A comprehensive overview of the dance culture of Singapore, this book embodies storytelling, personal reflections, memories, and histories of the artists. The extensive calendar of events encompassing companies and soloists from diverse dance practices, such as Indian, Malay and Chinese and a variety of Western contemporary dances, underline Singapore as a vibrant player in the evolution of Asian culture.

This book is an ode to the mythological heritage of Bharatanatyam. The visual narrative captures the rich heritage of this temple dance and its original exponents, the Devadasis or 'handmaidens of the deity'. Its repertoire of movements and moods bring alive the fascinating stories of Hindu gods and goddesses and their kaleidoscopic lives. In the following pages, the authors have traced the myths and legends that are cherished in our performing arts, to delight the culture-curious reader. And what is interesting is that in these stories, the reader will discover the inter-connectedness of ancient mythologies around the world. Perhaps such discoveries go a long way in validating the role that art plays in connecting civilisations. The book is designed to engage the reader without pedagogy or scholastic strictures, but with a lightness of touch, that entertains while it informs. Because the vision here is to weave information, anecdotes and trivia, together in the spirit of a popular cultural ranconteur. Replete with rare photographs curated from the Sohinimoksha World Dance and Communications archives, complemented by a lucid narrative that wraps facts in the language of romance and adventure, this book promises to be a collector's item for those who value the legacy of India's most celebrated dance form. For glimpses of some live performances by Sohini Roychowdhury, and her Sohinimoksha World Dance troupe, celebrating the music, dance, mythology of India and the World, go on-line to 'Dancing With The God.... with Sohinimoksha World Dance' at https://youtu.be/naR7p6SKiko

Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.

The arts have a crucial role in empowering young people with special needs through diverse dance initiatives. Inclusive pedagogy that integrates all students in rich, equitable and just dance programmes within education frameworks is occurring alongside enabling projects by community groups and in the professional dance world where many high-profile choreographers actively seek opportunities to work across diversity to inspire creativity. Access and inclusion is increasingly the essence of projects for disenfranchised and traumatised youth who find creative expression, freedom and hope through dance. This volume foregrounds dance for young people with special needs and presents best practice scenarios in schools, communities and the professional sphere. International perspectives come from Australia, Brazil, Cambodia, Canada, Denmark, Fiji, Finland, India, Indonesia, Jamaica, Japan, Malaysia, New Zealand, Norway, Papua New Guinea, Portugal, Singapore, South Africa, Spain, Taiwan, Timor Leste, the UK and the USA. Sections include: inclusive dance pedagogy equality, advocacy and policy changing practice for dance education community dance initiatives professional integrated collaborations

History of Dance, Second Edition, offers readers a panoramic view of dance from prehistory to the present. The text covers the dance forms, designs, artists, costumes, performing spaces, and accompaniments throughout the centuries and around the globe. Its investigative approach engages students in assignments and web projects that reinforce the learning from the text, and its ancillaries for both teachers and students make it easy for students to perceive, create, and respond to the history of dance. New to This Edition History of Dance retains its strong foundations from the first edition while adding these new and improved features: * An instructor guide with media literacy assignments, teaching tips, strategies for finding historical videos, and more * A test bank with hundreds of questions for creating tests and quizzes * A presentation package with hundreds of slides that present key points and graphics * A web resource with activities, extensions of chapter content, annotated links to useful websites, and study aids * Developing a Deeper Perspective assignments that encourage students to use visual or aesthetic scanning, learn and perform period dances, observe and write performance reports, develop research projects and WebQuests (Internet-based research projects), and participate in other learning activities * Experiential learning activities that help students dig deeper into the history of dance, dancers, and significant dance works and literature * Eye-catching full-color interior that adds visual appeal and brings the content to life Also new to this edition is a chapter entitled "Global Interactions: 2000-2016," which examines dance in the 21st century. Resources and Activities The web resources and experiential learning activities promote student-centered learning and help students develop critical thinking and investigative skills.Teachers can use the experiential learning activities as extended projects to help apply the information and to use technology to make the history of dance more meaningful. Three Parts History of Dance is presented in three parts. Part I covers early dance history, beginning with prehistoric times and moving through ancient civilizations in Greece, Crete, Egypt, and Rome and up to the Renaissance. Part II explores dance from the Renaissance to the 20th century, including a chapter on dance in the United States from the 17th through 19th centuries. Part III unfolds the evolution of American dance from the 20th century to the present, examining imported influences, emerging modern dance and ballet, and new directions for both American ballet and modern dance. Chapters Each chapter focuses on the dancers and choreographers, the dances, and significant dance works and literature from the time period. Students will learn how dance design has changed through the ages and how new dance genres, forms, and styles have emerged and continue to emerge. The chapters also include special features, such as History Highlight sidebars and Time Capsule charts, to help students placee dancers, events, and facts in their proper context and perspective. Vocabulary words appear at the end of each chapter, as do questions that prompt review of the chapter's important information. The text is reader-friendly and current, and it is supported by the national standards in dance, arts education, social studies, and technology education. Through History of Dance, students will acquire a well-rounded view of dance from the dawn of time to the present day. This influential text offers students a foundation for understanding and a springboard for studying dance in the 21st century.

