While remapping the region by examining enduring historical and cultural connections, this study discusses multiple traditions and practices of theatre and performance in five South Asian countries within their specific political and socio-cultural contexts.

Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.

Choreographic Dwellings: Practising Place offers new readings of the kinaesthetic experiences of site-specific and nomadic performance, parkour, installation and walking practices. It extends the remit of the choreographic by reframing the kinaesthetic qualities of place as action.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

Dance Ethnography and Global Perspectives presents the work of dance scholars whose professional fieldwork spans several continents and includes studies of the dance and movement systems of varied global communities.

The effort to win federal protection for dance in the United States was a racialized and gendered contest. Picart traces the evolution of choreographic works from being federally non-copyrightable to becoming a category potentially copyrightable under the 1976 Copyright Act, specifically examining Loie Fuller, George Balanchine, and Martha Graham.

Throughout her history, the ballerina has been perceived as the embodiment of beauty and perfection -- she is the feminine ideal. But the reality is another story. Beginning with the earliest ballerinas, who often led double lives as concubines, Deirdre Kelly goes on to review the troubled lives of 19th-century ballerinas, who lived in poverty and worked under torturous and even life-threatening conditions. In the 20th century, George Balanchine created a contradictory ballet culture that simultaneously idealized and oppressed ballerinas, and many of his dancers suffered from anorexia and bulimia or underwent cosmetic surgery to achieve the ideal ethereal form. At the beginning of the 21st century, ballerinas are still underpaid, vulnerable to arbitrary discrimination and dismissal, and expected to bear pain stoically -- but much of this is beginning to change. As Kelly examines the lives of some of the world's best ballerinas, she argues for a rethinking of the world's most graceful dance form -- a rethinking that would position the ballerina at its heart, where she belongs. Highlighting the work of such great ballerinas such as Anna Pavlova, Isadora Duncan, Suzanne Farrell, Gelsey Kirkland, and Evelyn Hart Kelly illustrates how the world of ballet is slowly evolving.

Musicians who work professionally with ballet and dance companies sometimes wonder if they haven't entered a foreign country-a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy's variation, pas d'action, apotheose-simply don't fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the ballet interested in the complex machinery that works backstage before the curtain goes up.

Dance has always been an important aspect of all human cultures, and the study of human movement and action has become a topic of increasing relevance over the last decade, bringing dance into the focus of the cognitive sciences. Since the first edition of The Neurocognition of Dance was published, research into the cognitive science of dance has expanded extensively, with the number of scientific studies focusing on dance and dance-related topics in cognitive psychology growing significantly. Featuring three new chapters addressing topics that have become highly relevant to the field in recent years - neuroaesthetics, entrainment, and choreographic cognition - as well as progress in teaching based on novel methods, this comprehensively revised and updated new edition of The Neurocognition of Dance is full of cutting-edge insights from scientists, researchers, and professionals from the world of dance. Also now including online material such as links to video clips, colour images and hands-on material for practical application, this book is an essential companion for students and professionals from fields including dance, cognitive psychology, sport psychology and sport science, movement science, and cognitive robotics.

Mixed methods research techniques, combining both quantitative and qualitative elements, have become well established throughout the social, behavioural and natural sciences. This is the first book to focus on the application of mixed methods research in the movement sciences, specifically in sport, physical education and dance. Researchers and practitioners in each of these fields are concerned with the study of habitual behaviour in naturalistic contexts, and of the concurrent and sequential nature of events and states, precisely the kind of work that multi-method research design can help illuminate. The book is arranged into four sections. The first provides a thorough overview of mixed methods procedures and research design, and summarizes their applicability to the movement sciences. The remaining sections then offer detailed case studies of mixed methods research in team and individual sports (analyzing hidden patterns of play and optimising technique); kinesics and dance (analyzing motor skills behaviour in childhood, and the complexity of motor responses in dance); and physical education (detecting interaction patterns in group situations, and optimizing non-verbal communication by teachers and sports coaches). Mixed Methods Research in the Movement Sciences offers an important new tool for researchers and helps to close the gap between the analysis of expert performance and our understanding of the general principles of movement science. It is important reading for any student, researcher or professional with an interest in motor control, sport and dance pedagogy, coaching, performance analysis or decision-making in sport.

