety of social and theatrical venues (communities, dance groups, evening classes and staged performances), dance genres (folk dancing, social dancing and theatrical dancing) and different cultural identities (Israeli, Palestinian and American). Underlying this work is a fundamental question: can the body and dance operate as nonverbal autonomous agents to mediate change in conflicting settings, transforming the "foreign" into the "familiar"? Or are they bound to their culturally dependent significance - and thus nothing more than additional sites of an embodied politics? This anthology expounds on various studies on dance, historical periods, points of view and points of contact that help promote thinking about this fundamental issue. It will be of great interest to students and scholars of dance studies, sociology, anthropology, art history, education and cultural studies, as well as conflict and resolution studies.

This invaluable resource for teachers and therapists continues to explore the link between movement and emotions presented in the first edition of this innovative book. It provides 180 practical activities with a clear rationale for the use of creative dance and movement to enrich therapy or educational programmes. This book features session plans divided into warm-ups, introductions to themes, development of themes and warm-downs and explores many areas, including developmental movement processes, non-verbal communication, and expression communication. In addition to thoroughly updating the content of the original edition, this timely sourcebook includes new material on creative dance and dance movement psychotherapy, added references throughout and updated resources to reflect the most current knowledge. Creative Dance and Movement in Groupwork will be an invaluable asset for group leaders wishing to enhance their practice, as well as a starting point for those wishing to learn more about the field. It provides guidance and practical information that is suitable for working with clients of all ages and for those with a professional or practical interest in the educational, health, recreational or psychotherapeutic use of the arts, this book may act as one of many guiding lights on your journey.

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.

For nearly a century, the training of ballet and modern dancers has followed two divergent paths. Modern practitioners felt ballet was artificial and injurious to the body; ballet teachers felt that modern dancers lacked the rigorous discipline and control that comes only from years of progressive training.

Ballet Beyond Tradition seeks to reconcile these age-old conflicts and bring a new awareness to ballet teachers of the importance of a holistic training regimen that draws on the best that modern dance and movement-studies offers.

For nearly a century, the training of ballet and modern dancers has followed two divergent paths. Modern practitioners felt ballet was artificial and injurious to the body; ballet teachers felt that modern dancers lacked the rigorous discipline and control that comes only from years of progressive training.

Ballet Beyond Tradition seeks to reconcile these age-old conflicts and bring a new awareness to ballet teachers of the importance of a holistic training regimen that draws on the best that modern dance and movement-studies offers.

A definitive book for students of dance and movement studies, Labanotation is now available in a fourth edition, the first complete revision of the text since 1977.

Initiated by the movement genius Rudolf Laban, and refined through fifty years of work by teachers here and abroad, Labanotation, the first wholly successful system for recording human movement, is now having the effect on ballet and other forms of dance that the prefection of music notation in the Renaissance had on the development of music.

This book makes it possible to record accurately, for study and reconstruction, the great dance creations of the theater, as well as such diverse activities as time/motion studies for industry, personnel assessment and physical therapy. So comprehensive that it can indicate even facial expressions, the system is also simple enough for a child to learn easily as an integral part of athletic or dance training.

This study focuses on beliefs about music current in eighteenth-century Germany. Of particular interest are the conceptual metaphors through which major writers (Goethe, Schiller, Herder and Klopstock) used music as analogy and medium for perceptions of the world in their writing. The book surveys traditional metaphors (music as harmony/disharmony, music as like/unlike language, music as structured by mathematical proportion or by rhythm) inherited from Greek and French thought and looks at ways in which these writers also assimilated and developed contemporary ideas (especially from Leibniz, the French Rationalists, Rameau and Rousseau). German writers of this epoch had a remarkably rich and varied range of ideas of music at their disposal, some of which could also be realised in multi-media genres. With the help of modern theory from several fields, the study aims to show how they deployed these resources in ways both like and unlike the practice of Romantic writers with whom they overlapped at the end of the century.

"Finding Balance: Fitness, Health, and Training for a Lifetime in Dance "gives an overview of issues faced by all performing dancers: injury and treatment; technique and training; fitness; nutrition and diet; and career management. The text includes both easy-to-read overviews of each topic and "profiles" of well known dancers and how they have coped with these issues.
The new edition includes:
- Updated and new profiles
- Expanded injury and injury treatment information
- Updated dance science and physiology findings, and new references
- Updated diet guidelines
- Expanded and updated "Taking Control" section
It concludes with a list of selected dance/arts medicine clinics, a bibliography, glossary, and text notes.

Features important information about Dene community life in the 1960s during the crucial period immediately following the move from bush to town. Deals extensively with the traditional economy, the structure of Dene Kinship, its role in social organization, and the role of the drum dance in the social life of the community under rapidly-changing circumstances.

Moving Relation explores the notion of touch in the realm of contemporary dance. By closely analyzing performances by well-known European and American choreographers such as Meg Stuart, William Forsythe, Xavier Le Roy, Jared Gradinger and Angela Schubot, this book investigates their usage of touch on the level of movement, experience and affect. Building on the proposition that touch is more than the moment of bodily contact, the author demonstrates the concept of touch as an interplay of movements and multiple relations of proximity. Egert employs both depth, using close descriptions and analyses of dance performances with theoretical investigations of touch, with breadth, working across the fields of performance and dance studies, philosophy and cultural theory. Suitable for scholars and practitioners in the fields of dance and performance studies, Moving Relation uses a process-oriented notion of touch to reevaluate key concepts such as the body, rhythm, emotional expression, subjectivity and audience perception.

Pina Bausch's Aggressive Tenderness: Repurposing Theater through Dance maps Bausch's pieces alongside methodologies of key theater and film practitioners. This book includes discussion of a variety of Bausch pieces, including Sacre du Printemps (Rite of Spring 1975), Kontakthof (Meeting Place 1978), Cafe Muller (Cafe Mueller 1978), Nelken (Carnations 1982), Arien (Arias 1985), and Vollmond (Full Moon 2006). Beginning with her approach as one avenue of dance dramaturgy, the author connects the content expressed in these pieces with theoretical conversations, works from other artists inspired by Bausch, and her own experiences, providing an examination that is both academic and personally insightful. Arendell reads all of these theatrical and film approaches into Bausch's work to highlight how the time frame involves a cross-pollination between Bausch and the other artists that looks both backward and forward in its influences. Ideal for students of dance and theater, Pina Bausch's Aggressive Tenderness shows how Bausch's Tanztheater speaks a kinaesthetic language, one that Arendell translates into a somaesthetic exploration to pair a repurposed body ethic with movements that present new forms of embodiment.