Rudolf Laban (1879 1958) was a pioneer in dance and movement, who found an extraordinary range of application for his ideas; from industry to drama, education and therapy. Laban believed that you can understand about human beings by observing how they move, and devised two complimentary methods of notating the shape and quality of movements.

The Laban Sourcebook offers a comprehensive account of Laban s writings. It includes extracts from his five books in English and from his four works in German, written in the 1920s and translated here for the first time.

This book draws on archival research in England and Germany to chart the development of Laban s groundbreaking ideas through a variety of documents, including letters, articles, transcripts of interviews, and his unpublished Effort and Recovery. It covers:

• The beginning of his career in Germany and Switzerland in the 1910s.
• His astonishing rise to fame in Germany in the 1920s as a dance teacher, choreographer and creator of public dance events.
• Following his move to England in 1938, the application of his ideas to drama, education, industry, and therapy.

Each extract has a short preface providing contextual background, and highlighting and explaining key terms. Passages have been selected and are introduced by many of the world s leading Laban scholars.

"Ancient Greek dance" traditionally evokes images of stately choruses or lively Dionysiac revels - communal acts of performance. This is the first book to look beyond the chorus to the diverse and complex representation of solo dancers in Archaic and Classical Greek literature. It argues that dancing alone signifies transgression and vulnerability in the Greek cultural imagination, as isolation from the chorus marks the separation of the individual from a range of communal social structures. It also demonstrates that the solo dancer is a powerful figure for literary exploration and experimentation, highlighting the importance of the singular dancing body in the articulation of poetic, narrative, and generic interests across Greek literature. Taking a comparative approach and engaging with current work in dance and performance studies, this book reveals the profound literary and cultural importance of the unruly solo dancer in the ancient Greek world.

Choreographing Shakespeare presents a hitherto unexplored history of the choreographers and performers who have created dance adaptations of Shakespeare. This book investigates forty dance works in genres such as ballet, modern dance, and hip-hop, produced between 1940 and 2016 by choreographers in Britain, America, and Europe, all of which use Shakespeare's plays and Sonnets as their source material. By combining scholarly analysis of these productions with practice-based conversations from six contemporary choreographers, Klett offers both breadth of coverage and in-depth analysis of how Shakespeare's poetic language is translated into the usually wordless medium of dance, and shows exactly how these dance adaptations move beyond the Shakespearean texts to engage with musical and choreographic influences. Ideal for students of Shakespeare and Dance Studies, Choreographing Shakespeare explores how dance adaptations strive to design legible and intelligible stories, while ultimately celebrating the beauty of pure movement.

What world has been constructed for dancing through the use of the term 'world dance'? What kinds of worlds do we as scholars create for a given dance when we undertake to describe and analyze it? This book endeavours to make new epistemological space for the analysis of the world's dance by offering a variety of new analytic approaches.

With a political agenda foregrounding collaborative practice to promote ethical relations, these individually and joint written essays and interviews discuss dances often with visual art, theatre, film and music, drawing on continental philosophy to explore notions of space, time, identity, sensation, memory and ethics.

Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.

The Body in Crisis introduces the English-speaking world to the work of leading Latin American dance scholar and philosopher of the body, Christine Greiner. The book offers an innovative set of tools with which to examine the role of moving bodies and bodily actions in relation to worldwide concerns, including identity politics, alterity, migration, and belonging. The book places the concept of bodymedium in dialogue with the work of Giorgio Agamben to investigate notions of alterity, and shows how an understanding of the body-environment continuum can shed light on things left unnamed and at the margins. Greiner's analyses draw from a broad range of theory concerned with the epistemology of the body, including cognitive science, political philosophy, evolutionary biology, and performance studies to illuminate radical experiences that question the limits of the body. Her analysis of the role that bodies play in negotiations of power relations offers an original and unprecedented contribution to the field of dance studies and expands its scope to recognize theoretical models of inquiry developed in the Global South.