This pioneering study of ballets staged in Parisian music halls brings to light a vibrant dance culture central to the renewal of French choreography at the fin de siecle. This pioneering study of Parisian music-hall ballet brings to light a vibrant dance culture that was central to the renewal of French ballet at the turn of the twentieth century. Long thought a lost period for ballet in France, the fin de siecle in fact saw a flourishing of choreographic activity. More than four hundred ballets were created to great acclaim, half of which were full-scale pantomime-ballets, with entertaining narratives, catchy music, titillating choreography, lavish sets and costumes, appealing corps girls, and star ballerinas. Most of these productions were staged not at the elite Paris Opera but in the city's trendiest commercial venues: music halls. Between 1871 and 1913, the Folies-Bergere, the Olympia, and the Casino de Paris brought together the era's leading authors of light theater and comic opera to produce a flurry of imaginative ballets that combined the conventional structures of high art with the popular idioms of mass entertainment. They also drew unprecedented numbers of people who had never before attended ballet. Parisian Music-Hall Ballet, 1871-1913 rediscovers this repertoire and culture, supplying a missing chapter in the history of French dance. Sarah Gutsche-Miller is Assistant Professor of Musicology at the University of Toronto.

Balanchine and the Lost Muse is a dual biography of the early lives of two key figures in Russian ballet, in the crucial time surrounding the Russian revolution: famed choreographer George Balanchine and his close childhood friend, ballerina Liidia (Lidochka) Ivanova. Tracing the lives and friendship of these two dancers from years just before the 1917 Russian Revolution to Balanchine's escape from Russia in 1924, author Elizabeth Kendall sheds new light on a crucial flash point in the history of ballet-one where politics and art meet in legendary St. Petersburg, both culture and nation struggling to reconfigure themselves in the wake of the birth of modern Russia. Drawing upon extensive archival research, Kendall weaves a fascinating tale of this crucial period in the life of the man who would ultimately go on to be the most influential choreographer in modern ballet. Abandoned by his mother on the steps of the St. Petersburg Imperial Ballet Academy in 1913 at the age of nine, Balanchine spent his formative years studying the art of dance in Russia's tumultuous capital city. It was there, as he struggled to support himself while studying and performing ballet, where Balanchine met Ivanonva, the first dancer with whom he would ever compose and dance. A talented and bold dancer who grew close to the Bolshevik elite in her adolescent years, Ivanova was a source of great inspiration to Balanchine-both during their youth together, and later in life, after her tragic and mysterious death just days before she had planned to leave Russia with Balanchine and their friends in 1924. Although he would have a great number of muses, many of them lovers, the dark beauty of his dear friend Lidochka haunted much of his work for years to come. Part biography and part urban cultural history, Balanchine and the Lost Muse presents a sweeping account of the heyday of modern ballet and the culture at the heart of the unmoored ideals, futuristic visions, and human decadence that characterized the Russian Revolution.

Digital traces, whether digitized (programs, notebooks, drawings, etc.) or born digital (emails, websites, video recordings, etc.), constitute a major challenge for the memory of the ephemeral performing arts. Digital technology transforms traces into data and, in doing so, opens them up to manipulation. This paradigm shift calls for a renewal of methodologies for writing the history of theater today, analyzing works and their creative process, and preserving performances. At the crossroads of performing arts studies, the history, digital humanities, conservation and archiving, these methodologies allow us to take into account what is generally dismissed, namely, digital traces that are considered too complex, too numerous, too fragile, of dubious authenticity, etc. With the analysis of Merce Cunningham's digital traces as a guideline, and through many other examples, this book is intended for researchers and archivists, as well as artists and cultural institutions.

Dance theatre has become a site of transformation in the Irish performance landscape. This book conducts a socio-political and cultural reading of dance theatre practice in Ireland from Yeats' dance plays at the start of the 20th century to Celtic-Tiger-era works of Fabulous Beast Dance Theatre and CoisCeim Dance Theatre at the start of the 21st.

Street theatre invades a public space, shakes it up and disappears, but the memory of the disruption haunts the site for audiences who experience it. This book looks at how the dynamic interrelationship of performance, participant and place creates a politicized aesthetic of public space that enables the public to rehearse democratic practices.

Theatre and Performance in the Asia-Pacific is an innovative study of contemporary theatre and performance within the framework of modernity in the Asia-Pacific. It is an analysis of the theatrical imaginative as it manifests in theatre and performance in Australia, Indonesia, Japan and Singapore.