Anne Green Gilbert's Brain-Compatible Dance Education, Second Edition, strikes the perfect balance between hard science and practicality, making it an ideal resource for dance educators working with dancers of all ages and abilities. Gilbert presents the latest brain research and its implications for dance educators and dancers. She makes the research findings accessible and easy to digest, always connecting the science to the teaching and learning that takes place in classrooms and studios. This new edition of Brain-Compatible Dance Education features Gilbert's unique BrainDance warm-up, made up of eight developmental movement patterns for people of all ages, from birth to older adults. This BrainDance warm-up helps dancers improve focus and productivity as it invigorates their minds and bodies and gets their synapses firing. In addition, this edition offers the following new material: * 24 new lesson plans geared to all age groups, from birth on up * New tips and tools to strengthen your teaching skills and provide a foundation for advocating for dance in schools and communities * A new web resource that includes 11 video clips of BrainDance with variations for diverse audiences, as well as printable lesson plans, posters, charts, and assessment templates The video clips on the web resource are great teaching aids that show you real-world examples of how the movements are done. The clips show dancers from infants to seniors, from beginners to advanced students, and those with special needs. The text is organized into three parts. Part I presents the theory behind brain-compatible dance education, offering an overview of the latest brain research, outlining the 10 principles of brain-compatible dance education, and exploring how to plan engaging lessons and use tools to assess your dancers. Part II describes the lesson plan elements in depth, including warming up, exploring concepts, developing skills, creating, and cooling down. In part III, Gilbert offers her new sequential and holistic lesson plans for ages 0 through 4, 5 through 8, 9 through 18, and adults. Brain-Compatible Dance Education, Second Edition, will revitalize your dance classes by improving your students' focus as they perform the repetitions that are so necessary for skill development. It will help you understand the vital link between movement and cognition, develop holistic lesson plans for any age and population, and bring the joy of movement into students' lives.

"'Irmgard Bartenieff has a profound knowledge of the human body and how it moves. I am delighted that this will now be made available to many more people.'." -- George Balanchine of Director, New York City Ballet "'Irmgard Bartenieff's pioneering work in the multiple applications of Labananalysis has had a transforming influence on many areas of movement training. Her careful and detailed development of the spatial principles into active corrective work has illuminated and altered the training of people as varied as dancers, choreographers, physical therapists, movement and dance therapists, and psychotherapists. Anthropologists and non-verbal communication researchers have found their world view necessarily altered by her fundamental innovations. The field of body/mind work will need to adapt to include her clear working through of basic principles.'." -- Kayla Kazahn Zalk of President, American Dance Guild