How do I get a job as a dancer? Where and when should I train? How can I protect my body from injury? How do I become a choreographer? These and many more such questions asked by young or aspiring dancers are answered in this book - the most revealing and instructive book yet on what it means to be a dancer. Here is advice from some of the best dancers and choreographers in the world, crossing the fields of ballet, contemporary, South Asian dance, musical theatre and hip hop, and covering subjects both motivational and mundane, from tapping into your own reserves of creativity and resilience, to the important matter of when to eat your pre-show banana. The twenty-five experts in these pages have performed with the likes of the Royal Ballet, English National Ballet, Rambert, Matthew Bourne's New Adventures and BalletBoyz; they range from stars of the West End stage to TV talent-show successes and Kylie's backing dancers - as well as some of Britain's leading choreographers. They are Carlos Acosta, Matthew Bourne, Teneisha Bonner, Darcey Bussell, Lauren Cuthbertson, Maxine Doyle, Tommy Franzen, Adam Garcia, Jonathan Goddard, Matthew Golding, Melissa Hamilton, Wayne McGregor, Steven McRae, Stephen Mear, Cassa Pancho, Seeta Patel, Arlene Phillips, Arthur Pita, Kate Prince, Matthew Rees, Tamara Rojo, Kenrick 'H2O' Sandy, Hofesh Shechter, Aaron Sillis and Marlon 'Swoosh' Wallen.

While dance has always been as demanding as contact sports, intuitive boundaries distinguish the two forms of performance for men. Dance is often regarded as a feminine activity, and men who dance are frequently stereotyped as suspect, gay, or somehow unnatural. But what really happens when men dance?
When Men Dance offers a progressive vision that boldly articulates double-standards in gender construction within dance and brings hidden histories to light in a globalized debate. A first of its kind, this trenchant look at the stereotypes and realities of male dancing brings together contributions from leading and rising scholars of dance from around the world to explore what happens when men dance. The dancing male body emerges in its many contexts, from the ballet, modern, and popular dance worlds to stages in Georgian and Victorian England, Weimar Germany, India and the Middle East. The men who dance and those who analyze them tell stories that will be both familiar and surprising for insiders and outsiders alike.

Dancers experience pain, joy, frustration, rapture, failure, applause, and are above the worldly concerns of food, money, and financial security. They live only to dance.

Or do they?

The reality is dancers of all ages, types, and skill levels often experience incredible physical and psychological stress and have traditionally bore their pain in stoic silence.

In this much needed new book, Dance Magazine's Linda Hamilton offers dancers the same type of advice and understanding they have come to trust from her popular monthly column. Psychologist Hamilton--a former dancer with New York City Ballet under the legAndary George Balanchine--offers a complete resource for coping with the day to day pressures of being a dancer. Page after page is filled with the insight that can only come from a person who has been intimately involved in the world of dance.

Hamilton outlines strategies for dancers for dealing with a variety of common physical and psychological issues and shows how to be true to your passion and bring back the joy in dancing. The book is filled with answers to dancer's most often asked questions and offers practical methods for dealing with such difficult problems as eating disorders, substance abuse, ruthless competition, and performance anxiety. Advice for Dancers will teach you how to:

• Achieve you physical potential and select the dance technique that's right for you
• Find out which teaching practices you can trust and why
• Learn how to reach your optimal weight without compromising your energy, health, and career
• Develop healthy relationships both inside and outside the dance studio
• Use a variety of resources to get work, roles, and promotions
• Perform technical feats in front of an audience even when you are frightened

Advice for Dancers is a result of Hamiltion's extensive research and years clinical work with dancers and includes information for a survey of more that 1,000 dancers from across the country.

Eleven authors analyse recent dance practices in the theatre, in club culture and on film, addressing dance in interdisciplinary relationship with music, painting and play texts. This text attempts to fill a gap with an up-to-date account of exciting and challenging new work, illuminated by fascinating new theoretical frameworks.

Gracefully chronicling one Western woman's attraction to the universal charm of Islam and the Prophet Muhammad, this inspirational memoir chronicles why and how Brodbeck journeyed from the exciting world of modern dance in New York City to Istanbul, where she lovingly embraced Islam.

Flamenco, Regionalism and Musical Heritage in Southern Spain explores the relationship between regional identity politics and flamenco in Andalusia, the southernmost autonomous community of Spain. In recent years, the Andalusian Government has embarked on an ambitious project aimed at developing flamenco as a symbol of regional identity. In 2010, flamenco was recognised as an Intangible Cultural Heritage of Humanity by UNESCO, a declaration that has reinvigorated institutional support for the tradition. The book draws upon ethnomusicology, political geography and heritage studies to analyse the regionalisation of flamenco within the frame of Spanish politics, while considering responses among Andalusians to these institutional measures. Drawing upon ethnographic research conducted online and in Andalusia, the book examines critically the institutional development of flamenco, challenging a fixed reading of the relationship between flamenco and regionalism. The book offers alternative readings of regionalism, exploring the ways in which competing localisms and disputed identities contribute to a fresh understanding of the flamenco tradition. Matthew Machin-Autenrieth makes a significant contribution to flamenco scholarship in particular and to the study of music, regionalism and heritage in general.

