Increasingly, choreographic process is examined, shared and discussed in a variety of academic, artistic and performative contexts. More than ever before, post-show discussions, artistic blogs, books, archives and seminars provide opportunities for choreographers to explain their particular methodologies. Performing Process: Sharing Dance and Choreographic Practice provides a unique theoretical investigation of this current trend. The chapters in this collection examine the methods, politics and philosophy of sharing choreographic process, aiming to uncover theoretical repercussions of and the implications for forms of knowledge, the appreciation of dance, education and artistic practices.

From the most brilliant and audacious choreographer of our time, the exuberant tale of a young dancer's rise to the pinnacle of the performing arts world, and the triumphs and perils of creating work on his own terms-and staying true to himself Before Mark Morris became "the most successful and influential choreographer alive" (The New York Times), he was a six year-old in Seattle cramming his feet into Tupperware glasses so that he could practice walking on pointe. Often the only boy in the dance studio, he was called a sissy, a term he wore like a badge of honor. He was unlike anyone else, deeply gifted and spirited. Moving to New York at nineteen, he arrived to one of the great booms of dance in America. Audiences in 1976 had the luxury of Merce Cunningham's finest experiments with time and space, of Twyla Tharp's virtuosity, and Lucinda Childs's genius. Morris was flat broke but found a group of likeminded artists that danced together, travelled together, slept together. No one wanted to break the spell or miss a thing, because "if you missed anything, you missed everything." This collective, led by Morris's fiercely original vision, became the famed Mark Morris Dance Group. Suddenly, Morris was making a fast ascent. Celebrated by The New Yorker's critic as one of the great young talents, an androgynous beauty in the vein of Michelangelo's David, he and his company had arrived. Collaborations with the likes of Mikhail Baryshnikov, Yo-Yo Ma, Lou Harrison, and Howard Hodgkin followed. And so did controversy: from the circus of his tenure at La Monnaie in Belgium to his work on the biggest flop in Broadway history. But through the Reagan-Bush era, the worst of the AIDS epidemic, through rehearsal squabbles and backstage intrigues, Morris emerged as one of the great visionaries of modern dance, a force of nature with a dedication to beauty and a love of the body, an artist as joyful as he is provocative. Out Loud is the bighearted and outspoken story of a man as formidable on the page as he is on the boards. With unusual candor and disarming wit, Morris's memoir captures the life of a performer who broke the mold, a brilliant maverick who found his home in the collective and liberating world of music and dance.

This book explores Black British dance from a number of previously-untold perspectives. Bringing together the voices of dance-artists, scholars, teachers and choreographers, it looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture. It challenges the presumption that Blackness, Britishness or dance are monolithic entities, instead arguing that all three are living networks created by rich histories, diverse faces and infinite future possibilities. Through a variety of critical and creative essays, this book suggests a widening of our conceptions of what British dance looks like, where it appears, and who is involved in its creation.

Within the newly thriving field of ancient Greek and Roman performance and dance studies, The Anatomy of Dance Discourse offers a fresh and original perspective on ancient perceptions of dance. Focusing on the second century CE, it provides an overview of the dance discourse of this period and explores the conceptualization of dance across an array of different texts, from Plutarch and Lucian of Samosata, to the apocryphal Acts of John, Longus, and Apuleius. The volume is divided into two parts: while the second part discusses ekphraseis of dance performance in prose and poetry of the Roman imperial period, the first delves more deeply into an examination of how both philosophical and literary treatments of dance interacted with other areas of cultural expression, whether language and poetry, rhetoric and art, or philosophy and religion. Its distinctive contribution lies in this juxtaposition of ancient theorizations of dance and philosophical analyses of the medium with literary depictions of dance scenes and performances, and it attends not only to the highly encoded genre of pantomime, which dominated the stage in the Roman Empire, but also to acrobatic, non-representational dances. This twofold nature of dance sparked highly sophisticated reflections on the relationship between dance and meaning in the ancient world, and the volume defends the novel claim that in the imperial period it became more and more palpable that dance, unlike painting or sculpture, could be representational or not: a performance of nothing but itself. It argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing, and that its way to cognition and action is physical experience.

Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.

