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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.
An apprenticeship manual to classical dance, this book presents the principles and techniques of one of the last masters of ballet and Mariinsky Theatre, Roger Tully. Focusing on the choreographic principles, techniques, and practice of classical ballet, this highly technical book is designed for the use of professional dancers and teachers.
This is an extraordinary autobiography of a young girl growing up in Iran. The daughter of an English Christian mother and an Iranian Zoroastrian father, Nesta Ramazani sketches her personal life story against the backdrop of a society marked by the fusion of Iranian, Islamic, and Western cultures, and by the efforts of an authoritarian state to force modernization on a traditional society. Within this multicultural tapestry of personal, cultural, and national life, the author portrays how she came to love Persian and Western music, poetry, and dance. But translating this love into practice seemed an insurmountable task until an American woman pioneered the establishment of the first indigenous Iranian ballet company. As a member of this troupe, the author violated convention, performing first in her native land and then traveling abroad to exhibit this beautiful synthesis of Persian/Western forms to foreign audiences. The significance of this work transcends an autobiography penned by an Iranian woman--still a taboo in traditional Iranian society--it is a unique microcosm of today's universal quest for a dialogue among civilizations. Ramazani's story will appeal not only to students of Iran, the Middle East, and women's studies, but also to general readers.
An action-packed, laugh-out-loud, high-energy story for boys and girls featuring adults taken over by aliens and a brave group of kids who must work together as a team to stop them! From TV personalities and Diversity street dance superstars, brothers Ashley and Jordan Banjo. Brothers Trey and Jax spend after-school hours rehearsing with their street dance collective the Fly High Crew, until the evening they see a green beam of light flash out of the sky and are thrown into an out-of-this-world adventure! Aliens have landed and are mind-controlling all the teachers and adults: can the Fly High Crew work together as a team and save the day?
Presents a comprehensive history of groundbreaking Brooklyn-based dance troupe Urban Bush Women since their founding in 1984. The author analyzes their complex work, drawing on interviews with current and former dancers and her own observation of and participation in Urban Bush Women rehearsals.|Explores the technique and social activism of the innovative dance group Urban Bush Women. Provocative, moving, powerful, explicit, strong, unapologetic. These are a few words that have been used to describe the groundbreaking Brooklyn-based dance troupe Urban Bush Women. Their unique aesthetic borrows from classical and contemporary dance techniques and theater characterization exercises, incorporates breath and vocalization, and employs space and movement to instill their performances with emotion and purpose. Urban Bush Women concerts are also deeply rooted in community activism, using socially conscious performances in places around the country- from the Kennedy Center, the Lincoln Center, and the Joyce, to community centers and school auditoriums- to inspire audience members to engage in neighborhood change and challenge stereotypes of gender, race, and class. Nadine George-Graves presents a comprehensive history of Urban Bush Women since their founding in 1984. She analyzes their complex work, drawing on interviews with current and former dancers and her own observation of and participation in Urban Bush Women rehearsals. This illustrated book captures the grace and power of the dancers in motion and provides an absorbing look at an innovative company that continues to raise the bar for socially conscious dance. "The author's long-term engagement with the company has given her unprecedented access to Urban Bush Women. This clearly contributes to her in-depth understanding of the dynamics of the company and of the choreographic processes that undergird Urban Bush Women concert pieces." -Sarah Davies Cordova, author of Paris Dances: Textual Choreographies in the Nineteenth-Century French Novel.
A MASSIVE SUNDAY TIMES BESTSELLER IN HARDBACK - NOW AVAILABLE IN PAPERBACK Teen dance prodigy, breakout Dance Moms star, and judge on So You Think you Can Dance: The Next Generation, Maddie Ziegler presents her uplifting coming-of-age memoir about following her dreams and working hard to achieve success in both the dance world and in life. Maddie Ziegler had hoped to become a star - she just didn't know how soon that day would come. At just eight years old, she was cast on the hit reality TV show Dance Moms and quickly won the hearts of fans everywhere with her natural talent and determination. Soon, she was catching eyes all over - including those of pop superstar Sia, who handpicked her to star in the incredibly popular music video 'Chandelier'. The rest, as they say, is history. In this inspirational memoir, Maddie explains the hard work she put in to her rise to stardom and how she keeps her balance along the way - starring in music videos, going on tour and becoming an actress in The Book of Henry, with Naomi Watts and Jacob Tremblay. She also answers her fans' burning questions with wise advice she's learned on her journey. With honesty, charm and humour, Maddie offers her unique perspective on making her way in the world as a young teenager, reflecting on the lessons she's learned - and preparing for the exciting road ahead.