Zelda Fitzgerald's only novel, Save Me The Waltz (1932) was written in six weeks after her admission to a sanatorium, as part of her therapy. It covers the period of her life that her husband F Scott Fitzgerald had been using for years while writing his Tender is the Night (1934). Fitzgerald revised her novel under her husband's guidance until they were both happy with it, but it sold poorly on publication. She died in 1940, and Save Me The Waltz is now recognised as a classic novel of woman's experience and an authentic record of the Jazz Age. It begins during the First World War. Alabama Beggs is a Southern belle, the younger daughter of a judge with no interest in life except enjoyment. She debuts into adulthood with wild parties, dancing and drinking, and flirting with the young officers posted to her home town. Then Lieutenant David Knight appears on the scene, and Zelda marries him. Their life in New York, Paris and the South of France closely mirrors the Fitzgeralds' own life and their prominent socialising in the 1920s and 1930s as part of what was later called the Lost Generation. Like F Scott Fitzgerald, David Knight is also a novelist, and like Zelda, Alabama is an aspiring dancer. She is committed to her dance training, attending her ballet studio in Paris every day for repetition, but refuses to accept that she might not become the great dancer that she ardently longs to be, threatening her health and her marriage. Erin Templeton's introduction to Zelda Fitzgerald's finest literary work describes how her struggles to become a dancer were the result of her need to have a life of her own rather than living in her husband's shadow.

"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.

Rather than focusing on dance injuries, this book takes a positive approach showing what a dancer can do to dance better, which, in turn, will decrease injury rates. It presents human anatomy and motion in a functional, dance-specific way that teaches the readers to appreciate and take ownership of their bodies through a tour of the musculoskeletal system and movement analysis. The book is divided into three parts. Part one, Anatomy, describes the specific characteristics that affect motion at each individual joint, demonstrated by a variety of hands-on activities for readers to perform. Part two, Movement Analysis, discusses muscles that produce movement and introduces readers to a system of movement analysis. Part three, Conditioning, provides a practical, integrative approach to exercise for enhanced performance. The written material is accompanied by anatomical line drawings commissioned for the book, photographs, and an assortment of experiential activities specifically designed for dancers.

Undergraduate Research in Dance: A Guide for Students supplies tools for scaffolding research skills alongside examples of undergraduate research in dance scholarship. Dance can be studied as an expressive embodied art form with physical, cognitive, and affective domains, and as an integral part of society, history, and vast areas of interdisciplinary content. To this end, the guidance provided by this book will equip future dance professionals with the means to move the field of dance forward. Chapters 1-9 guide students through the fundamentals of research methods, providing a foundation to help students get started in understanding research protocols and processes. Students will learn skills such as how to choose a research topic, refine research questions, conduct literature reviews, cite sources, synthesize and analyze data, develop conclusions and results, and present their findings. Chapters 10-19 detail forms of undergraduate research in a rich diversity of fields within dance that are taught in many collegiate dance programs including dance therapy, history, science, psychology, education, and technology, in addition to public scholarship, choreography, and interdisciplinary topics. The book also includes a final chapter which provides annotated online resources, and many of its chapters are supported by examples of abstracts of capstone projects, senior theses, and conference presentations by undergraduate researchers across the United States. Suitable for both professors and students, Undergraduate Research in Dance is an ideal reference book for any course that has a significant opportunity for the creation of new knowledge, or as an essential interdisciplinary connection between dance and other disciplines.

The Routledge Dance Studies Reader has been expanded and updated, giving readers access to thirty-seven essential texts that address the social, political, cultural, and economic impact of globalization on embodiment and choreography. These interdisciplinary essays in dance scholarship consider a broad range of dance forms in relation to historical, ethnographic, and interdisciplinary research methods including cultural studies, reconstruction, media studies, and popular culture. This new third edition expands both its geographic and cultural focus to include recent research on dance from Southeast Asia, the People's Republic of China, indigenous dance, and new sections on market forces and mediatization. Sections cover: Methods and approaches Practice and performance Dance as embodied ideology Dance on the market and in the media Formations of the field. The Routledge Dance Studies Reader includes essays on concert dance (ballet, modern and postmodern dance, tap, kathak, and classical khmer dance), popular dance (salsa and hip-hop), site-specific performance, digital choreography, and lecture-performances. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.

This second edition of this well-known text book now offers downloadable resources to accompany the dance studies throughout the chapters. The authors take a new approach to teaching, learning and creating with notation through movement exploration, exercises and short dances, thus enlarging the scope of the book to teachers of movement, movement analysis 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, change of support springing balance relationships. All of these movements are explored sequentially and are represented symbolically in notation so the student learns how to physically articulate, notate and describe the movements as they are performed.

