|
Books > Arts & Architecture > Performing arts > Dance > General
How NEA funding policies have shaped the field of dance Funding
Bodies is the first scholarly study of NEA to focus specifically on
dance. It departs from a choreographic question: How have federal
grant guidelines rewarded specific patterns of dance practice and
production? Drawing upon archival documentation of NEA narratives,
program eligibility guidelines, and standards of evaluation as well
as testimony from past and present insiders, Wilbur's work
theorizes endowment as an economic and practical struggle by people
with differential power and competing investments in the production
and professionalization of dance. With a wealth of detail and
previously untold stories, this institutional history brings
clarity to the complex processes that underlie the continuing
struggle to achieve equitable resource distribution and parity of
opportunity in American dance. An online teaching guide is
available.
For premodern audiences, poetic form did not exist solely as meter,
stanzas, or rhyme scheme. Rather, the form of a poem emerged as an
experience, one generated when an audience immersed in a culture of
dance encountered a poetic text. Exploring the complex relationship
between medieval dance and medieval poetry, Strange Footing argues
that the intersection of texts and dance produced an experience of
poetic form based in disorientation, asymmetry, and even misstep.
Medieval dance guided audiences to approach poetry not in terms of
the body's regular marking of time and space, but rather in the
irregular and surprising forces of virtual motion around, ahead of,
and behind the dancing body. Reading medieval poems through
artworks, paintings, and sculptures depicting dance, Seeta Chaganti
illuminates texts that have long eluded our full understanding,
inviting us to inhabit their strange footings askew of conventional
space and time. Strange Footing deploys the motion of dance to
change how we read medieval poetry, generating a new theory of
poetic form for medieval studies and beyond.
Beyond Dance: Laban's Legacy of Movement Analysis offers
students of dance and movement a brief introduction to the life and
work of Rudolf Laban, and how this work has been extended into the
fields of movement therapy, communications, early childhood
development, and other fields.
While many dance students know of Laban and his work as it
applies to their field, few know the full story of how this
technique has developed and grown. For many who enter into the
fields of dance movement therapy, performance, and communications,
there are valuable lessons to be learned from Laban and his
follower's works. Beyond Dance offers a concise introduction to
this world. Refreshingly free of jargon and easy to understand, the
work offers dance students and others interested in human movement
a full picture of the many possibilities inherent in Laban's
theories. For many who will pursue careers 'beyond dance', this
work will be a useful guidebook into related areas.
This will be ideally suited to students of Laban movement theory
in dance and movement therapy, and will be used in advanced courses
in these areas as useful, brief introduction to the field.
In August 1960, Anna Halprin taught an experimental workshop
attended by Simone Forti and Yvonne Rainer (along with Trisha Brown
and other soon-to-be important artists) on her dance deck on the
slopes of Mount Tamalpais, north of San Francisco. Within two
years, Forti's conceptually forceful Dance Constructions had
premiered in Yoko Ono's loft and Rainer had cofounded the
groundbreaking Judson Dance Theater. Radical Bodies reunites
Halprin, Forti, and Rainer for the first time inmore than
fifty-five years. Dance was a fundamental part of the art world in
the 1960s, the most volatile decade in American art, offering a
radical image of bodily presence in a moment of revolutionary
change. Halprin, Forti, and Rainer-all with Jewish roots-found
themselves at the epicenter of this upheaval. Each, in her own
tenacious, humorous, and critical way, created a radicalized vision
for dance, dance making, and, ultimately, for music and the visual
arts. Placing the body and performance at the center of debate,
each developed corporeal languages and methodologies that continue
to influence choreographers and visual artists around the world to
the present day, enabling a critical practice that reinserts social
and political issues into postmodern dance and art. Published in
association with the Art, Design & Architecture Museum,
University of California, Santa Barbara. Exhibition dates: Art,
Design & Architecture Museum, University of California, Santa
Barbara: January 17-April 30, 2017 New York Public Library for the
Performing Arts: May 24-September 16, 2017 Events: Pillowtalks,
Jacob's Pillow, Becket, MA: July 1, 2017
This book is an exploration into the history, aesthetics, social
reality, regulation, and transformation of dance and dance music in
Egypt. It covers Oriental dance, known as belly dance or danse du
ventre, regional or group-specific dances and rituals, sha'bi
(lower-class urban music and dance style), mulid (drawing on Sufi
tradition and saints' day festivals) and mahraganat (youth-created,
primarily electronic music with lively rhythms and biting lyrics).