This succinct and engaging text explores the interdependence between theatre and dance. Making a compelling case for the significance of resisting genre distinctions in the arts, Kate Elswit demonstrates why and how the ampersand between theatre and dance needs to be understood as the rule, rather than the exception. This illuminating guide focuses on the interconnected ecosystems of practice that constitute performance history, the expansion of theatre and dance forms on contemporary North American and European stages, and the disciplinary methods that scholars use today to understand such practices, both past and present. Accessible and affordable, this is an ideal resource for theatre students and lovers everywhere.
A collaboration between well-established and rising scholars, Futures of Dance Studies suggests multiple directions for new research in the field. Essays address dance in a wider range of contexts - onstage, on screen, in the studio, and on the street - and deploy methods from diverse disciplines. Engaging African American and African diasporic studies, Latinx and Latin American studies, gender and sexuality studies, and Asian American and Asian studies, this anthology demonstrates the relevance of dance analysis to adjacent fields.
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.
This dictionary features more than 1500 up-to-date entries, researched by its internationally respected author, Beverly Fletcher. Each tap term is concisely defined in all its variations. Clear directions on "How to Execute" are given. Other names for steps are referenced. It starts with a history of tap from the earliest beginnings to current trends, blending it with social history. Included are brief biographies of the dancers and performers who have profoundly affected the dance world. The Reference Manual section is a special asset to dance teachers. Beginning with stage direction and theatre terminology, it defines the different types of tap dances and lists source materials. The teaching instructions feature specific plans for bringing students through the levels of beginner to advanced tapping.
This highly readable introduction to dance with older people combines key debates and issues in the field with practical guidance, as well as a resources section including numerous "toolkit materials." Diane Amans, leading practitioner in Community Dance, provides the ideal beginners' guide for students, practitioners and dance artists alike.
Migration makes a profound impression on identity (gender and sexuality, culture, class, status), its expressions, and performance. Research in this field has demonstrated that migrant communities often cast women as bearers of cultural reproduction. This is especially the case when women choose to become representatives of their community through cultural dance performances. Such performances are also a means to express the migrant life of movement and a way to maintain their sense of well-being. Dancing the Feminine is a compelling vision of expressions of gender and identity at the heart of the Asian womens experience. For the Indonesian female migrants, performing femininity is frequently negotiated in a cross-cultural context. The performances that author Monika Winarnita analyses are dramas of human interaction brought up through fissures and resolutions between the performers and their various audiences. The book provides analysis of these cultural performances as rituals of belonging, which demonstrate that in the diaspora meanings of the ritual are always open to being contested. A particular appeal of this book is the way in which cultural dance performance offers profound insight into migrants life experience as well as into how human beings tell their stories and interact with one another. Based on her experience of performing dance with Indonesian migrant women in Australia, the author provides a unique and novel set of research data that contributes to a diverse body of scholarly work in migration, performance, gender, sexuality and cultural studies, anthropology, and Asian studies.
Creating a sensation with her risque nightclub act and strolls down the Champs Elysees, pet cheetah in tow, Josephine Baker lives on in popular memory as the banana-skirted siren of Jazz Age Paris. In Josephine Baker and the Rainbow Tribe, Matthew Pratt Guterl brings out a little known side of the celebrated personality, showing how her ambitions of later years were even more daring and subversive than the youthful exploits that made her the first African American superstar. Her performing days numbered, Baker settled down in a sixteenth-century chateau she named Les Milandes, in the south of France. Then, in 1953, she did something completely unexpected and, in the context of racially sensitive times, outrageous. Adopting twelve children from around the globe, she transformed her estate into a theme park, complete with rides, hotels, a collective farm, and singing and dancing. The main attraction was her Rainbow Tribe, the family of the future, which showcased children of all skin colors, nations, and religions living together in harmony. Les Milandes attracted an adoring public eager to spend money on a utopian vision, and to worship at the feet of Josephine, mother of the world. Alerting readers to some of the contradictions at the heart of the Rainbow Tribe project--its undertow of child exploitation and megalomania in particular--Guterl concludes that Baker was a serious and determined activist who believed she could make a positive difference by creating a family out of the troublesome material of race.