Textbook for undergraduate or high school dance composition courses. Resource for dancers and dance educators.

"Perhaps," wrote Ralph Ellison more than seventy years ago, "the zoot suit contains profound political meaning; perhaps the symmetrical frenzy of the Lindy-hop conceals clues to great potential power." As Ellison noted then, many of our most mundane cultural forms are larger and more important than they appear, taking on great significance and an unexpected depth of meaning. What he saw in the power of the lindy hop - the dance that Life magazine once billed as "America's True National Folk Dance" - would spread from black America to make a lasting impression on white America and of fer us a truly compelling means of understanding our culture. But with what hidden implications? In "American Allegory", Black Hawk Hancock offers an embedded and embodied ethnography that situates dance within a larger Chicago landscape of segregated social practices. Delving into two Chicago dance worlds, lindy hop and steppin', Hancock uses a combination of participant observation and interviews to bring to the surface the racial tension that surrounds white use of black cultural forms. Focusing on new forms of appropriation in an era of multiculturalism, Hancock underscores the institutionalization of racial disparities and offers wonderful insights into the intersection of race and culture in America.

Human movement influences an individual's perceptions and ability to interact with the world. Through exercises, illustrations, and detailed anatomical drawings, this remarkable book guides the reader toward total body integration. An experimental approach to movement fundamentals involving the patterning of connections in the body according to principles of efficient movement, the process of total body integration encourages personal expression and full psychological involvement. Such work, begun by Irmgard Bartenieff and now known as Bartenieff's Fundamentals, is developed by Peggy Hackney, one of Bartenieff's close colleagues, in Making Connections. By examining what is truly fundamental in human movement, Hackney's pioneering study explores inner connections through specific body movements and shares the process for releasing the sensations and feelings that such movements bring forth.

The need to 'rethink' and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book's contributions into: * Why Dance History? - the ideas, issues and key conversations that underpin any study of the history of theatrical dance. * Researching and Writing - discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making - from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.

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.

Dancing Women: Female Bodies Onstage is a spectacular and timely contribution to dance history, recasting canonical dance since the early nineteenth century in terms of a feminist perspective. Setting the creation of specific dances in socio-political and cultural contexts, Sally Banes shows that choreographers have created representations of women that are shaped by - and that in part shape - society's continuing debates about sexuality and female identity.
Broad in its scope and compelling in its argument Dancing Women:
* provides a series of re-readings of the canon, from Romantic and Russian Imperial ballet to contemporary ballet and modern dance
* investigates the gaps between plot and performance that create sexual and gendered meanings
* examines how women's agency is created in dance through aspects of choreographic structure and style
* analyzes a range of women's images - including brides, mistresses, mothers, sisters, witches, wraiths, enchanted princesses, peasants, revolutionaries, cowgirls, scientists, and athletes - as well as the creation of various women's communities on the dance stage
* suggests approaches to issues of gender in postmodern dance
Using an interpretive strategy different from that of other feminist dance historians, who have stressed either victimization or celebration of women, Banes finds a much more complex range of cultural representations of gender identities.

This detailed portrait of George Balanchine presents new approaches to his choreography. The book examines Balanchine from diverse perspectives and discusses unexplored aspects of his work, such as the notion of Balanchine as an architect, and his experiments with the African-American dance tradition. The articles complement and reinforce each other, taking interdisciplinary perspectives and encouraging a reexamination of, and expansion of, existing opinions.

This is a remarkable account of the revolutionary impact of modern dance on European cultural life in the early twentieth century. Edward Ross Dickinson uncovers modern dance's place in the emerging 'mass' culture of the modern metropolis, sufficiently ubiquitous and high-profile to spark media storms, parliamentary debates, and exasperated denunciations even from progressive art critics. He shows how modern dance spoke in multiple registers - as religious and as scientific; as redemptively chaste and scandalously sensual; as elitist and popular. He reveals the connections between modern dance and changing gender relations and family dynamics, imperialism, racism, and cultural exchanges with the wider non-European world, and new conceptions of selfhood. Ultimately the book finds in these complex and often contradictory connections a new way of understanding the power of modernism and modernity and their capacity to revolutionize and transform the modern world in the momentous, creative, violent middle decades of the twentieth century.

