This book addresses the mind-body dichotomy in movement and dance. This book includes a description of the often-forgotten kinesthetic sense, body awareness, somatic practices, body-based way of thinking, mental imagery, nonverbal communication, human empathy, and symbol systems, what occurs in the brain during learning, and why and how movement and dance should be part of school curricula. This exploration arguers that becoming more aware of bodily sensations serves as a basis for knowing, communicating, learning, and teaching through movement and dance. This book will be of great interest to scholars and students interested in teaching methodology and for courses in physical education, dance, and education.

Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance ethnography and in institutional and disciplinary settings. Focused on research within Africa and the African diaspora, contributors to this volume think through the painful iterations of trauma, systemic racism, and the vestiges of colonial oppression as well as the processes of healing and emancipation that emerge from wounded states. Their chapters explore an acoustemology of intimacy, woman-centered eroticism generated through musical performance, desire and longing in ethnographic knowledge production, and listening as intimacy. On the other end of the spectrum, authors engage with and question the fetishization of race in jazz; examine conceptions of vulgarity and profanity in movement and dance-ethnography; and address pain, trauma, and violation, whether physical, spiritual, intellectual, or political. Authors in this volume strive toward empathetic, ethical, and creative ethnographic engagements that summon vulnerability and healing. They propose pathways to aesthetic, discursive transformation by reorienting conceptions of knowledge as emergent, performative, and sonically enabled. The resulting book explores sensory knowledge that is frequently left unacknowledged in ethnographic work, advancing conversations about performed sonic and somatic modalities through which we navigate our entanglements as engaged scholars.

This beautiful hardcover book is a compilation of 1,400 top-quality, inspiring quotations for our times from leading figures of today and the past regarding life, love, attitude, happiness, success, character and more. Provides far more practical wisdom and wit than you would gain from earning BA, MA and PhD degrees Includes quotations from over 600 identified authors plus many unknown quipsters. Highlights include ten or more quotations from Sir Winston Churchill, Albert Einstein, Ralph Waldo Emerson, Eleanor Roosevelt, Mark Twain, Denis Waitley, John Wooden, Zig Ziglar and seven other prominent authors. Includes detailed indices by author and by quotation. Flip to any page in this book for captivating wisdom, insight, wit and humor.

Meet Bruno Tonioli--"Strictly Come Dancing" judge, wildcat choreographer, and stardust magnet. With his irrepressible personality and Italian exuberance, Bruno has become a TV sensation, settling the fate of Britain's ballroom hopefuls during the nation's favorite Saturday night show. Bruno's journey is mind-blowing. He fled from home at eighteen to join the dance company La Grande Eugene and traveled around Europe; he later coached the actress Goldie Hawn as a dance instructor, and orchestrated lavish productions for TV, film, and pop videos, where he worked alongside The Rolling Stones, Freddie Mercury, Duran Duran, and Tina Turner. Along the way Bruno has tangoed with high fashion, performed the cha cha cha with untameable pop vixens Bananarama, and danced an emotional waltz with bereavement and breakdown before settling in the perfect location--a seat on the judging panel of "Strictly Come Dancing," where he wowed the nation at home and in Hollywood with his passion for dance and an excitable turn of phrase. "My Story" tears away the glittery wrapping of this most exuberant and loveable of TV stars. Strap yourselves in for a wild and sexy ride with more frills than Versailles.

Part of the "Eminent Lives Series", this biography, written by the gifted author Robert Gottlieb, describes the life of the dynamic George Balanchine, the foremost contemporary choreographer in ballet. It presents the life and achievement of the great choreographer who both summed up everything that proceeded him in ballet, and extended the art form into radical yet inevitable new paths. Leaving Revolutionary Russia in 1924 (he was 20), he joined Serge Diaghilev's famous Ballets Russes, where he created his first enduring masterpiece, Apollo, cementing his lifelong collaboration with Stravinsky. In 1933 he arrived in America to found a school and a company, but the company as we know it - The New York City Ballet - didn't emerge until 1948. Meanwhile, he made ballets wherever opportunity allowed, while choreographing Broadway shows (four for Rodgers and Hart), movies ("The Goldwyn Follies"), even the circus - a ballet for elephants with a score by Stravinsky. By the time of his death, in 1983, he had been recognised as a member of the triad of the greatest modern masters, alongside Picasso and Stravinsky. Balanchine was married many times, always to outstanding ballerinas, but his truest muse always remained Terpsichore, the Muse of Dance.

