"Your Move: A New Approach to the Study of Movement and Dance" establishes a fresh and original framework for looking at dance. In examining the basic elements of dance - the Alphabet of Movement - and using illustrations of movement technique and notation symbols it provides a new way to see, to teach and to choreograph dance. This book gives a list of primary actions upon which all physical activity is based, focusing on both the functional and expressive sides of movement.
It draws upon the author's broad experience in ballet, modern and ethnic dance to reinterpret movement and to shed new light on the role of movement in dance. "Your Move" is an important book not only for dancers but also for instructors in sport and physical therapy. Each copy of "Your Move" comes complete with exercise sheets, which can also be purchased separately. A teacher's guide has also been designed providing notes on each chapter, approaches to the exploration of movement, interpretation of the reading studies, additional information of motif description and answers to the exercise sheets. An optional audio cassette, with music written and recorded especially for use with the book, is also available.

The author takes a new approach to teaching notation through movement exercises, thus enlarging the scope of the book to teachers of movement and choreography as well as the traditional dance notation students. Updated and enlarged to reflect the most recent scholarship and through a series of exercises, this book guides students through: movement, stillness, timing, shaping, accents travelling direction, flexion and extension rotations, revolutions and turns supporting balance relationships. All of these movements are related to notation, so the student learns how to notate and describe the movements as they are performed.

Integrative Performance serves a crucial need of 21st-century performers by providing a transdisciplinary approach to training. Its radical new take on performance practice is designed for a climate that increasingly requires fully rounded artists. The book critiques and interrogates key current practices and offers a proven alternative to the idea that rigorous and effective training must separate the disciplines into discrete categories of acting, singing, and dance. Experience Bryon's Integrative Performance Practice is a way of working that will profoundly shift how performers engage with their training, conditioning and performance disciplines. It synthesizes the various elements of performance work in order to empower the performer as they practice across disciplines within any genre, style or aesthetic. Theory and practice are balanced throughout, using: Regular box-outs, introducing the work's theoretical underpinnings through quotes, case studies and critical interjections. A full program of exercises ranging from training of specific muscle groups, through working with text, to more subtle structures for integrative awareness and presence. This book is the result of over twenty years of practice and research working with interdisciplinary artists across the world to produce a training that fully prepares performers for the demands of contemporary performance and all its somatic, emotive and vocal possibilities.

A passionate and moving tribute to the captivating power of dance, not just as an art form but as a language that transcends barriers "A veritable master class."-Anne Doventry, Booklist Mindy Aloff, a journalist, an essayist, and a dance critic, analyzes dance as the ultimate expression of human energy and feeling. From her personal anecdotes, her engaging collection of stories about dance from around the world, or her description of the captivating photograph by Helen Levitt of two children dancing, which she sees as one embodiment of the mystery and joy that dancing can evoke, Aloff's exploration of the aesthetic, social, and spiritual impacts of dance will prove spellbinding. Aloff takes us on a journey through various forms of dance-rituals, religious observances, storytelling, musical interpretations-to show why dance matters to human beings. Interlaced with personal experiences, this book builds on analysis to reveal the intimate relationship we have with dance-personal, spiritual, soul-searching, medicinal, and entertaining. The ideas speak to both specialist and general readers.

Music, Dance, and Drama in Early Modern English Schools is the first book to systematically analyze the role that the performing arts played in English schools after the Reformation. Although the material record is riddled with gaps, Amanda Eubanks Winkler sheds light on the subject through an innovative methodology that combines rigorous archival research with phenomenological and performance studies approaches. She organizes her study around a series of performance-based questions that demonstrate how the schoolroom intersected with the church, the court, the domicile, the concert room, and the professional theater, which allows her to provide fresh perspectives on well-known canonical operas performed by children, as well as lesser-known works. Eubanks Winkler also interrogates the notion that performance is ephemeral, as she considers how scores and playtexts serve as a conduit between past and present, and demonstrates the ways in which pedagogical performance is passed down through embodied praxis.

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.

A book on how to teach dance and train dancers, by one of the US's leading dance teachers. Written for dance teachers in both professional settings and academic settings. A unique approach, following Bill's own six decades of dance teaching and not covered by any other book.