Choreographer Alex Romero created ""Jailhouse Rock"", the iconic Elvis Presley production number, but never received screen credit for his contribution. This book tells his story. The son of a Mexican general, Romero escaped the early 20th century revolution, joined his family's vaudeville dance act and became a dancer in Hollywood. Part of Jack Cole's exclusive Columbia dance troupe, he was eventually hired as a staff assistant at MGM, where he worked on Take Me Out to the Ballgame, American in Paris, Seven Brides for Seven Brothers, and On the Town, among many others. When Romero transitioned into a full-time choreography, he created the dances for numerous films, including Love Me or Leave Me, I'll Cry Tomorrow, tom thumb, Whatever Happened to Baby Jane, and three additional movies for Elvis. Known for his inventive style and creative use of props, Romero was instrumental in bringing rock and roll to the screen. This biography includes first-person accounts of his collaborations with Gene Kelly, Fred Astaire, Judy Garland, Frank Sinatra, and others.

Religious life and public life are both passionately performed, but often understood to exclude one another. This book's array of voices investigates the publics hailed by religious performances and the challenges they offer to theories of the democratic public sphere.

This volume of essays combines research from neuroscience, conscious studies, methods of training performers, modes of creating a staged narrative, Asian aesthetics, and post-modern theories of performance in an examination of the relationship between consciousness and performance.

Dancer/scholars from around the world have contributed essays on belly dance to this book. They all carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. The essays explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalised versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities.

The story of this groundbreaking summer dance programme is told through the voices of staff, faculty, and students. Administrative director Mary Josephine Shelly's previously unpublished writings form a key summary of eight of the nine summer sessions. The Bennington School of the Dance was held from 1934 to 1942 at Bennington College in Vermont with one summer spent at Mills College in California. Its effects were far-reaching in the development and dissemination of modern dance as an original American art form. The school produced unique choreographic works by teachers in residence: Martha Graham, Hanya Holm, Doris Humphrey, and Charles Weidman. Leading choreographers of the later 20th century such as Merce Cunningham, Anna Halprin, Jose Limon, Alwin Nikolais and Anna Sokolow participated at the school. The largest portion of students were high school and college level teachers who would spread modern dance across the country and abroad.

"Sometimes I've taken home the trophy, sometimes I've stumbled or tripped over my own feet. But every move I've made has shaped me into the person I am today." Season after season, millions of fans tune into Dancing with the Stars to watch Derek Hough, the talented, consummate competitor whose skill and commitment have made him the show's all-time champion. Whether he's dancing with an Olympic gold medalist, an internationally renowned recording star, or a celebrated actress, Derek has an undeniable talent for bringing out the best in his partners. He does more than just tutor them in the fox-trot and paso doble-he teaches them how to see beyond their limits and realize their true potential. Now, for the first time ever, Derek opens up about his transformation from bullied little boy to accomplished performer and coach who lets nothing-and no one-stand in his way. In Taking the Lead he details how his experiences have taught him to embrace a positive outlook, channel his creativity and drive, and face his fears head-on. From his early training in London beginning at the age of twelve, to grueling dance competitions around the world, to never-before-told stories from behind the scenes of Dancing with the Stars, Derek writes with honesty and insight about his extraordinary journey. And in sharing his own story, he shows all of us how we can take charge of pursuing our goals, overcome obstacles, and become winners-not just on the dance floor but in life.

This book has systematic directions for those who are creating a dance company for young audiences how to handle bookings, write effective grants, handle crowds of children in a theater environment, and keep children's interest high--and how to maintain the support and the appreciation of presenters, teachers, and principals for whom they perform. Profiles of ten successful dance companies who perform for children are provided. The book also supplies practical tools or building a career in dance. The book's touring and production information can be applied to almost any performing group that uses the medium of dance to deliver its message--from professional dance companies and organizations to university, high school, studio dance performers.

Hijikata Tatsumi's explosive 1959 debut Forbidden Colors sparked a new genre of performance in Japan - butoh: an art form of contrasts, by turns shocking and serene. Since then, though interest has grown exponentially, and people all over the world are drawn to butoh's ability to enact paradox and contradiction, audiences are less knowledgeable about the contributions and innovations of the founder of butoh. Hijikata Tatsumi and Butoh traces the rollicking history of the creation and initial maturation of butoh, and locates Hijikata's performances within the intellectual, cultural, and economic ferment of Japan from the sixties to the eighties.

Founder of the Philadelphia Dance Company (Philadanco) and the Philadelphia School of Dance Arts, Joan Myers Brown's personal and professional histories reflect the hardships as well as the advances of African Americans in the artistic and social developments of the twentieth century and into the new millennium. Dixon Gottschild uses Brown's career as the fulcrum to leverage an exploration of the connection between performance, society, and race, beginning with Brown's predecessors in the 1920s and a concert dance tradition that had no previous voice to tell its story from the inside out. Brown's background and richly contoured biography are object lessons in survival--a true American narrative.