The chapters discuss genres and sub-genres and their evolution, the
demeanor of dancers, trends old and new, and social and political
criticism that use the imagery of dance or a dancer. Also
considered are the globalization of Egyptian dance, the replication
or fantasies of raqs sharqi outside of Egypt, as well as the dance
as a hobby, competitive dance form, and focus of international
dance festivals.
This volume provides new, ground-breaking perspectives on the
globally renowned work of the Tanztheater Wuppertal and its iconic
founder and artistic director, Pina Bausch. The company's
performances, how it developed its productions, the global transfer
of its choreographic material and the reactions of audiences and
critics are explained as complex, interdependent and reciprocal
processes of translation. This is the first book to focus on the
artistic research conducted for the Tanztheater's international
coproductions and features extensive interviews with dancers,
collaborators and spectators and provides first-hand ethnographic
insights into the work process. By introducing the praxeology of
translation as a key methodological concept for dance research,
Gabriele Klein argues that Pina Bausch's lasting legacy is defined
by an entanglement of temporalities that challenges the notion of
contemporaneity.
Jamaican dancehall has long been one of the most vital and
influential cultural and artistic forces within contemporary global
music. "Wake the Town and Tell the People" presents, for the first
time, a lively, nuanced, and comprehensive view of this musical and
cultural phenomenon: its growth and historical role within Jamaican
society, its economy of star making, its technology of production,
its performative practices, and its capacity to channel political
beliefs through popular culture in ways that are urgent, tangible,
and lasting.
Norman C. Stolzoff brings a fan's enthusiasm to his broad
perspective on dancehall, providing extensive interviews, original
photographs, and anthropological analysis from eighteen months of
fieldwork in Kingston. Stolzoff argues that this enormously popular
musical genre expresses deep conflicts within Jamaican society, not
only along lines of class, race, gender, sexuality, and religion
but also between different factions struggling to gain control of
the island nation's political culture. Dancehall culture thus
remains a key arena where the future of this volatile nation is
shaped. As his argument unfolds, Stolzoff traces the history of
Jamaican music from its roots in the late eighteenth century to
1945, from the addition of sound systems and technology during the
mid-forties to early sixties, and finally through the
post-independence years from the early sixties to the
present.
"Wake the Town and Tell the People" offers a general introduction
for those interested in dancehall music and culture. For the fan or
musicologist, it will serve as a comprehensive reference book.
An innovative examination of the ways in which dance and philosophy
inform each other, Dance and Philosophy brings together authorities
from a variety of disciplines to expand our understanding of dance
and dance scholarship. Featuring an eclectic mix of materials from
exposes to dance therapy sessions to demonstrations, Dance and
Philosophy addresses centuries of scholarship, dance practice, the
impacts of technological and social change, politics, cultural
diversity and performance. Structured thematically to draw out the
connection between different perspectives, this books covers: -
Philosophy practice and how it corresponds to dance - Movement,
embodiment and temporality - Philosophy and dance traditions in
everyday life - The intersection between dance and technology -
Critical reflections on dance Offering important contributions to
our understanding of dance as well as expanding the study of
philosophy, this book is key to sparking new conversations
concerning the philosophy of dance.
