In the mid 1990's Deborah Hay's work took a new turn. From her early experiments with untrained dancers, and after a decade of focusing on solo work, the choreographer began to explore new grounds of choreographic notation and transmission by working with experienced performers and choreographers. Using the Sky: a dance follows a similar path as Hay's previous books-Lamb at the Altar and My Body the Buddhist-by exploring her unrelenting quest for ways to both define and rethink her choreographic imagery through a broad range of alternately intimate, descriptive, poetic, analytical and often playful engagement with language and writing. This book is a reflection on the experiments that Hay set up for herself and her collaborators, and the ideas she discovered while choreographing four dances, If I Sing to You (2008), No Time to Fly (2010), A Lecture on the Performance of Beauty (2003), and the solo My Choreographed Body (2014). The works are revisited by unfolding a trove of notes and journal entries, resulting in a dance score in its own right, and providing an insight into Hay's extensive legacy and her profound influence on the current conversations in contemporary performance arts.

The Complete Guide to Dance Nutrition is the first complete textbook written by an experienced dietitian specialising in the field of dance nutrition and provideS both dancers-in-training and instructors with practical advice on dance nutrition for health and performance. It is also highly relevant for dance professionals. With an in-depth and extensive coverage on all nutrition topics relevant to dancers, this textbook covers nutrition for the scenarios dancers face, including day to day training and rehearsals, peak performance, injuries, immunonutrition, nutrition and stress management. Information is included on topics applicable to individual dancers including advice for dancers with type 1 diabetes and clinical conditions relating to gut health. This book guides the reader through the macronutrients making up the diet, their chemical structure and their role in health and optimal performance. Readers will be shown how to estimate energy and nutrient needs based on their schedule, type of dance undertaken, and personal goals before considering the practical aspects of dance nutrition; from nutrition planning to dietary supplements, strategies for assessing the need to alter body composition and guidance on undertaking health focused changes is presented. The Complete Guide to Dance Nutrition combines and condenses the author's knowledge and many years of experience working in the dance industry to translate nutrition science into a practical guide. Bringing together the latest research in dance science and nutrition, this book aims to be a trusted reference and practical textbook for students of Dance, Dance Nutrition, Dance Performance, Sport Nutrition and Sport Science more generally as well as for those training in the dance industry, dance teachers and professionals.

From the mid-1920s, the dance hall occupied a pivotal place in the culture of working- and lower-middle-class communities in Britain - a place rivalled only by the cinema and eventually to eclipse even that institution in popularity. Going to the Palais examines the history of this vital social and cultural institution, exploring the dances, dancers, and dance venues that were at the heart of one of twentieth-century Britain's most significant leisure activities. Going to the Palais has several key focuses. First, it explores the expansion of the dance hall industry and the development of a 'mass audience' for dancing between 1918 and 1960. Second, the impact of these changes on individuals and communities is examined, with a particular concentration on working and lower-middle-class communities, and on young men and women. Third, the cultural impact of dancing and dance halls is explored. A key aspect of this debate is an examination of how Britain's dance culture held up against various standardizing processes (commercialization, Americanization, etc.) over the period, and whether we can see the emergence of a 'national' dance culture. Finally, the volume offers an assessment of wider reactions to dance halls and dancing in the period. Going to the Palais is concerned with the complex relationship between discourses of class, culture, gender, and national identity and how they overlap - how cultural change, itself a response to broader political, social, and economic developments, was helping to change notions of class, gender, and national identity.

Brazilian Bodies, and their Choreographies of Identification retraces the presence of a particular way of swaying the body that, in Brazil, is commonly known as ginga . Cristina Rosa its presence across distinct and specific realms: samba-de-roda (samba-in-a-circle) dances, capoeira angola games, and the repertoire of Grupo Corpo.

This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a "South-South" axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of "tradition" and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different "global stage," the argument widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice. Winner of the 2022 Oscar G. Brockett Prize for Dance Research

The Irish Dance genre is an essential part of the heritage and culture of Ireland. From its early roots in Celtic history, to the global growth inspired by shows such as Riverdance, to the modern- day competitive championships and Feisanna, it continues to be a vibrant and evolving dance form. The Essential Guide to Irish Dancing delves into the history and culture behind the world of Irish Dance, offering technical instruction from beginner-level to advanced, including how to prepare exciting set dances and choreograph innovative sequences. Topics covered include: Irish dance music; the fundamentals of solo dancing; traditional dance movements and set dances; Ceili dancing; competitions and careers; choreography, and finally, physical fitness and mental health.

