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.

Professional dance careers are both highly rewarding and exceptionally challenging, so success as a dancer requires robust preparation. Performance Psychology for Dancers is an accessible and practical guide to talent development, offering dancers and those around them support to navigate the challenges of training and the psychological strategies that underlie success. As coaches, parents and experienced practitioners themselves, the authors share their passion and expertise in talent development from experience working with in-training and professional dancers, athletes, and the military. Additionally, a variety of current industry experts provide key insights and reflections on talent development, mental health and psychological skills for performance.

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.

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.

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.

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)

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.

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.

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.

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.

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.

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.

In Landscape of the Now, author Kent De Spain takes readers on a deep journey into the underlying processes and structures of postmodern movement improvisation. Based on a series of interviews with master teachers who have developed unique approaches that are taught around the world - Steve Paxton, Simone Forti, Lisa Nelson, Deborah Hay, Nancy Stark Smith, Barbara Dilley, Anna Halprin, and Ruth Zaporah - this book offers the rare opportunity to find some clarity in what is often a complex and confusing experience. After more than 20 years of research, De Spain has created an extensive list of questions that explore issues that arise for the improviser in practice and performance as well as resources that influence movements and choices. Answers to these questions are placed side by side to create dialog and depth of understanding, and to see the range of possible approaches experienced improvisers might explore. In its nineteen chapters, Landscape of the Now delves into issues like the influence of an audience on an improviser's choices or how performers "track" and use their experience of the moment. The book also looks at the role of cognitive skills, memory, space, emotion, and the senses. One chapter offers a rare opportunity for an honest discussion of the role of various forms of spirituality in what is seen as a secular dance form. Whether read from cover to cover or pulled apart and explored a subject at a time, Landscape of the Now offers the reader a kind of map into the mysterious realm of human creativity, and the wisdom and experience of artists who have spent a lifetime exploring it.

Ist die Stimme nur Toninstrument fur Sprache oder ist ihr Klang selbst signifikant? Wer spricht, was singt in einer Stimme? Welche Rolle spielt ihre Theatralisierung fur Subjekt-, Koerper- und Sprachkonzepte? Wie schafft Stimme Prasenz? Wie eine Signatur? Wie wird ein Ursprung der Stimme, wie Audiovision dramatisiert? Welchen Einfluss hat der Einsatz von Mikrofon, Lautsprecher, Sound-Design? Was bewirken Aufzeichnungstechnologien? Welche Rolle haben akusmatische Stimmen? Was kennzeichnet eine Ethik der Stimme, eine Stimm-Politik? Wie verhalt sich die poetische zur Autorenstimme? Auf solche Fragen antwortet dieser Band mit Analysen der Praxis von (experimentellem) Theater, Oper, Tanz, Medien, wie auch von poetisch strukturierten Texten, die performativ eine AEsthetik der Stimme entwerfen.

Choreographic Dwellings: Practising Place offers new readings of the kinaesthetic experiences of site-specific and nomadic performance, parkour, installation and walking practices. It extends the remit of the choreographic by reframing the kinaesthetic qualities of place as action.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

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.

Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.

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.