A far-reaching examination of exoticism, cultural internationalism and modernism's encounters with Indonesian tradition, Performing Otherness examines how Indonesia entered world stages through imperialism as an antimodern phantasm and through nationalism became a means of intercultural communication and cultural diplomacy.

Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act of every opera - is essential to understanding the work. The book considers the operas of Lully - his lighter works as well as his tragedies - and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Academie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera.

In dieser Studie stellt der Autor Fausts Werdegang vom Gelehrten zum OEkonomen, Landesplaner und Unternehmer dar und zeigt durch die innovative "geographische Deutung" des funften Akts, inwiefern durch Fausts Neulandgewinnung eine bluhende Kulturlandschaft hat entstehen koennen. Bislang bestand in der Faust-Forschung weitgehend Konsens daruber, dass Faust am Ende des Dramas ein Egomane und ein Illusionist ist und dass dessen Neulandprojekt scheitern wird. Der Autor zeigt hier, dass ganz im Gegenteil Fausts wirtschaftliches Wirken und damit sein ganzes Leben (trotz so mancher Schattenseiten) von Erfolg gekroent ist. Durch diese neue Sichtweise weist das Buch den Weg zu einem positiven Faust-Bild.

"Teaching Dance as Art in Education" is a comprehensive introductory textbook that helps dance education majors and dance specialists understand and incorporate the aesthetic foundations of educational dance in grades K-12. Unlike other models of teaching dance, this book delineates what a standards-oriented, aesthetically driven program should encompass for both the dance specialist and his or her K-12 students.

"Teaching Dance as Art in Education" fosters an understanding of dance as arts education and defines the dance specialist's roles and responsibilities, including how the national arts initiatives and student-centered inquiry affect the teaching of dance. It explains how to advance student growth in the areas most critical to teaching dance: the physical, mental, artistic, and social. Content is delineated through four cornerstones of dance as art in education:

-Dancing and performing

-Creating and composing

-Knowing history, culture, and context

-Analyzing and critiquingThese cornerstones are subsequently integrated into the K-12 Dance Cornerstone Curriculum Framework, which enables dance specialists to develop substantive and sequential dance experiences for students as they progress from kindergarten through grade 12. The framework distills all the skills and concepts that dance specialists need, including developmental expectations for different ages.

"Teaching Dance as Art in Education" also presents a new instructional approach, the Eight-Step Plan, that facilities integration of all four dance education cornerstones into each unit to make the lessons more coherent. Further, the many features in the textbook help dance specialists become aware of not only their unique roles and responsibilities when teaching educational dance but also how to develop an arts-oriented, professional teaching portfolio.

The following user-friendly features are interwoven throughout the book:

-Reflect and Respond: Case studies, or scenarios, invite the reader to consider an issue or situation and develop a response.

-Questions to Ponder: Thought-provoking questions at the end of each chapter help readers extend and apply chapter concepts.

-Rich Resources: Suggested resources, such as books, videos, and Web sites, supplement the topics covered in the chapter.

-Notebook or Portfolio: Practical exercises to complete, record, and compile into an arts-oriented teaching portfolio are useful for future job interviews.

-Inspirational Quotes: Selected quotes from famous dancers, choreographers, and teachers support the topics covered."Teaching Dance as Art in Education" reveals how to meet the National Standards in Dance Education without being driven by them, and it goes one step further--it marries dance with arts education in a way that makes teaching educational dance clear and distinct.

Examining corporeal expressions of indigenousness from an historical perspective, this book highlights the development of cultural hybridity in New Zealand via the popular performing arts, contributing new understandings of racial, ethnic, and gender identities through performance. The author offers an insightful and welcome examination of New Zealand performing arts via case studies of drama, music, and dance, performed both domestically and internationally. As these examples show, notions of modern New Zealand were shaped and understood in the creation and reception of popular culture. Highlighting embodied indigenous cultures of the past provides a new interpretation of the development of New Zealand's cultural history and adds an unexplored dimension in understanding the relationships between M?ori (indigenous New Zealander) and P?keh? (non-M?ori) throughout the late nineteenth and into the early twentieth centuries.