This book identifies and examines three years of Beyonce's career as a pop mega star using critical race, feminist, and performance studies methodologies. This book explores how the careful choreography of Beyonce's image, voice, and public persona, coupled with her intelligent use of audio and visual mediums, makes her one of the most influential entertainers of the 21st century. Keleta-Mae proposes that 2013 to 2016 was a pivotal period in Beyonce's career and looks at three artistic projects that she created during that time: her self-titled debut visual album Beyonce, her video and live performance of 'Formation', and her second visual album Lemonade. By examining the progression of Beyonce's career during this period, and the impact it had politically, culturally, and socially, the author demonstrates how Beyonce brought 21st Century feminism into the mainstream through layered explorations of female blackness. Ideal for scholars and students of performance in the social and political spheres, and of course fans of Beyonce herself, this book examines the mega superstar's transition into a creator of art that engages with Black culture and Black life with increased thoughtfulness.

This exciting new and original collection locates dance within the spectrum of urban life in late modernity, through a range of theoretical perspectives. It highlights a diversity of dance forms and styles that can be witnessed in and around contemporary urban spaces: from dance halls to raves and the club striptease; from set dancing to ballroom dancing, to hip hop and swing, and to ice dance shows; from the ballet class, to fitness aerobics; and 'art' dance which situates itself in a dynamic relation to the city.

Fifty Contemporary Choreographers is a unique and authoritative guide to the lives and work of prominent living contemporary choreographers; this third edition includes many new names in the field of choreography. Representing a wide range of dance genres and styles, each entry locates the individual in the context of contemporary dance and explores their impact. Those studied include: Kyle Abraham Germaine Acogny William Forsythe Marco Goeke Akram Khan Wayne McGregor Crystal Pite Frances Rings Hofesh Shechter Sasha Waltz With an updated introduction by Deborah Jowitt and further reading and references throughout, this text is an invaluable resource for all students and critics of dance and all those interested in the everchanging world and variety of contemporary choreography.

Dance on Screen is a comprehensive introduction to the rich diversity of screen dance genres. It provides a contextual overview of dance in the screen media and analyses a selection of case studies from the popular dance imagery of music, video and Hollywood, through to experimental art dance. The focus then turns to video dance, dance originally choreographed for the camera. Video dance can be seen as a hybrid in which the theoretical and aesthetic boundaries of dance and television are traversed and disrupted.

Choreographing Copyright provides a historical and cultural analysis of U.S.-based dance-makers' investment in intellectual property rights. Although federal copyright law in the U.S. did not recognize choreography as a protectable class prior to the 1976 Copyright Act, efforts to win copyright protection for dance began eight decades earlier. In a series of case studies stretching from the late nineteenth century to the early twenty-first, the book reconstructs those efforts and teases out their raced and gendered politics. Rather than chart a narrative of progress, the book shows how dancers working in a range of genres have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power. A number of the artists featured in Choreographing Copyright are well-known white figures in the history of American dance, including modern dancers Loie Fuller, Hanya Holm, and Martha Graham, and ballet artists Agnes de Mille and George Balanchine. But the book also uncovers a host of marginalized figures - from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane - who were equally interested in positioning themselves as subjects rather than objects of property, as possessive individuals rather than exchangeable commodities. Choreographic copyright, the book argues, has been a site for the reinforcement of gendered white privilege as well as for challenges to it. Drawing on critical race and feminist theories and on cultural studies of copyright, Choreographing Copyright offers fresh insight into such issues as: the raced and gendered hierarchies that govern the theatrical marketplace, white women's historically contingent relationship to property rights, legacies of ownership of black bodies and appropriation of non-white labor, and the tension between dance's ephemerality and its reproducibility.

African dance is discussed here in its global as well as local contexts as a powerful vehicle of aesthetic and cultural exchange and influence. To date, scholars have tended, with a few exceptions, to write about African dance in primarily ethnographic terms. This collection seeks to challenge this pattern and expand dance research by engaging with the aesthetics and socio-political impact of dance for communities in and out of Africa in an increasingly global context. Contributors to this issue look at the impact that specifically situated indigenous dance forms have had on the development of newforms locally, and the reciprocal impact of local and international infrastructures, including funding bodies, tourism and festivals. African Theatre 17 examines how dance is contributing to a particularly African interculturalism, while analysing the issues of representation of Africa in a postcolonial context. Articles address the efficacy of dance to engage audiences with disavowed issues regarding gender, sexuality and dis/ability both within and beyond Africa. Highlights include a dance photo essay on F.O.D. Gang's 2017 site-specific street performance "Untitled" in Lagos, a new non-themed section, and the playscript Lunatic! by Zimbabwean playwright Thoko Zulu. Volume Editors: YVETTE HUTCHISON & CHUKWUMA OKOYE Series Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.