The career of Norton and Margot, a ballroom dance team whose work was thwarted by the racial tenets of the era, serves as the barometer of the times and acts as the tour guide on this excursion through the worlds of African American vaudeville, black and white America during the swing era, the European touring circuit, and pre-Civil Rights era racial etiquette.

This book offers new ways of thinking about dance-related artworks that have taken place in galleries, museums and biennales over the past two decades as part of the choreographic turn. It focuses on the concept of intersubjectivity and theorises about what happens when subjects meet within a performance artwork. The resulting relations are crucial to instances of performance art in which embodied subjects engage as spectators, participants and performers in orchestrated art events. Choreographing Intersubjectivity in Performance Art deploys a multi-disciplinary approach across dance choreography and evolving manifestations of performance art. An innovative, overarching concept of choreography sustains the idea that intersubjectivity evolves through places, spaces, performance and spectatorship. Drawing upon international examples, the book introduces readers to performance art from the South Pacific and the complexities of de-colonising choreography. Artists Tino Sehgal, Xavier Le Roy, Jordan Wolfson, Alicia Frankovich and Shigeyuki Kihara are discussed.

A transcription of the original French text, with full English translation, of de Lauze's dance and deportment manual of 1623. Among the dances covered are the Bransle, Gaillarde, Capriole, Gavotte, and Courante.

A book on dance-making, centred on practitioners with disabilities but valuable for dancers in all situations. Aimed at the huge range of dance-makers looking to make their work accessible, inclusive and diverse. A leading book in the field on this topic, now updated and expanded to reflect current trends and debates.

This international collection on dance ethnography comprises original contributions on fieldwork in dance and human movement. Based on extensive fieldwork experience, it explores the major theoretical approaches, methods and concerns of dance and movement research from anthropological and ethnochoreological perspectives. The result underlines the existing and continuing growth in dance ethnography which will also be of interest to those in dance studies, anthropology, cultural studies, folklore, ethnomusicology and sociology.

Discover the art of eurythmy with this richly illustrated step-by-step guide. Eurythmy is a compelling method of bringing balance and harmony to our body, soul and spirit through a series of rhythmic body movements. For the first time, this unique book captures these gestures visually through dynamic photographs, which clearly demonstrate the core movements of eurythmy therapy. It has long been recognised that we can direct powerful physical and mental changes within ourselves through specific movements of our bodies, as stated by advocates of yoga and tai chi. The authors of this original book are experienced eurythmists, who describe and illustrate the core speech-sound exercises: vowel exercises, consonant exercises and soul exercises, which include love, hope and sympathy. This book is not a replacement for a qualified eurythmy therapist, but is intended as guidance and orientation for patients practising on their own, perhaps after a few initial sessions with a therapist, or for more experienced eurythmists.

This book critically examines matters of age and aging in relation to dance. As a novel collection of diverse authors' voices, this edited book traverses the human lifespan from early childhood to death as it negotiates a breadth of dance experiences and contexts. The conversations ignited within each chapter invite readers to interrogate current disciplinary attitudes and dominant assumptions and serve as catalysts for changing and evolving long entrenched views among dancers regarding matters of age and aging. The text is organized in three sections, each representing a specific context within which dance exists. Section titles include educational contexts, social and cultural contexts, and artistic contexts. Within these broad categories, each contributor's milieu of lived experiences illuminate age-related factors and their many intersections. While several contributing authors address and problematize the phenomenon of aging in mid-life and beyond, other authors tackle important issues that impact young dancers and dance professionals.

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.