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

Table of Contents



0. Prelims

i. List of contributors

ii. Acknowledgement

iii. Introduction

1.Inclusive dance pedagogy

Chapters

1.1 Making no difference: inclusive dance pedagogy (Sarah Whatley and Kate Marsh)

1.2 Developing inclusive dance pedagogy: dialogue, activism and aesthetic transformative learning (Tone Pernille Østern)



Case narratives

1.3 Beyond technique: diversity in dance as a transformative practice (Phillip Channells)

1.4 Exploring the relationship between dance and disability: a personal journey (Jackie Prada)



1.5 “Sowing dance” body movement for children from six months to three years old: the experience in Mesquita, Brazil (Luciana Veiga)

1.6 Dance for children with dyspraxia: the impact of Royal Academy of Dance, London, projects (Lesley Ovenden)

2.Equality, advocacy and policy

Chapters

2.1 Values and principles shaping community dance (Ralph Buck and Barbara Snook)

2.2 The Ugly Duckling: stories of dance and disability from Denmark and South Africa (Gerard M. Samuel)

2.3 Dance, education and participation: the “Planters” project in Girona, Spain (Gemma Carbó Ribugent)

Case narratives

2.4 Building identity through dance: exploring the influence of dance for individuals with special needs (Nicole J. Reinders)

2.5 Encountering and embodying difference through dance: reflections on a research project in a primary school in Finland (Liisa Jaakonaho)

2.6 New spaces for creativity and action: recent developments in the Applied Performing Arts in Barcelona (Jordi Baltà, Eva Garcia and Raimon Àvila)

3. Changing practice for dance education

Chapters

3.1 Making change: the identification and development of talented young dancers with disabilities (Imogen Aujla, Emma Redding and Veronica Jobbins)

3.2 Reflections from a/r/tography: perspectives to review creative activities with special needs children (Chung-Shiuan Chang and Shu-Hwa Jung)

3.3 Learning in action: intersecting approaches to teaching dance in Timor-Leste and Australia (Kym Stevens and Avril Huddy)

Case narratives

3.4 Exploring disability and dance: a Papua New Guinean experience (Naomi Faik-Simet)



3.5 ASEAN Para Games 2015: dancing for inclusivity (Filomar Cortezano Tariao)

3.6 Dancing partners

dancing peers: a wheelchair dance collaborative (Miriam Giguere and Rachel Federman-Morales)

4. Community dance initiatives

Chapters

4.1 Dance and affect: re-connecting minds to bodies of young adult survivors of violence in India (Urmimala Sarkar Munsi)

4.2 Digital stories: three young people’s experience in a community dance class (Sue Cheesman and Elaine Bliss)

4.3 Community initiatives for special needs dancers: an evolving ecology in Singapore (Stephanie Burridge)

Case narratives

4.4 Celebrating diversity: a Jamaican story (Carolyn Russell Smith)

4.5 “I Can… “: a Cambodian inclusive arts project (Laura Evans)

4.6 Learning together through dance: making cultural connections in Indonesia (Gianti Giadi)

4.7 From the ground up: a Portuguese dance education collaboration with regional communities (Madalena Victorino in conversation with Annie Greig)

5. Professional integrated collaborations

Chapters

5.1 Pulling back from being together: an ethnographic consideration of dance, digital technology and hikikomori in Japan and the UK (Adam Benjamin)

5.2 Freefalling with ballet (David Mead)

5.3 Troubling access and inclusion: a phenomenological study of children’s learning opportunities in artistic-educational encounters with a professional contemporary dance production (Charlotte Svendler Nielsen)

Case narratives

5.4 Dancing in wheelchairs: a Malaysian story (Leng Poh Gee and Anthony Meh Kim Chuan)

5.5 “Twilight”: connection to place through an intergenerational multi-site dance project (Cheryl Stock)

5.6 Navi’s story: access to collective identity through intercultural dance in the Fiji Islands (Sachiko Soro)

5.7 The value of extended residencies conducted by Restless Dance Theatre in schools 2014-2015 (Nick Hughes, Michelle Ryan and India Lennerth)

