First published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

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.

Now re-issued, this compact book unravels the contribution of one of modern theatre's most charismatic innovators. Hijikata Tatsumi and Ohno Kazuo combines: * an account of the founding of Japanese butoh through the partnership of Hijikata and Ohno, extending to the larger story of butoh's international assimilation * an exploration of the impact of the social and political issues of post-World War II Japan on the aesthetic development of butoh * metamorphic dance experiences that students of butoh can explore * a glossary of English and Japanese terms. As a first step towards critical understanding, and as an initial exploration before going on to further, primary research, Routledge Performance Practitioners are unbeatable value for today's student.

Dancers are top performance athletes on stage - to keep fit and healthy proper nutrition is an integral part of an optimal dance training. Nutrition for Dancers provides the principles of nutrition for dancers of all genres. Authors Liane Simmel and Eva- Maria Kraft clarify widespread nutritional mistakes and give advice on how a healthy diet can be incorporated into the everyday life of dancers.

First published in 2005. The Victorian and Edwardian music hall ballet has been a neglected facet of dance historiography, falling prey principally to the misguided assumption that any ballet not performed at the Opera House or 'legitimate' theatre necessarily meant it was of low cultural and artistic merit. Here Alexandra Carter identifies the traditional marginalization of the working class female participants in ballet historiography, and moves on to reinstate the 'lost' period of the music hall ballet and to apply a critical account of that period. Carter examines the working conditions of the dancers, the identities and professional lives of the ballet girls and the ways in which the ballet of the music hall embodied the sexual psyche of the period, particularly in its representations of the ballet girl and the ballerina. By drawing on newspapers, journals, theatre programmes, contemporary fiction, poetry and autobiography, Carter firmly locates the period in its social, economic and artistic context. The book culminates in the argument that there are direct links between the music hall ballet and what has been termed the 'birth' of British ballet in the 1930s; a link so long ignored by dance historians. This work will appeal not only to those interested in nineteenth century studies, but also to those working in the fields of dance studies, gender studies, cultural studies and the performing arts.

On America will respond to the powerful presence in contemporary culture of aesthetic forms and political strategies derived from North America. Counterpointing Letters from Europe, this book will address the use and abuse of images of and from North America, the deconstruction in performance theory and practice of North American art, film and performance, and the presentation of America as genre and fiction.

First published in 1988. Routledge is an imprint of Taylor and Francis, an informa company.

This book also traces the evolution of the Spanish Dance technique, marked as it is by a turbulent history.
Antonio Triana was a dancer of mature artistry, dignity and power. His physical and technical achievements went beyond what is generally known about Spanish Dance. His dance presented the essence of the Spanish character and, in his choreography, he used his traditional background for his brilliant inspirations. He partnered the legendary La Argentinita, Pilar Lopez and Carmen Amaya with spirit and gallantry. Over the years he developed a very distinct method of teaching and he became one of the foremost Spanish Flamenco dancers and teachers of his time.
Rita Vega de Triana formed the Triana Ballet Espanol with her late husband. She currently teaches Hispanic dance and related subjects at the University of Texas at El Paso and directs her own school as well as performing around the United States as a guest artist and choreographer.

Staging British South Asian Culture: Bollywood and Bhangra in British Theatre looks afresh at the popularity of forms and aesthetics from Bollywood films and bhangra music and dance on the British stage. From Andrew Lloyd Webber's Bombay Dreams to the finals of Britain's Got Talent, Jerri Daboo reconsiders the centrality of Bollywood and bhangra to theatre made for or about British South Asian communities. Addressing rarely discussed theatre companies such as Rifco, and phenomena such as the emergence of large- scale Bollywood revue performances, this volume goes some way towards remedying the lack of critical discourse around British South Asian theatre. A timely contribution to this growing field, Staging British South Asian Culture is essential reading for any scholar or student interested in exploring the highly contested questions of identity and representation for British South Asian communities.