Within qualitative research in the social sciences, the last decade has witnessed a growing interest in the use of visual methods. Visual Methods in Physical Culture is the first book in the field of sport and exercise sciences dedicated to harnessing the potential of using visual methods within qualitative research. Theoretically insightful, and methodologically innovative, this book represents a landmark addition to the field of studies in sport, exercise, the body, and qualitative methods. It covers a wide range of empirical work, theories, and visual image-based research, including photography, drawing, and video. In so doing, the book deepens our understanding of physical culture. It also responds to key questions, such as what are visual methods, why might they be used, and how might they be applied in the field of sport and exercise sciences.

This volume combines clarity of expression with careful scholarship and originality, making it especially appealing to students and scholars within a variety of fields, including sport sociology, sport and exercise psychology, sociology of the body, physical education, gender studies, gerontology, and qualitative inquiry.

This book was published as a special issue in Qualitative Research in Sport and Exercise.

The national dancers of Uzbekistan are almost always female. In a society that has been Muslim for nearly seven hundred years, why and how did unveiled female dancers become a beloved national icon during the Soviet period? Also, why has their popularity continued after the Uzbek republic became independent? The author argues that dancers, as symbolic girls or unmarried females in the Uzbek kinship system, are effective mediators between extended kin groups, and the Uzbek nation-state. The female dancing body became a tabula rasa upon which the state inscribed, and reinscribed, constructions of Uzbek nationalism.

Doi describes the politics of gender in households as well as the dominant kinship idioms in Uzbek society. She traces the rise of national dance as a profession for women during the Soviet period, prior to which women wore veils and kept purdah. The final chapter examines emerging notions of Uzbek, as regional and national groups contest the notion through debates about what constitutes authentic Uzbek dance. Doi concludes with a comparative discussion of the power of marginality, which enabled Uzbeks to maintain a domain where Uzbek culture and history could be honored, within the Russocentric hegemony of the Soviet state.

This is the first comprehensive textbook on lighting design for dance productions. Illuminates the aesthetic considerations of lighting design (the "poetry") along with the tools and technology (the "nitty-gritty") to execute effective designs. Contains reflections from renowned lighting designers, including Jennifer Tipton, Beverly Emmons, Mark Stanley, Richard Dunham, and James E. Streeter.

Dance is more than an aesthetic of life - dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama, and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism, and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.

People all over the world dance traditional and popular dances that have been staged for purposes of representing specific national and ethnic groups. Anthony Shay suggests these staged dance productions be called "ethno identity dances", especially to replace the term "folk dance," which Shay suggests should refer to the traditional dances found in village settings as an organic part of village and tribal life. Shay investigates the many motives that impel people to dance in these staged productions: dancing for sex or dancing sexy dances, dancing for fun and recreation, dancing for profit - such as dancing for tourists - dancing for the nation or to demonstrate ethnic pride. In this study Shay also examines belly dance, Zorba Dancing in Greek nightclubs and restaurants, Tango, Hula, Irish step dancing, and Ukrainian dancing.

In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing. The Oxford Handbook of Dance and Wellbeing examines dance and related movement practices from the perspectives of neuroscience and health, community and education, and psychology and sociology to contribute towards an understanding of wellbeing, offer new insights into existing practices, and create a space where sufficient exchange is enabled. The handbook's research components include quantitative, qualitative, and arts-based research, covering diverse discourses, methodologies, and perspectives that add to the development of a complete picture of the topic. Throughout the handbook's wide-ranging chapters, the objective observations, felt experiences, and artistic explorations of practitioners interact with and are printed alongside academic chapters to establish an egalitarian and impactful exchange of ideas.

Further Steps brings together New York's foremost choreographers - among them MacArthur 'Genius' award winners Meredith Monk and Bill T. Jones - to discuss the past, present and future of dance in the US. In a series of exclusive and enlightening interviews, this diverse selection of artists discuss the changing roles of race, gender, politics, and the social environment on their work.

Bringing her own experience of the New York dance scene to her study, Constance Kreemer traces the lives and works of the following choreographers:

Lucinda Childs, Douglas Dunn, Molissa Fenley, Rennie Harris, Bill T. Jones, Kenneth King, Nancy Meehan, Meredith Monk, Rosalind Newman, Gus Solomons jr, Doug Varone, Dan Wagoner, Mel Wong and Jawole Zollar.

Professional dance is an exciting but demanding career to choose, and the dancer of today needs to be physically prepared for the stress on the body that a performing life entails. Pilates and Conditioning for Dancers is a practical guide to exercises designed specifically for dance students and professionals alike. The focus on how to choose exercises that suit the individual offers dancers the freedom to optimize their performance potential in a flexible environment. Key topics covered are Core Control; Turnout; The Healthy Spine; Footwork; Jumping and Landing. This new book covers each area of the body, relating the exercises closely to dance technique and providing movement solutions for dancers of al styles and at all stages of their performing career.