'He achieves the miraculous,' the sculptor Auguste Rodin wrote of dancer Vaslav Nijinsky. 'He embodies all the beauty of classical frescoes and statues'. Like so many since, Rodin recognised that in Nijinsky classical ballet had one of the greatest and most original artists of the twentieth century, in any genre. Immersed in the world of dance from his childhood, he found his natural home in the Imperial Theatre and the Ballets Russes, he had a powerful sponsor in Sergei Diaghilev - until a dramatic and public failure ended his career and set him on a route to madness. As a dancer, he was acclaimed as godlike for his extraordinary grace and elevation, but the opening of Stravinsky's The Rite of Spring saw furious brawls between admirers of his radically unballetic choreography and horrified traditionalists. Nijinsky's story has lost none of its power to shock, fascinate and move. Adored and reviled in his lifetime, his phenomenal talent was shadowed by schizophrenia and an intense but destructive relationship with his lover, Diaghilev. 'I am alive' he wrote in his diary, 'and so I suffer'. In the first biography for forty years, Lucy Moore examines a career defined by two forces - inspired performance and an equally headline-grabbing talent for controversy, which tells us much about both genius and madness. This is the full story of one of the greatest figures of the twentieth century, comparable to the work of Rosamund Bartlett or Sjeng Scheijen.

La Nijinska is the first biography of twentieth-century ballet's premier female choreographer. Overshadowed in life and legend by her brother Vaslav Nijinsky, Bronislava Nijinska had a far longer and more productive career. An architect of twentieth-century neoclassicism, she experienced the transformative power of the Russian Revolution and created her greatest work - Les Noces - under the influence of its avant-garde. Many of her ballets rested on the probing of gender boundaries, a mistrust of conventional gender roles, and the heightening of the ballerina's technical and artistic prowess. A prominent member of Russia Abroad, she worked with leading figures of twentieth-century art, music, and ballet, including Stravinsky, Diaghilev, Poulenc, Alexandra Exter, Natalia Goncharova, Frederick Ashton, Alicia Markova, and Maria Tallchief. She was also a remarkable dancer in her own right with a bravura technique and powerful stage presence that enabled her to perform an unusually broad repertory. Finally, she was the author of an acclaimed volume of memoirs in addition to a major treatise on movement. Nijinska's career sheds new light on the modern history of ballet and of modernism more generally, recuperating the memory of lost works and forgotten artists, many of them women. But it also reveals the sexism pervasive in the upper echelons of the early and mid-twentieth-century ballet world, barriers that women choreographers still confront.

'In the Wings' brings to life the exhilarating and physically-demanding life of the dancers in America's largest dance company. Froman gives a first-hand view of what it is like to dance at the highest level, from the rigors of daily training to the transcendent moments on stage.

Choreographing Discourses brings together essays originally published by Mark Franko between 1996 and the contemporary moment. Assembling these essays from international, sometimes untranslated sources and curating their relationship to a rapidly changing field, this Reader offers an important resource in the dynamic scholarly fields of Dance and Performance Studies. What makes this volume especially appropriate for undergraduate and graduate teaching is its critical focus on twentieth- and twenty-first-century dance artists and choreographers - among these, Oskar Schlemmer, Merce Cunningham, Kazuo Ohno, William Forsythe, Bill T. Jones, and Pina Bausch, some of the most high-profile European, American, and Japanese artists of the past century. The volume's constellation of topics delves into controversies that are essential turning points in the field (notably, Still/Here and Paris is Burning), which illuminate the spine of the field while interlinking dance scholarship with performance theory, film, visual, and public art. The volume contains the first critical assessments of Franko's contribution to the field by Andre Lepecki and Gay Morris, and an interview incorporating a biographical dimension to the development of Franko's work and its relation to his dance and choreography. Ultimately, this Reader encourages a wide scope of conversation and engagement, opening up core questions in ethics, embodiment, and performativity.

