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.

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.

"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.

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.

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.

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.

From early accounts of dance customs in medieval Ireland to the present, Helen Brennan offers an authoritative look at the evolution of Irish dance. Every type of dance from social to traditional to clergy is included. Brennan takes care to explain the different styles and traditions that evolved from different parts of Ireland; which results in some lively discussions as people reminisce over old favorites. She also discusses how dance evolved to become such an important part of Ireland's culture and history. An appendix is offered to help explain the various steps involved in each style of dance including the Munster or Southern style, Single Shuffle, Double Shuffle, Treble Shuffle, the Heel Plant, the Cut, the Rock or Puzzle, the Drum, the Sean Nos Dance Style of Connemara, and the Northern Style.

"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.

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.

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.

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.

Court dance in Java has changed from a colonial ceremonial tradition into a national artistic classicism. Central to this general transformation has been dance's role in personal transformation, developing appropriate forms of everyday behaviour and strengthening the powers of persuasion that come from the skillful manipulation of both physical and verbal forms of politeness. This account of dance's significance in performance and in everyday life draws on extensive research, including dance training in Java, and builds on how practitioners interpret and explain the repertoire. The Javanese case is contextualized in relation to social values, religion, philosophy, and commoditization arising from tourism. It also raises fundamental questions about the theorization of culture, society and the body during a period of radical change.

Dancing Across Borders presents formal and non-formal settings of dance education where initiatives in different countries transcend borders: cultural and national borders, subject borders, professional borders and socio-economic borders. It includes chapters featuring different theoretical perspectives on dance and cultural diversity, alongside case narratives that show these perspectives in a specific cultural setting. In this way, each section charts the processes, change and transformation in the lives of young people through dance. Key themes include how student learning is enhanced by cultural diversity, experiential teaching and learning involving social, cross-cultural and personal dimensions. This conceptually aligns with the current UNESCO protocols that accent empathy, creativity, cooperation, collaboration alongside skills- and knowledge-based learning in an endeavour to create civic mindedness and a more harmonious world. This volume is an invaluable resource for teachers, policy makers, artists and scholars interested in pedagogy, choreography, community dance practice, social and cultural studies, aesthetics and interdisciplinary arts. By understanding the impact of these cross-border collaborative initiatives, readers can better understand, promote and create new ways of thinking and working in the field of dance education for the benefit of new generations.

This is a complete study of the life and work of this seminal choreographer/dancer. More than just a biography, Copeland explores Cunningham's life story against a backdrop of an entire century of developments in American art. Iconoclastic and highly readable, this book will be enjoyed by all those interested in the development of the American arts in the twentieth century.

This is a complete study of the life and work of this seminal choreographer/dancer. More than just a biography, Copeland explores Cunningham's life story against a backdrop of an entire century of developments in American art. Iconoclastic and highly readable, this book will be enjoyed by all those interested in the development of the American arts in the twentieth century.

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.

The Routledge Companion to Dance Studies maps out the key features of dance studies as the field stands today, while pointing to potential future developments. It locates these features both historically-within dance in particular social and cultural contexts-and in relation to other academic influences that have impinged on dance studies as a discipline. The editors use a thematically based approach that emphasizes that dance scholarship does not stand alone as a single entity, but is inevitably linked to other related fields, debates, and concerns. Authors from across continents have contributed chapters based on theoretical, methodological, ethnographic, and practice-based case studies, bringing together a wealth of expertise and insight to offer a study that is in-depth and wide-ranging. Ideal for scholars and upper-level students of dance and performance studies, The Routledge Companion to Dance Studies challenges the reader to expand their knowledge of this vibrant, exciting interdisciplinary field.

This book uses the Afro-Brazilian art of capoeira to examine how security has been pursued from below and what significance this has for security analysis and policy. Illegal at the beginning of the twentieth century, capoeira is now a cultural institution and export that is protected by the Brazilian state and recognised by UNESCO, with capoeira players protecting and promoting their interests through the practice and development of their art. The book brings the musical and corporeal narrative from capoeira into conversation with debates on security; these have typically been dominated by northern, white, military voices, and as a result, the perspective of the weaker player is routinely overlooked in security literature and policy making. Bringing the perspective of the weaker party, Cultural Resistance and Security from Below examines the distribution of security from two angles. First, it presents the history of the interaction between capoeira players and the Brazilian society and state that resulted in political and legal acceptance of capoeira. Second, it explores how the practice of capoeira generates knowledge of identities, explanations and values, and how this knowledge empowers communities of players and is communicated to society more broadly. The book then turns to consider how capoeira resists within Brazil's contemporary context of insecurity, and what significance the knowledge and power, along with capoeira's core move of escape, have to security analysis and policy. The book concludes by taking the lessons from capoeira to inform understanding of other cultural activities and ways of life as potential sites and forms of resistance. Conceptually and methodologically original, this book will be of interest to scholars and students in the fields of security studies, development studies, political science and international studies. It will also be of interest to those scholars interested in the changing interaction between politics and the arts.

Why do women choreographers chose to create the dances they do in the manner they do? How do women in dance work independently and organizationally? How do women set up institutions? How has higher education helped or hindered women in the world of dance? These are the questions this work seeks to address. In dealing with some of the tensions, joys, frustrations and fears women experience at various points of their creative lives, the contributors strike a balance between a theoretical sense of feminism and its practice in reality. This book aims to present answers to questions about women, power and action.

The Costumes of Burlesque: 1866-2018 is the first volume to inclusively document burlesque costume from its birth in the 1860's through the global burlesque movement in 2018. This lushly illustrated book presents the history and development of this American art form by documenting the origins, influencers, and genuine articles that created its aesthetic. Showcases of legendary performers, including Lydia Thompson, Gypsy Rose Lee, Sally Rand, Bettie Page, Kitten Natividad, and Dita Von Teese, demonstrate costume styles through the years. This guide gives readers a clear view of how burlesque costume looked and why. It teaches collectors, burlesque performers, and fans alike to recognize vintage pieces for what they are and to design their own costumes with inspiration from the originals. By including detailed costume documentation, over 400 images, and interviews with prominent costume designers such as Catherine D'Lish and Garo Sparo, The Costumes of Burlesque brings 150 years of burlesque costume history to life.

Ballet: From the First Plie to Mastery is designed as a complement to a beginning student's ballet training. The book opens with a brief description of the benefits of ballet training to young dancers, and then introduces fundamentals and precepts of the technique. Clear photographs show exactly how to execute each movement. Then an eight-year course is presented, taking the student from age 5 or 6 throuh the teen years, outlining exactly what is to be taught and how it is to be performed. A glossary, bibliography, and discography close the book. For ballet students, their parents, and their teachers, this work gives a basic overview of ballet technique that will be a useful reference as well as a guide to training.