Never before has a greater variety of careers been available in dance-and never before has such comprehensive, expert guidance on those burgeoning careers been accessible in one book. Careers in Dance is a master guide that will help students navigate the expanding opportunities in dance and familiarize current professionals with potential career choices that best align with their pursuits and strengths. This highly practical text offers a wealth of information on career options in a variety of settings and with a variety of focuses, including commercial ventures, scholarly pursuits, administrative avenues, medical and scientific settings, and interdisciplinary opportunities. Readers are guided in discovering their deepest interests and learning how to translate their unique strengths into rich and fulfilling careers. In keeping with recent trends in higher education dance programs, Careers in Dance spotlights entrepreneurship and leadership opportunities for dancers, delving into an array of options and offering much-needed advice. The book covers some of the social and cultural influences that affect success in the field, and it explores various career opportunities: K-12 and postsecondary dance education Dance studios Performance, choreography, and production Dance research, analytical writing, and journalism Dance administration and advocacy Dance science, therapy, and medical and somatic practices Private competition companies Technical theater and related areas The text also helps readers understand the connections between dance and other disciplines. For example, it details the interdisciplinary opportunities involving technology, technical theater, and media. It also notes the possibilities for continued education in graduate school programs and suggests approaches to acclimating to life as a working professional. Careers in Dance offers two recurring elements throughout the book: Profiles of, and interviews with, esteemed professional dancers, revealing their real-world experiences and affording insights into different dance careers Reflection prompts that encourage self-reflection and prepare readers to seek career development and career advancement opportunities This text explores the opportunities dance students and professionals can pursue, helps them pinpoint their areas of interest and strengths, and equips them to create their unique paths to a fulfilling career in dance. In doing so, Careers in Dance provides the advice and strategies dancers need to actualize their own destinies in dance.

The years between 1910 and 1940 were formative for Mexico, with the ouster of Porfirio Diaz, the subsequent revolution, and the creation of the new state. Amid the upheaval, Mexican dance emerged as a key arena of contestation regarding what it meant to be Mexican. Through an analysis of written, photographic, choreographic, and cinematographic renderings of a festive Mexico, Choreographing Mexico examines how bodies in motion both performed and critiqued the nation. Manuel Cuellar details the integration of Indigenous and regional dance styles into centennial celebrations, civic festivals, and popular films. Much of the time, this was a top-down affair, with cultural elites seeking to legitimate a hegemonic national character by incorporating traces of indigeneity. Yet dancers also used their moving bodies to challenge the official image of a Mexico full of manly vigor and free from racial and ethnic divisions. At home and abroad, dancers made nuanced articulations of female, Indigenous, Black, and even queer renditions of the nation. Cuellar reminds us of the ongoing political significance of movement and embodied experience, as folklorico maintains an important and still-contested place in Mexican and Mexican American identity today.

The repertoire of the early Viennese ballroom was highly influential in the broader histories of both social dance and music in nineteenth-century Europe. Yet music scholarship has traditionally paid little attention to ballroom dance music before the era of the Strauss dynasty, with the exception of a handful of dances by Haydn, Mozart and Beethoven. This book positions Viennese social dances in their specific performing contexts and investigates the wider repertoire of the Viennese ballroom in the decades around 1800, most of which stems from dozens of non-canonical composers. Close examination of this material yields new insights into the social contexts associated with familiar dance types, and reveals that the ballroom repertoire of this period connected with virtually every aspect of Viennese musical life, from opera and concert music to the emerging category of entertainment music that was later exemplified by the waltzes of Lanner and Strauss.

This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice. Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance-breath, weight, tone, energy-informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools. This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

Examining a century of dance criticism in the United States and its influence on aesthetics and inclusion Dance criticism has long been integral to dance as an art form, serving as documentation and validation of dance performances, yet few studies have taken a close look at the impact of key critics and approaches to criticism over time. The first book to examine dance criticism in the United States across 100 years, from the late 1920s to the early twenty-first century, Shaping Dance Canons argues that critics in the popular press have influenced how dance has been defined and valued, as well as which artists and dance forms have been taken most seriously. Kate Mattingly likens the effect of dance writing to that of a flashlight, illuminating certain aesthetics at the expense of others. Mattingly shows how criticism can preserve and reproduce criteria for what qualifies as high art through generations of writers and in dance history courses, textbooks, and curricular design. She examines the gatekeeping role of prominent critics such as John Martin and Yvonne Rainer while highlighting the often-overlooked perspectives of writers from minoritized backgrounds and dance traditions. The book also includes an analysis of digital platforms and current dance projects-On the Boards TV, thINKingDANCE, Black Dance Stories, and amara tabor-smith's House/Full of BlackWomen-that challenge systemic exclusions. In doing so, the book calls for ongoing dialogue and action to make dance criticism more equitable and inclusive.