Dance is often considered an ephemeral art, one that disappears nearly as soon as it materializes, leaving no physical object behind. Yet some dance practice involves people trying to embody something that exists before - and survives beyond - their particular acts of dancing. What exactly is that thing? And (how) do dances continue to exist when not performed? Anna Pakes seeks to answer these and related questions in this book, drawing on analytic philosophy of art to explore the metaphysics of dance making, performance and disappearance. Focusing on Western theater dance,Pakes also traces the different ways dances have been conceptualized across time, and what those historical shifts imply for the ontology of dance works.

In most forms of dancing, performers carry out their steps with a distance that keeps them from colliding with each other. Dancer, Steve Paxton in the 1970s considered this distance a territory for investigation. His study of intentional contact resulted in a public performance in 1972 in a Soho gallery, and the name ""contact improvisation"" was coined for the form of unrehearsed dance he introduced. Rather than copyrighting it, Paxton allowed it to evolve and spread. In this book, the author draws upon her own experience and research to explain the art of contact improvisation, in which dance partners propel movement by physical contact. They roll, fall, spiral, leap, and slip along the contours and momentum of moving bodies. The text begins with a history, then describes the elements that define this form of dance. Subsequent chapters explore how contact improvisation relates to self and identity; how class, race, gender, culture and physiology influence dance; how dance promotes connection in a culture of isolation; and how it relates to the concept of community. The final chapter is a collection of exercises explained in the words of teachers from across the United States and abroad. Appendix A describes how to set up and maintain a weekly jam; Appendix B details recommended reading, videos and Web sites.

Dancers create 'civic culture' as performances for public consumption and vernaculars connecting individuals with little in common. Examining performance and the construction of culturally diverse communities, the book, now in paperback with a new preface, suggests that amateur and concert dance can teach us how to live and work together.

Focusing on Egypt during the period 1760 to 1870, this book fills in the historical blanks for a dance form known today in the Middle East as raqs sharki or raqs baladi, and in Western countries as "belly dance." Eyewitness accounts written by European travelers, the major primary source for modern scholars, provide most of the research material. The author shapes these numerous accounts into a coherent whole, providing a meaningful picture of Egyptian female entertainers of the period as professionals in the arts, rather than as a group of unnamed "ethnic" dancers and singers including one or two identified women of dubious reputation. Analysis is given of the contexts of this dance - which was a legitimate performing art form in Egyptian society appreciated by a wide variety of audiences - with a focus on actual performances - and a re-creation their choreography.

Several famous playwrights of the Elizabethan and Stuart periods, including Shakespeare, wrote for open-air public theatres and also for the private, indoor theatres at the palaces at which the court resided. This book is a full account of such court theatre, and examines the theatrical entertainments for Elizabeth I, James I and Charles I. By contrast with the now vanished playhouses of the time, four of the royal chambers used as theatres survive, and the author attempts to draw as full a picture as he can of such places, the physical and aesthetic conditions under which actors worked in them, and the composition and conduct of court audiences. The book includes plans and illustrations of the theatres and an appendix which lists all known court performances of plays and masques between 1558 and 1652.

Part memoir, part dance history, this critical study explores ballet's power to inspire and to embody ideas about politics, race, women's agency, and spiritual development. Women who dance offer perspectives on such questions as: How do dancers deal with lingering stereotypes and new opportunities? How do dancers embody heritages from around globe? What do images projected by ballerinas say to their admirers? The author argues that dance relates to life in powerful, individual ways, and suggests societal shifts. Although ballet can appear (and sometimes is) elite and exclusionary, it also has revolutionary potential, seen here through the eyes of women who experience it.

Click here to listen to Julia Ericksen's interview about Dance with Me on Philadelphia NPR's "Radio Times" Rumba music starts and a floor full of dancers alternate clinging to one another and turning away. Rumba is an erotic dance, and the mood is hot and heavy; the women bend and hyperextend their legs as they twist and turn around their partners. Amateur and professional ballroom dancers alike compete in a highly gendered display of intimacy, romance and sexual passion. In Dance With Me, Julia Ericksen, a competitive ballroom dancer herself, takes the reader onto the competition floor and into the lights and the glamour of a world of tanned bodies and glittering attire, exploring the allure of this hyper-competitive, difficult, and often expensive activity. In a vivid ethnography accompanied by beautiful photographs of all levels of dancers, from the world's top competitors to social dancers, Ericksen examines the ways emotional labor is used to create intimacy between professional partners and between professionals and their students, illustrating how dancers purchase intimacy. She shows that, while at first glance, ballroom presents a highly gendered face with men leading and women following, dancing also transgresses gender.