"From Petipa to Balanchine" addresses an important, though vastly understudied aspect of Russian modernism--the importance of the art of the past. The work more specifically discusses the development of a classical revival in Russian ballet (1880 to the middle of the 20th century) and its relation to the early 20th-century re-evaluation of "classicism" in Russian art and letters. The work provides a cultural context for the developments and innovations in Russian dance in this period, and especially in the choreography of George Balanchine.
Soviet historians are largely unfamiliar with Balanchine's work while Western dance historians fail to understand its cultural context. Tim Scholl's book fills a void that has long existed in studies of both Russian modernism and Russian ballet. His work also marks the first attempt to discuss 19th and 20th-century Russian ballet traditions as one continuous tradition.
Scholl focuses on the major works of the period, the landmark ballets that influenced the course of Russian ballet history. The book also addresses contemporaneous movements in Russian poetry and visual arts (especially architecture) which are relevant to the development of ballet modernism.
This work offers a new and potentially controversial view of the history of the period as it questions the lasting value of the choreography created for the celebrated Ballets Russes. It suggests that a return to the classical dance academy provided the only viable solution to the many difficulties faced by 20th-century choreographers.
Scholl has studied in depth the area of Russian dance, specifically, the late 19th and 20th century. Drawing upon Russian language materials, Scholl places the works of Petipa and Balanchine--"Swan Lake, Sleeping Beauty, Les Sylphides, Apollo" and "Jewels" among them--in their proper cultural and artistic contexts.

Dancers are top performance athletes on stage - to keep fit and healthy proper nutrition is an integral part of an optimal dance training. Nutrition for Dancers provides the principles of nutrition for dancers of all genres. Authors Liane Simmel and Eva- Maria Kraft clarify widespread nutritional mistakes and give advice on how a healthy diet can be incorporated into the everyday life of dancers.

Grove chronicles not only his own fascinating Anglo-Argentinian background growing up in Buenos Aires but also the political history of the tango. He writes, 'In the troubled times of Juan and Evita Peron, the middle classes detested the music and dance so adored by portenos, the ordinary people of Buenos Aires. Too proletarian, sexy and subversive. These days the tango has enthusiasts worldwide, from Finland to Japan, but I didn't see anyone dance it until I was 18 and didn't attempt it myself until I was nearly 60.' He also details the terrifying moment his father was kidnapped by urban guerrillas and his anguish over the Falklands war.

How do teachers create a classroom environment that promotes collaborative and inquiry-based approaches to learning ballet? How do teachers impart the stylistic qualities of ballet while also supporting each dancer's artistic instincts and development of a personal style? How does ballet technique education develop the versatility and creativity needed in the contemporary dance environment? Creative Ballet Teaching draws on the fields of Laban/Bartenieff Movement Analysis (L/BMA), dance pedagogy, and somatic education to explore these questions. Sample lesson plans, class exercises, movement explorations, and journal writing activities specifically designed for teachers bring these ideas into the studio and classroom. A complementary online manual, Creative Ballet Learning, provides students with tools for technical and artistic development, self-assessment, and reflection. Offering a practical, exciting approach, Creative Ballet Teaching is a must-read for those teaching and learning ballet.

The arts have a crucial role in empowering young people with special needs through diverse dance initiatives. Inclusive pedagogy that integrates all students in rich, equitable and just dance programmes within education frameworks is occurring alongside enabling projects by community groups and in the professional dance world where many high-profile choreographers actively seek opportunities to work across diversity to inspire creativity. Access and inclusion is increasingly the essence of projects for disenfranchised and traumatised youth who find creative expression, freedom and hope through dance. This volume foregrounds dance for young people with special needs and presents best practice scenarios in schools, communities and the professional sphere. International perspectives come from Australia, Brazil, Cambodia, Canada, Denmark, Fiji, Finland, India, Indonesia, Jamaica, Japan, Malaysia, New Zealand, Norway, Papua New Guinea, Portugal, Singapore, South Africa, Spain, Taiwan, Timor Leste, the UK and the USA. Sections include: inclusive dance pedagogy equality, advocacy and policy changing practice for dance education community dance initiatives professional integrated collaborations

First Published in 1993.A complete autobiography of Evalina Palmer-Sikelianos (1874-1952), a woman of immense spiritual strength who fought for the arts against the background of war. She contributed impressively throughout her life to the revival of interest in classical Greece, the theatre and choral dance, and advocated an adherence to mythical authenticity rather than a romanticised view of Greek tragic drama.