The Bloomsbury Companion to Dance Studies brings together leading
international dance scholars in this single collection to provide a
vivid picture of the state of contemporary dance research. The book
commences with an introduction that privileges dancing as both a
site of knowledge formation and a methodological approach, followed
by a provocative overview of the methods and problems that dance
studies currently faces as an established disciplinary field. The
volume contains eleven core chapters that each map out a specific
area of inquiry: Dance Pedagogy, Practice-As-Research, Dance and
Politics, Dance and Identity, Dance Science, Screendance, Dance
Ethnography, Popular Dance, Dance History, Dance and Philosophy,
and Digital Dance. Although these sub-disciplinary domains do not
fully capture the dynamic ways in which dance scholars work across
multiple positions and perspectives, they reflect the major
interests and innovations around which dance studies has organized
its teaching and research. Therefore each author speaks to the
labels, methods, issues and histories of each given category, while
also exemplifying this scholarship in action. The dances under
investigation range from experimental conceptual concert dance
through to underground street dance practices, and the geographic
reach encompasses dance-making from Europe, North and South
America, the Caribbean and Asia. The book ends with a chapter that
looks ahead to new directions in dance scholarship, in addition to
an annotated bibliography and list of key concepts. The volume is
an essential guide for students and scholars interested in the
creative and critical approaches that dance studies can offer.
Women with pizzazz. Dances to shock and enchant. With heroines like
Josephine Baker and Isadora Duncan, this was never going to be a
conventional history. Buonaventura's book is rich with fascinating
anecdotes (like the New Jersey girl arrested for dancing the Turkey
Trot on her lunch hour) and astonishing facts (the first geisha
were men), as well as tender portrayals of dancers whose stage
antics have earned them lasting fame. The author takes us to Buenos
Aires and the first immigrants dancing the tango; to Paris and the
bawdy entertainers of the Moulin Rouge; to Chicago and New York,
where struggling black Americans cakewalk, charleston and shimmy
their long road from slavery. She returns to the Middle East, and
the Arabic dance that led to a life-long fascination with the
dancing body. On the way, she takes in Princess Diana, anorexia,
transvestism and cosmetic surgery. This is a book for anyone
intrigued by the sublime, sexy and downright surreal ways we find
to strut our stuff.
This volume explores the history of dance on the historically black
college and university (HBCU) campus, casting a first light on the
historical practices and current state of college dance program
practice in HBCUs. The author addresses how HBCU dance programs
developed their institutional visions and missions in a manner that
offers students an experience of American higher education in
dance, while honoring how the African diaspora persists in and
through these experiences. Chapters illustrate how both Western and
African diaspora dances have persisted, integrated through
curriculum and practice, and present a model for culturally
inclusive histories, traditions, and practices that reflect Western
and African diasporas in ongoing dialogue and negotiation on the
HBCU campus today.
'What a multi-sensory pleasure in learning! I will be a better
teacher and better clinician using what I am learning from this
book.' Carol M Davis DPT, EdD, MS, FAPTA The emerging science of
biotensegrity provides a fresh context for re-thinking our
understanding of human movement, but its complexities can be
formidable. Bodywork and movement professionals looking for an
accessible and relevant guide to the concept and application of
biotensegrity need look no further than Everything Moves: How
biotensegrity informs human movement. In order to work with our own
bodies and the bodies of our students, clients and teams most
effectively, we need to understand the nature of our human
structure. Everything Moves offers the enquiring bodyworker or
movement professional, who wants to take their understanding of how
to apply biotensegrity in their work to the next level, a practical
and relatable guide to the biotensegral nature of our bodies, in
which all of the parts are one, yet all are constantly changing.
Throughout Everything Moves, concepts and ideas are presented with
activities and exercises to make them tangible, accessible and
applicable. The material presented is suitable for coaches and
movement teachers new to biotensegrity, as well as those with more
advanced levels of understanding. Whether your focus is
performance, sports, Alexander Technique, Feldenkrais, yoga,
Pilates, martial arts, or dance, any arena in which bodies move can
be informed by Everything Moves!
Thinking of taking up ballet for the first time as an adult? Or
perhaps you're wondering if you're too old to go back to ballet?
Coming back to ballet as an adult has been a rather surprising,
interesting and rewarding journey for me. The author shares her
journey of learning to dance ballet as an adult, which she found
was different and challenging in ways very different from when she
had been a child. She had to overcome challenges in flexibility and
coordination, amongst other things. In this book, she gently
introduces ballet to the adult beginner: how to choose the right
class, what to wear and what to expect. She also shows you how to
progress effectively in ballet, such as eventually going en pointe,
developing artistry, taking ballet examinations and much more.
|
|