This title in the American Dance Floor series provides an overview of the origins, development, and current status of Latin social dancing in the United States. Latin dance and music have had a widespread influence upon the development of other social dance and music styles in the United States. As a result, Latin dance styles are among the most important dance forms in America. Latin Dance addresses every major style of Latin dance, describing the basic steps that characterize it as well as its rhythmic pace and time signature, and examining its development from European, African, and Amerindian influences. The author explains the range of styles and expression to be found in Latin dances primarily within the context of couples social dancing, the popularity of salsa today, and the broader social meanings and implications of their multicultural origins from the 1600s to the present. The historic connection between exhibition Latin dance and American modern dance through vaudeville is explained as well. Provides information from interviews conducted with Latin social dancers in the United States Contains photographs that illustrate the body alignment, mood, and wide variety of context of Latin social dancers, as well as Latin musicians and musical instruments A bibliography contains entries useful for further investigation into the topic of Latin dances Appendices indicate basic online resources for Latin social dancing in the United States and provide a filmography of Latin dances organized according to style

For more than two decades, le hip hop has shown France's "other" face: danced by minorities associated with immigration and the suburbs, it has channeled rage against racism and unequal opportunity and offered a movement vocabulary for the expression of the multicultural difference that challenges the universalist discourse of the Republic. French hip-hoppers subscribe to black U.S. culture to articulate their own difference but their mouv' developed differently, championed by a Socialist cultural policy as part of the patrimoine culturel, instituted as a pedagogy and supported as an art of the banlieue. In the multicultural mix of "Arabic" North African, African and Asian forms circulating with classical and contemporary dance performance in France, if hip hop is positioned as a civic discourse, and hip hop dancer as legitimate employment, it is because beyond this political recuperation, it is a figural language in which dancers express themselves differently, figure themselves as something or someone else. French hip hop develops into concert dance not through the familiar model of a culture industry, but within a Republic of Culture; it nuances an "Anglo-Saxon" model of identity politics with a "francophone" post-colonial identity poetics and grants its dancers the statut civil of artists, technicians who develop and transmit body-based knowledge. This book- the first in English to introduce readers to the French mouv' -analyzes the choreographic development of hip hop into la danse urbaine, touring on national and international stages, as hip hoppeurs move beyond the banlieue, figuring new forms within the mobility brought by new media and global migration.

In Kinesthetic City, author SanSan Kwan explores the contentious nature of Chineseness in diaspora through the lens of moving bodies as they relate to place, time, and identity. She locates her study in five Chinese urban sites--Shanghai, Taipei, Hong Kong, New York's Chinatown, and the San Gabriel Valley in Los Angeles--at momentous historical turning points to parse out key similarities and differences in the construction of Chineseness. The moving bodies she considers are not only those in performances by some of the most well-known Chinese dance companies in these cities, but also her own as she navigates urban Chinese spaces.
By focusing primarily on kinesthesia--the body's awareness of motion--to gather information rather than more traditional modes of sight, sound, smell, touch, and taste, she highlights the importance of motion in the determination of space. In examining in these specific places at these precise historical moments, Kwan illuminates how moving bodies contribute to the production of those places and those moments. For Kwan, Chinese communities in diaspora provide particularly salient examples of how when and where our bodies are help to determine who we are. Whether engaged in otherwise unremarkable walking or in highly choreographed acts of political protest, human movement exists in dialogue with the kinesthetic of these city spaces, helping Chinese communities make meaning of themselves away from mainland China.
As a whole, Kinesthetic City offers dance studies ways to extend movement analysis to study not only concert, folk or social dance, but also quotidian movement and urban flow.

This book demonstrates the use of dance/movement therapy to directly counteract social injustices and promote healing in international settings. It also demonstrates the potential for dance/movement therapy in prevention and wellness in clinical and community settings. The use of improvisational and creative dance is presented throughout the book as a tremendously clear, strong and powerful inroad to healing in every setting. The chapters in this book do not directly address social justice in dance/movement therapy, but rather provide provoking social justice related positions. This call for a provoking re-examination of the definition of dance/movement therapy is fitting as we-as a community-challenge our identity as dance/movement therapists, educators, supervisors and as human beings who have internalized oppression in various forms through our many identifiers and the unique intersections of those identifiers. The editors and authors posit that social justice cannot be fully addressed by focusing solely on the social issues. Rather, we must be aware of where and how the social issues come into the individual(s), the setting, and the therapy process itself. Chapter "'Breaking Free': One Adolescent Woman's Recovery from Dating Violence Through Creative Dance" is available open access under a Creative Commons Attribution 4.0 International license via link.springer.com.