Liz Aggiss and Billy Cowie, known collectively as Divas Dance Theatre, are renowned for their highly visual, interdisciplinary brand of dance performance that incorporates elements of theatre, film, opera, poetry and vaudevillian humor. They have created dance theatre, cabaret, live art, single and multiple screen dance installations, and live performance installations.
"Anarchic Dance "is a visual and textual record of the work of Divas Dance Theatre. The DVD-Rom included in the package features extracts from Aggiss and Cowie's work, including the highly-acclaimed dance film Motion Control (first premiered on BBC2 in 2002), rare video footage of their punk-comic live performances as The Wild Wigglers and reconstruction of Aggiss' solo performance in Grotesque Dancer.
These films are cross-referenced in the book, allowing readers to match performance and commentary as Aggiss and Cowie invite a broad range of writers to examine their live performance and dance screen practice through analysis, theory, discussion and personal response. As much as their practice is hybrid, maverick and hard to define, the various theories presented are equally challenging, lively and fresh.
Extensively illustrated with black and white and color photographs, this beautiful multi-media package is a celebration of Divas' boundary-shattering performance work. "Anarchic Dance" provides a comprehensive investigation into Cowie and Aggiss' collaborative partnership and demonstrates a range of exciting approaches through which dance performance can be engaged critically.

The 1909 arrival of Serge de Diaghilev's Ballets Russes in Paris marked the beginning of some two decades of collaboration among litterateurs, painters, musicians, and choreographers, many not native to France. Charles Batson's original and nuanced exploration of several of these collaborations integral to the formation of modernism and avant-gardist aesthetics reinscribes performances of the celebrated Russians and the lesser-known but equally innovative Ballets Suedois into their varied artistic traditions as well as the French historical context, teasing out connections and implications that are usually overlooked in less decidedly interdisciplinary studies. Batson not only uncovers the multiple meanings set in motion through the interplay of dancers, musicians, librettists, and spectators, but also reinterprets literary texts that inform these meanings, such as Valery's 'L'Ame et la danse'. Identifying the performing body as a site where anxieties, drives, and desires of the French public were worked out, he shows how the messages carried by and ascribed to bodies in performance significantly influenced thought and informed the direction of much artistic expression in the twentieth century. His book will be a valuable resource for scholars working in the fields of literature, dance, music, and film, as well as French cultural studies.

Cuban music is recognized unanimously as a major historical force behind Latin American popular music, and as an important player in the development of US popular music and jazz. However, the music produced on the island after the Revolution in 1959 has been largely overlooked and overshadowed by the Buena Vista Social Club phenomenon. The Revolution created the conditions for the birth of a type of highly sophisticated popular music, which has grown relatively free from market pressures. These conditions premised the new importance attained by Afro-Cuban dance music during the 1990s, when the island entered a period of deep economic and social crisis that has shaken Revolutionary institutions from their foundations. Vincenzo Perna investigates the role of black popular music in post-Revolutionary Cuba, and in the 1990s in particular. The emergence of timba is analysed as a distinctively new style of Afro-Cuban dance music. The controversial role of Afro-Cuban working class culture is highlighted, showing how this has resisted co-optation into a unified, pacified vision of national culture, and built musical bridges with the transnational black diaspora. Musically, timba represents an innovative fusion of previous popular and folkloric Afro-Cuban styles with elements of hip-hop and other African-American styles like jazz, funk and salsa. Timba articulates a black urban youth subculture with distinctive visual and choreographic codes. With its abrasive commentaries on issues such as race, consumer culture, tourism, prostitution and its connections to the underworld, timba demonstrates at the 'street level' many of the contradictions of contemporary Cuban society. After repeatedly colliding with official discourses, timba has eventually met with institutional repression. This book will appeal not only to ethnomusicologists and those working on popular music studies, but also to those working in the areas of cultural and Black studies, anthropology, Latin American studies, Cuban studies and Caribbean studies.