The Choctaws are among the largest and best-known Indian tribes originally of the Southeastern United States, but over the centuries they have become one of the most acculturated to white ways, known more for what they absorbed of white culture than for their own distinctive traditions. Since the removal of the greatest part of the tribe to Oklahoma in the 1830s, Euro-American acculturation has become especially dominant. Nevertheless, among the isolated group of Choctaws that remained in Mississippi after Removal and a few individuals in Oklahoma, the old tribal dances and songs have been preserved.
This book discusses all aspects of the Choctaw dances and songs performed today by dance troupes in Mississippi and Oklahoma. It describes the social organization of the troupes, the construction and use of their musical instruments, and their costumes. Extensive historical information surveys the early literature on Choctaw music and dance, the divergent experiences of the Mississippi and Oklahoma Groups, and the recent movement toward cultural revival among traditionalists in both states.
The choreography for each dance that survives in the Choctaw repertory is described in detail and illustrated by photographs. The book also contains an overview of Choctaw dance music, with a classification of the song and in-depth analyses of musical elements, form, and design. The structure of dance events is reconstructed here for the first time. Musical transcriptions of thirty songs are included.
The authors, using a comparative approach, have focused on the relationship between contemporary performances in Oklahoma and Mississippi. Despite regional variations in performance practice, the Choctaws have sustained considerable continuity in their dance and music in this century, successfully resisting fierce pressure to assimilate and thereby lose all remaining vestiges of their culture.
This is the first book-length study of Choctaw music and dance since 1943, with much new information on the dances. It will be welcomed by ethnomusicologists, dance ethnologists, students of Native American culture, anthropologists, folklorists, and anyone interested in American Indian dance.
In her remarkable book, Sondra Horton Fraleigh examines and describes dance through her consciousness of dance as an art, through the experience of dancing, and through the existential and phenomenological literature on the "lived body." She describes, with performance photographs, specific imagery in dance masterworks by Doris Humphrey, Anna Sokolow, Viola Farber, Nina Weiner, and Garth Fagan.
Whether as a curiosity or a beloved idol, Gene Kelly (1912-1996) lives on in our cultural memory as a fantastic dancer in MGM musicals, especially Singin' in the Rain. But dancing, however extraordinary, was only one of his many gifts. This book, for the first time, offers a full picture of Gene Kelly as the Renaissance man he actually was - dancer, yes, but also choreographer, actor, clown, singer, director, teacher, and mentor. Kelly was star of radio and television as well as film, avant-garde as artist and auteur but also ahead of the curve in opening the world of dance to different races, ethnicities, and genders. Gene Kelly: The Making of a Creative Legend takes us from Kelly's youth in Depression-era Pittsburgh through his years on Broadway and ascendance to stardom in Hollywood. Authors Hess and Dabholkar pay particular attention to his work with the US Navy, solo directing, and lesser-known but considerable accomplishments in television, radio, and on the stage in later years. The book gives us a rare inside look at Kelly's relationships with dancing partners and peers from Leslie Caron, Vera-Ellen, and Cyd Charisse to Fred Astaire, and at his directorial collaboration with Stanley Donen and Vincent Minnelli. The authors show us significant but little-examined facets of Kelly's character and career, such as the political convictions that got him graylisted in Hollywood; his passion for creating cine-dance and serving as an ambassador of dance in America; and his forging of links between dance, civil rights, and the 'common man.' Steeped in research and replete with photographs, this career biography uniquely encompasses all phases of Gene Kelly's life and work - and finally gives us a full portrait of this central figure in the history of the film musical during Hollywood's Golden Age.
To date, scholars have tended, with a few exceptions, to write about African dance in primarily ethnographic terms. This collection seeks to challenge this pattern and expand dance research by engaging with the aesthetics and socio-political impact of dance for communities in and out of Africa in an increasingly global context. Contributors to this issue look at the impact that specifically situated indigenous dance forms have had on the development of new forms locally, and the reciprocal impact of local and international infrastructures, including funding bodies, tourism and festivals. African Theatre 17 examines how dance is contributing to a particularly African interculturalism, while analysing the issues of representation of Africa in a postcolonial context. Articles address the efficacy of dance to engage audiences with disavowed issues regarding gender, sexuality and dis/ability both within and beyond Africa. Highlights include a dance photo essay on F.O.D. Gang's 2017 site-specific street performance "Untitled" in Lagos, a new non-themed section, and the playscript Lunatic! by Zimbabwean playwright Thoko Zulu. Volume Editors: YVETTE HUTCHISON & CHUKWUMA OKOYE Series Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.