This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)-a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries-and the generous support of Duke University. A portrait of the game of capoeira and its practice across borders. Originating in the Black Atlantic world as a fusion of dance and martial art, capoeira was a marginalized practice for much of its history. Today it is globally popular. This ethnographic memoir weaves together the history of capoeira, recent transformations in the practice, and personal insights from author Katya Wesolowski's thirty years of experience as a capoeirista.Capoeira Connections follows Wesolowski's journey from novice to instructor while drawing on her decades of research as an anthropologist in Brazil, Angola, Europe, and the United States. In a story of local practice and global flow, Wesolowski offers an intimate portrait of the game and what it means in people's lives. She reveals camaraderie and conviviality in the capoeira ring as well as tensions and ruptures involving race, gender, and competing claims over how this artful play should be practiced. Capoeira brings people together and yet is never free of histories of struggle, and these too play out in the game's encounters. In her at once clear-sighted and hopeful analysis, Wesolowski ultimately argues that capoeira offers opportunities for connection, dialogue, and collaboration in a world that is increasingly fractured. In doing so, capoeira can transform lives, create social spheres, and shape mobile futures. Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

This interdisciplinary book brings together essays that consider how the body enacts social and cultural rituals in relation to objects, spaces, and the everyday, and how these are questioned, explored, and problematised through, and translated into dance, art, and performance. The chapters are written by significant artists and scholars and consider practices from various locations, including Central and Western Europe, Mexico, and the United States. The authors build on dialogues between, for example, philosophy and museum studies, and memory studies and post-humanism, and engage with a wide range of theory from phenomenology to relational aesthetics to New Materialism. Thus this book represents a unique collection that together considers the continuum between everyday and cultural life, and how rituals and memories are inscribed onto our being. It will be of interest to scholars and practitioners, students and teachers, and particularly those who are curious about the intersections between arts disciplines.

This book provides a critical reflection on the ways dance studio teachers recognize, reflect and respond to cultural difference within their dance studio classes, particularly in the rural context in Aotearoa/New Zealand. Through dance teachers' narratives, it reveals the complexities of multiculturalism within dance studio classes and examines related issues of inclusion and exclusion within dance education. Understanding the dance practices provided by teachers like those in rural communities within Aotearoa/New Zealand is an increasingly urgent concern in an era of growing political, social and cultural tensions, for students and scholars of performing arts, leadership and community development. While previous research and publications have investigated cultural difference and global multicultural arts practices, this book presents a critical lens on performing arts practice and socio-cultural challenges experienced by local dance teachers within rural communities in Aotearoa/New Zealand.

This book is an ethnographic case study of Sufi ritual practice and embodied experience amongst female members of the Naqshbandi community. Drawing on fieldwork in Cape Town, South Africa, and Lefke, Cyprus (2013/2014), the author examines women's experiences within a particular performance of Sufi tradition. The focus is on the ritual named hadra, involving the recital of sacred texts, music, and body movement, where the goal is for the individual to reach a state of intimacy with God. The volume considers Sufi practice as a form of embodied cultural behavior, religious identity, and selfhood construction. It explains how Muslim women's participation in hadra ritual life reflects religious and cultural ideas about the body, the body's movement, and embodied selfhood expression within the ritual experience. Sufi Women, Ritual Embodiment and the 'Self' engages with studies in Sufism, symbolic anthropology, ethnography, dance, and somatic studies. Contributing to discussions of religion, gender, and the body, the book will be of interest to scholars from anthropology, sociology, religious ritual studies, Sufism and gender studies, and performance studies.

Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers.
The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughly interdisciplinary.

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.