In the Central Himalayan region of Garhwal, the gods (devtas) enjoy dancing. Musicians - whether ritual specialists or musical specialists - are therefore an indispensable part of most entertainment and religious events. In shamanistic ceremonies, their incantations, songs and drumming 'make' the gods possess their mediums. In other contexts, such as dramatic theatrical renditions of stories of specific deities, actors 'dance' the role of their character having become possessed by the spirit of their character. Through the powerful sounds of their drumming, musicians cause the gods to dance. Music, and more particularly musical sound, is perceived in Garhwal as a powerful force. Andrew Alter examines music and musical practice in Garhwal from an analytical perspective that explores the nexus between musical sounds and performance events. He provides insight into performance practice, vocal techniques, notions of repertoire classification, instruments, ensembles, performance venues, and dance practice. However, music is not viewed simply as a system of organized sounds such as drum strokes, pitch iterations or repertoire items. Rather, in Garhwal, the music is viewed as a system of knowledge and as a system of beliefs in which meaning and spirituality become articulated through potent sound iterations. Alter makes a significant contribution to the discipline of ethnomusicology through a detailed documentation of musical practice in the context of ritual events. The book offers a traditionally thorough historical-ethnographic study of a region with the aim of integrating the local field-based case studies of musical practices within the broader Garhwali context. The work contains invaluable oral data, which has been carefully transliterated as well as translated. Alter blends a carefully detailed analysis of drumming in conjunction with the complex ritual and social contexts of this sophisticated and semantically rich musical practice.

The African dancer requires complete technical mastery and must respect the precise rules handed down by the society of the Masques de Sagesse. Alphonse Tirou is from the Ouenon people of the Ivory Coast. His major study is the first written record of this oral tradition and it explains the movements, codes and meanings of the traditional African dance. It is extremely valuable reading for all those studying or interested in Africa, as dance is such an essential part of this continent's cultural heritage.A former student of the National Institute of Arts at Abidjan, Alphonse Tirou has been a senior dignitary in the Kman of the Masques de Sagesse for over twenty years. He is currently teaching at the Bloa Nam (Movements) dance school in Nmes, which he founded in 1979 and which is still the only school worldwide to research African dance.

Essentials of Dance Movement Psychotherapy contributes to the global interest in embodiment approaches to psychotherapy and to the field of dance movement psychotherapy specifically. It includes recent research, innovative theories and case studies of practice providing an inclusive overview of this ever growing field. As well as original UK contributions, offerings from other nations are incorporated, making it more accessible to the dance movement psychotherapy community of practice worldwide. Helen Payne brings together well-known, experienced global experts along with rising stars from the field to offer the reader a valuable insight into the theory, research and practice of dance movement psychotherapy. The contributions reflect the breadth of developing approaches, covering subjects including: * combining dance movement psychotherapy with music therapy; * trauma and dance movement psychotherapy; * the neuroscience of dance movement psychotherapy; * the use of touch in dance movement psychotherapy; * dance movement psychotherapy and autism; * relational dance movement psychotherapy. Essentials of Dance Movement Psychotherapy will be a treasured source for anyone wishing to learn more about the psychotherapeutic use of creative movement and dance. It will be of great value to students and practitioners in the arts therapies, psychotherapy, counselling and other health and social care professions.