The Dancing God: Staging Hindu Dance in Australia charts the sensational and historic journey of de-provincialising and popularising Hindu dance in Australia. In the late nineteenth and early twentieth centuries, colonialism, orientalism and nationalism came together in various combinations to make traditional Hindu temple dance into a global art form. The intricately symbolic Hindu dance in its vital form was virtually unseen and unknown in Australia until an Australian impresario, Louise Lightfoot, brought it onto the stage. Her experimental changes, which modernised Kathakali dance through her pioneering collaboration with Indian dancer Ananda Shivaram, moved the Hindu dance from the sphere of ritualistic practice to formalised stage art. Amit Sarwal argues that this movement enabled both the authentic Hindu dance and dancer to gain recognition worldwide and created in his persona a cultural guru and ambassador on the global stage. Ideal for anyone with an interest in global dance, The Dancing God is an in-depth study of how a unique dance form evolved in the meeting of travellers and cultures.

Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cubans dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases. As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Martha Graham's Cold War frames the story of Martha Graham and her particular brand of dance modernism as pro-Western Cold War propaganda used by the United States government to promote American democracy. Representing every seated president from Dwight D. Eisenhower through Ronald Reagan, Graham performed politics in the global field for over thirty years. Why did the State Department consistently choose Martha Graham? As with other art forms such as jazz or avant-garde paintings, modern dance was seen to demonstrate American values of individualism and freedom; the choreographer used the freed body to make a new dance technique that could find the essence of human narratives. Graham targeted elites and its youth with modern dance to propound the 'universalism' of human rights under the banner of American democracy. In her choreography, argues author Victoria Phillips, Graham recast the stories of the Western canon through female protagonists whom she captured as timeless, seemingly beyond current politics, and in so doing implied superior political and cultural values of the Free World. Centering on powerful yet not demonstrably American female characters, the stories Graham danced seduced and captured the imaginations of elite audiences without seeming to force a determinedly American agenda. When her characters grew mythic on stage, they became the stories of all mankind, as Graham termed it. "My dances are ages old in meaning," she declared. But Graham took the pro-American argument one step further than her artistic compatriots. She added the trope of the frontier to her repertory. In the Cold War, Graham's particular modernism and the woman herself ossified, as did political aims of a cultural diplomacy based on an appeal to foreign elites. Phillips lays bare the side-by-side trajectories between the aging of Graham's choreography, her work as an ambassador, and the political dominance of the United States as a global power. With her tours and Cold War modernism, she demonstrated the power of the individual, immigrants, republicanism, and freedom from walls and metaphorical fences through cultural diplomacy with the unfettered language of movement and dance.

Dance Technique and Injury Prevention has established itself as the key reference for everyone involved in dance injury and treatment, physical therapy, and dance instruction. In this newly revised and expanded edition, Dr Howse reviews the subject's five main areas: Anatomy and Physiology, Injuries (general), Injuries (specific) - Their Cause and Treatment, Strengthening Exercises, and Technical Faults and Anatomical Variations. The new set of strengthening exercises is a special feature of this edition. Comprehensively illustrated with more than 320 diagrams and photographs, Dance Technique and Injury Prevention 3/e deserves a place in every professional's library and treatment room.

"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.

This book focuses on how Latin American people and cultural practices have moved from one continent to another, and specifically to London. How do Latin Americans experience such a process and what part do different people play in the re-making of Latin identities in the neighbourhoods, parks, bars and dance clubs of London? Through a critical engagement with theories of globalization, the geography of power, cultural identity and the transformation of places, the book explores how the formation of Latin identities is directly related to wider social, economic and political processes. Drawing on the voices of migrant peoples, community activists, shop owners, sports organizers, club owners, dancers, dance teachers, musicians and disc jockeys, the book argues that the micro movements of people - through a shopping mall or across a dance floor in a club - are directly connected to global processes involving the regulated movement of citizens, sounds and images across national boundaries and through cities.

In honour of Doris Humphrey's centennial, which was celebrated worldwide in 1995, this issue explores her legacy to the world of dance and her place in history. The varied aspects of her work are covered including choreography, teaching approach, Labanotation scores, reconstruction/recreations, and composition. In order to convey a sense of movement into the next century, the articles are presented in "chronological" order, beginning with that of Ernestine Stodelle, who worked with Humphrey during the 1920's and ending with an examination of Mindlin's 1995 experience learning Humphrey's work from Stodelle.

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.