Tracing Tangueros offers an inside view of Argentine tango music in the context of the growth and development of the art form's instrumental and stylistic innovations. Rather than perpetuating the glamorous worldwide conceptions that often only reflect the tango that left Argentina nearly 100 years ago, authors Kacey Link and Kristin Wendland trace tango's historical and stylistic musical trajectory in Argentina, beginning with the guardia nueva's crystallization of the genre in the 1920s, moving through tango's Golden Age (1925-1955), and culminating with the "Music of Buenos Aires" today. Through the transmission, discussion, examination, and analysis of primary sources currently unavailable outside of Argentina, including scores, manuals of style, archival audio/video recordings, and live video footage of performances and demonstrations, Link and Wendland frame and define Argentine tango music as a distinct expression possessing its own musical legacy and characteristic musical elements. Beginning by establishing a broad framework of the tango art form, the book proceeds to move through twelve in-depth profiles of representative tangueros (tango musicians) within the genre's historical and stylistic trajectory. Through this focused examination of tangueros and their music, Link and Wendland show how the dynamic Argentine tango grows from one tanguero linked to another, and how the composition techniques and performance practices of each generation are informed by that of the past.

A fascinating demonstration of how U.S. representations of veils, harems, and belly dancers have operated as nostalgic and exotic symbols to help rationalize dominant U.S. narratives about power and progress.

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.

When it was first published in Germany in 1995, Poetics of Dance was already seen as a path-breaking publication, the first to explore the relationships between the birth of modern dance, new developments in the visual arts, and the renewal of literature and drama in the form of avant-garde theatrical and movement productions of the early twentieth-century. Author Gabriele Brandstetter established in this book not only a relation between dance and critical theory, but in fact a full interdisciplinary methodology that quickly found foothold with other areas of research within dance studies. The book looks at dance at the beginnings of the 20th century, the time during which modern dance first began to make its radical departure from the aesthetics of classical ballet. Brandstetter traces modern dance's connection to new innovations and trends in visual and literary arts to argue that modern dance is in fact the preeminent symbol of modernity. As Brandstetter demonstrates, the aesthetic renewal of dance vocabulary which was pursued by modern dancers on both sides of the Atlantic - Isadora Duncan and Loie Fuller, Valeska Gert and Oskar Schlemmer, Vaslav Nijinsky and Michel Fokine - unfurled itself in new ideas about gender and subjectivity in the arts more generally, thus reflecting the modern experience of life and the self-understanding of the individual as an individual. As a whole, the book makes an important contribution to the theory of modernity.

Through seven key case studies from Khan's oeuvre, this book demonstrates how Akram Khan's 'new interculturalism' is a challenge to the 1980s western 'intercultural theatre' project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.

The Art of Movement is an exquisitely designed, beautifully produced book that captures the movement, flow, energy, and grace of many of the most accomplished dancers in the world. These are the artists, from all walks of life, who are defining dance today. Here they are frozen in time in the most exquisite poses, and yet there's a feeling of movement in every photograph that makes the appear to be dancing across the pages. Accompanying the photographs are intimate and inspiring words from the dancers, as well as from choreographers and artistic directors, on what dance means to them. Dance is experiencing an unprecedented moment in popular culture. The Art of Movement is the perfect book for newly avid fans, as well as long-time lovers of dance.

Modes of Explanation is the first book in decades to attempt to bring these conflicting approaches together and to offer a compelling narrative to explore how the paradox of 'explanation' can converge.

Salsa is both an American and transnational phenomenon, however women in salsa have been neglected. To explore how female singers negotiate issues of gender, race, and nation through their performances, Poey engages with the ways they problematize the idea of the nation and facilitate their musical performances' movement across multiple borders.

Dance has proliferated in movies, television, Internet, and retail spaces while the spiritual power of dance has also been linked with mass consumption. Walter marries the cultural studies of dance and the religious aspects of dance in an exploration of consumption rituals, including rituals of being persuaded to buy products that include dance.

Examining performers from the ancient Mediterranean world to the modern Islamic Middle East, including India and Pakistan, Shay explores the careers, artistic performances, and legacies of these individuals who were forced to produce entertainment and art for, and have sex with, any and all patrons.

Dance Ethnography and Global Perspectives presents the work of dance scholars whose professional fieldwork spans several continents and includes studies of the dance and movement systems of varied global communities.

While remapping the region by examining enduring historical and cultural connections, this study discusses multiple traditions and practices of theatre and performance in five South Asian countries within their specific political and socio-cultural contexts.