Indian Classical Dance and the Making of Postcolonial National Identities explores what happens when a national-cultural production is reproduced outside the immediate social, political and cultural context of its origin. Whereas most previous studies have analysed Indian classical dance in the context of Indian history and culture, this volume situates this dance practice in the longstanding trasnational linkages between India and the UK. What is the relation between the contemporary performance of Indian classical dance and the constitution of national, diasporic and multicultural identity? Where and how does Indian dance derive its productive power in the postcolonial moment? How do diasporic and nationalist representations of Indian culture intersect with depictions of British culture and politics? It is argued that classical Indian dance has become a key aspect of not only postcolonial South Asian diasporic identities, but also of British multicultural and transnational identity. Based on an extensive ethnographic study of performances of Indian classical dance in the UK, this book will be of interest to scholars of anthropology, sociology, South Asian studies, Postcolonial, Transnational and Cultural studies, and Theatre and Performance studies.

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnar, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnar to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

In this volume the author examines the place of dance in contemporary Britain. By doing so, he sets out to provide the historical, political and structural elements necessary to achieve a broad understanding of dance in society. He poses the question as to whether Britain has its own dance culture, examines the place of dance outside the theatrical environment (in schools, for example), and looks at the place of dance in the community.

Jasmin Vardimon's Dance Theatre offers an unusual, intimate insight into the devising and training processes of a choreographer in the midst of her practice. Libby Worth and Jasmin Vardimon take a collaborative approach to recording and exploring the working processes of Vardimon and her company, chronicling the development of specific productions rather than offering a single choreographic blueprint. Focusing on the techniques, strategies and creative activities necessitated by each project, Worth and Vardimon address: The initial 'triggers' which lead to research, expansion, and performance; The social, political and psychological content of Vardimon's work; The relationship between accessibility of content and complexity of ideas; Drawing on texts to enhance and shape a piece of dance work; The editing process, and its inherent messiness; The contribution of a company's different voices and viewpoints to the development of a production. Based on extended conversations and interviews, this highly illustrated, full -colour volume is a unique reflection on Jasmin Vardimon's vibrant, continually developing practice. It is a must-read for students and practitioners of dance and physical theatre.

British Dance, Black Routes is an outstanding collection of writings which re-reads the achievements of Black British dance artists, and places them within a broad historical, cultural and artistic context. Until now discussion of choreography by Black dance practitioners has been dominated by the work of African-American artists, facilitated by the civil rights movement. But the work produced by Black British artists has in part been within the context of Britain's colonial legacy. Ramsay Burt and Christy Adair bring together an array of leading scholars and practitioners to review the singularity and distinctiveness of the work of British-based dancers who are Black and its relation to the specificity of Black British experiences. From sub-Saharan West African and Caribbean dance forms to jazz and hip-hop, British Dance, Black Routes looks afresh at over five decades of artistic production to provide an unparalleled resource for dance students and scholars.

"Surely you would like to be immortalised in art, fixed forever in perfection?" Sadler's Wells, 1933. I would kill to dance like her. Disciplined and dedicated, Olivia is the perfect ballerina. But no matter how hard she works, she can never match identical twin Clara's charm. I would kill to be with her. As rehearsals intensify for the ballet Coppelia, the girls feel increasingly like they are being watched. And, as infatuation turns to obsession, everything begins to unravel.

Not everyone uses weapons in war. Ahmad survived against all odds by doing what he loved. He danced. Eight-year-old Ahmad lives with his family in the Yarmouk refugee camp on the outskirts of Damascus. During a school performance, he stumbles upon a troupe of ballerinas and is immediately spellbound by their beauty and grace. From that moment on, all Ahmad wants to do is dance. But Ahmad's family believe that dancing isn't for `real men'. Forced to practice in secret for years, his dreams are finally realised when he is asked to join Syria's most prestigious dance school. After the civil war breaks out and his own home is destroyed, Ahmad is determined to survive and to keep creating. He sets up a dance school for orphaned children and, despite threats from ISIS, continues to dance. Dance isn't just exercise or art for Ahmad: it is what keeps him alive amid the hunger, rubble and bombings in a city at breaking point. But Ahmad's life is set to change forever when he appears on a hit TV show and leaves war-torn Syria to become an international star at the Dutch National School of Ballet. From humble beginnings in Yarmouk to the illustrious stages of Amsterdam, dance is Ahmad's ticket for freedom. A beacon of hope, his extraordinary journey shows the salvation that dance can bring, even in the darkest times.