The writings of six choreographers are assembled in this book and the leap they have taken to go from the medium of choreography into written text constitutes a form of translation. Some of the texts investigate the possibilities of written language as invention, others use it as a means to illustrate specific tenets or describe choreographic projects. All yield insight into the process of coaxing language from the body.
A pioneer choreographer in modern American dance, Anna Sokolow has
led a bewildering, active international life. Her meticulous
biographer Larry Warren once looked up Anna Sokolow in a few
reference books and found that she was born in three different
years and that her parents were from Poland except when they were
in Russia, and found many other inaccuracies.
Why do women choreographers chose to create the dances they do in the manner they do? How do women in dance work independently and organizationally? How do women set up institutions? How has higher education helped or hindered women in the world of dance? These are the questions this work seeks to address.;In dealing with some of the tensions, joys, frustrations and fears women experience at various points of their creative lives, the contributors strike a balance between a theoretical sense of feminism and its practice in reality. This book aims to present answers to questions about women, power and action.
"East Meets West in Dance" chronicles this development in the words
of many of its best known and most active exponents. This
collection of articles provides a theoretical discussion of the
promises and pitfalls inherent in transplanting art forms from one
culture to another; it offers practical guidance for those who
might want to participate in this enterprise and explains the
general history of the dance exchange to date. It also identifies
the differences that are unique to specific cultures, such as the
development of theatrical forms, arts education, and the status of
artists. This is a first examination of a phenomenon that has
already touched most people in the arts community worldwide, and
that none can afford to ignore.
Pieces Of A Dream – The Story Of Dance For All is a beautiful coffee-table book that features more than seventy images by top local and international photographers, which complement the text by award-winning writer Gillian Warren-Brown.
Philip Boyd, a principal dancer with CAPAB Ballet, started Dance for All (DFA) in 1991, with the support of his late wife, Prima Ballerina Assoluta Phyllis Spira. The book chronicles the growth and development of this non-profit organisation, which is dedicated to the upliftment of children from historically disadvantaged communities in and around Cape Town.
Through the medium of dance, DFA offers its students the opportunity for enjoyment, creativity and self-expression; and the high standard of training they receive empowers them with valuable skills that could lead to a career in dance. The images that appear in the book, shot over the past two decades, capture the essence of each of these aspects.
Pieces Of A Dream opens with the story of Hope Nongqongqo, a founder student who went on to become DFA’s Outreach Manager. Her story is woven throughout the book and is symbolic of what DFA and dance have meant to thousands of other students, some of whom are dancing professionally in South Africa and abroad. The text is brought to life through interviews with some of these students, past and present, as well as with CEO Philip Boyd, Company Manager Marlene Carstens, other members of staff, long-time supporters and observers of DFA. In an engaging, anecdotal style, the challenges of running a non-profit organisation are juxtaposed with uplifting stories of hope, triumph and success.
Pieces Of A Dream was chosen as the title of the book because it was the name of the launch performance of DFA’s InSPIRAtions Dance Company, with choreography for the title piece by Natalie Fisher; and it is symbolic of the individual students who have the opportunity to develop and pursue their own dreams. It also represents the fragments that came together to create Dance for All – the realisation of Philip’s dream.
Discover the art of eurythmy with this richly illustrated step-by-step guide. Eurythmy is a compelling method of bringing balance and harmony to our body, soul and spirit through a series of rhythmic body movements. For the first time, this unique book captures these gestures visually through dynamic photographs, which clearly demonstrate the core movements of eurythmy therapy. It has long been recognised that we can direct powerful physical and mental changes within ourselves through specific movements of our bodies, as stated by advocates of yoga and tai chi. The authors of this original book are experienced eurythmists, who describe and illustrate the core speech-sound exercises: vowel exercises, consonant exercises and soul exercises, which include love, hope and sympathy. This book is not a replacement for a qualified eurythmy therapist, but is intended as guidance and orientation for patients practising on their own, perhaps after a few initial sessions with a therapist, or for more experienced eurythmists.
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 web resource is included with all new print books and some ebooks. For ebook formats that don't provide access, the web resource is available separately.) 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.
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