DANCER OFF HER FEET is an incredible true story that stands as an irrefutable witness to God's power to heal people both physically and spiritually. It has inspired and encouraged many thousands of people since its first publication in 1991. This edition contains a foreword written twelve years on, which brings Julie's story up to date and details the highs and lows she has since experienced.For three years, former ballet dancer Julie Sheldon was stricken with the neurological disease Dystonia, and her life hung in the balance. Crippled, enduring fierce muscle spasms, she was in intensive care when Canon Jim Glennon prayed for her. 'A corner was turned after that visit in June 1989, and by July I was out of hospital. In August I was out of the wheelchair and off crutches for good, and in September off all drugs. All the time there was this conviction of total healing, not just of the body but of the mind and spirit as well.'The news hit press headlines and amazed doctors: 'Julie has made a miraculous recovery,' said a professor of neurology. Julie herself would say, along with family and friends, that God has done a great deal more even than that.

Creative Dance for All Ages, Second Edition, has had a long history of providing a dance curriculum to teachers and students preparing to teach creative dance. Author Anne Gilbert demystifies expectations when teaching creative dance and provides the theory, methods, and lesson ideas for success in a variety of settings and with students of all ages. This one-stop resource offers dance teachers everything they need, including a sequential curriculum, lesson plans, instructional strategies, assessment, and other forms. It's like having a seasoned dance teacher at your side offering inspiration and guidance all year long. Internationally recognized master teacher and author Anne Gilbert Green presents creative dance for everyone and tips on meeting the challenges of teaching it. She offers a complete package for teaching creative dance that includes the theory, methodology, and lesson plans for various age groups that can be used in a variety of settings. Gilbert also offers an entire dance curriculum for sequential teaching and learning. The second edition of her classic text has been revised, reorganized, and updated to meet all the needs of dance teachers. The second edition of Creative Dance for All Ages includes these new features: * An easy-to-navigate format helps you quickly access the material and find lesson planning and assessment tools. * Content reflects changes in the field of dance education to put you on the cutting edge. * Forty age-appropriate and brain-compatible lesson plans are accessible through the web resource, which save prep time and help ensure compliance with the latest standards. * Five downloadable video clips demonstrate the lesson plans and teaching strategies and how to put them to work in the classroom. * Suggestions for modifying lessons help you include students of all abilities. * Eight assessment forms and curriculum planning templates are adaptable to your needs. If you're a novice teacher, the book also contains these features to ensure effective instruction: * The same conceptual approach to teaching dance was used in the first edition. * A sequential dance curriculum helps you systematically cover a 10-week quarter or 16-week semester. * Class management tips put you in control from the first day. Creative Dance for All Ages, Second Edition, is an unparalleled resource for dance educators who are looking for a conceptual creative dance curriculum that will support teaching to learners of all ages. Whether in a studio, company, recreational, or educational setting, you will discover a comprehensive and well-rounded approach to teaching dance, emphasizing the how as much as the why.

Arsenio Rodr\u00edguez was one of the most important Cuban musicians of the twentieth century. In this first scholarly study, ethnomusicologist David F. Garc\u00eda examines Rodr\u00edguez's life, including the conjunto musical combo he led and the highly influential son montuno style of music he created in the 1940s. Garc\u00eda recounts Rodr\u00edguez's battle for recognition at the height of \u0022mambo mania\u0022 in New York City and the significance of his music in the development of salsa. With firsthand accounts from relatives and fellow musicians, Arsenio Rodr\u00edguez and the Transnational Flows of Latin Popular Music follows Rodr\u00edguez's fortunes on several continents, speculating on why he never enjoyed wide commercial success despite the importance of his music. Garc\u00eda focuses on the roles that race, identity, and politics played in shaping Rodr\u00edguez's music and the trajectory of his musical career. His transnational perspective has important implications for Latin American and popular music studies.