Tales of nocturnal journeys, radical music making, and polymorphous sexuality flow through the arteries of Love Saves the Day like hot liquid vinyl. They are interspersed with a detailed examination of the era’s most powerful djs, the venues in which they played, and the records they loved to spin—as well as the labels, musicians, vocalists, producers, remixers, party promoters, journalists, and dance crowds that fueled dance music’s tireless engine.
Love Saves the Day includes material from over three hundred original interviews with the scene's most influential players, including David Mancuso, Nicky Siano, Tom Moulton, Loleatta Holloway, Giorgio Moroder, Francis Grasso, Frankie Knuckles, and Earl Young. It incorporates more than twenty special dj discographies—listing the favorite records of the most important spinners of the disco decade—and a more general discography cataloging some six hundred releases. Love Saves the Day also contains a unique collection of more than seventy rare photos.
Through her articulate and nuanced analysis of contemporary choreography, Albright shows how the dancing body shifts conventions of representation and provides a critical example of the dialectical relationship between cultures and the bodies that inhabit them. As a dancer, feminist, and philosopher, Albright turns to the material experience of bodies, not just the body as a figure or metaphor, to understand how cultural representation becomes embedded in the body. In arguing for the intelligence of bodies, Choreographing Difference is itself a testimonial, giving voice to some important political, moral, and artistic questions of our time.
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Here, Evyenia Karmi, an experienced dancer, teacher, and member of the International Dance Council, introduces students to the basic terminology and movements of bellydance. Through careful, easy-to-follow, step-by-step instructions, you can quickly begin learning the vocabulary of this ancient and beautiful dance.
Once you master the basic steps, the addition of sultry veil work can add a whole new dimension and excitement to your experience and performance. This compact and easy-to-use guide is an excellent teaching tool, featuring a gentle warm-up routine, to prepare your body for this energetic workout experience.
Create your own choreography or just have fun dancing! You’ll learn basic arm movements, technique for both the upper and lower body, directional and travelling steps, the basics of veil work—and much more.
of how they can use imagery to improve artistry in dance. It
offers hundreds of imagery exercises to refine improvisation,
technique, and choreography as well as 295 illustrations and
photos that illustrate Franklin’s unique imagery concepts. The
book includes imagery exercises that can restore and regenerate
the body through massage, touch, and stretching.
To some, Jerome Robbins was a demanding perfectionist, a driven taskmaster, a theatrical visionary; to others, he was a loyal friend, a supportive mentor, a generous and entertaining companion and colleague. Born Jerome Rabinowitz in New York City in 1918, Jerome Robbins repudiated his Jewish roots along with his name only to reclaim them with his triumphant staging of Fiddler on the Roof. A self-proclaimed homosexual, he had romances or relationships with both men and women, some famous—like Montgomery Clift and Natalie Wood—some less so. A resolutely unpolitical man, he was forced to testify before Congress at the height of anti-Communist hysteria. A consummate entertainer, he could be paralyzed by shyness; nearly infallible professionally, he was conflicted, vulnerable, and torn by self-doubt. Guarded and adamantly private, he was an inveterate and painfully honest journal writer who confided his innermost thoughts and aspirations to a remarkable series of diaries and memoirs. With ballets like Dances at a Gathering, Afternoon of a Faun, and The Concert, he humanized neoclassical dance; with musicals like On the Town, Gypsy, and West Side Story, he changed the face of theater in America.
In the pages of this definitive biography, Amanda Vaill takes full measure of the complicated, contradictory genius who was Jerome Robbins. She re-creates his childhood as the only son of Russian Jewish immigrants; his apprenticeship as a dancer and Broadway chorus gypsy; his explosion into prominence at the age of twenty-five with the ballet Fancy Free and its Broadway incarnation, On the Town; and his years of creative dominance in both theater and dance. She brings to life his colleagues and friends—from Leonard Bernstein and George Balanchine to Robert Wilson and Robert Graves—and his loves and lovers. And she tells the full story behind some of Robbins’s most difficult episodes, such as his testimony before the House Un-American Activities Committee and his firing from the film version of West Side Story.
Drawing on thousands of pages of documents from Robbins’s personal and professional papers, to which she was granted unfettered access, as well as on other archives and hundreds of interviews, Somewhere is a riveting narrative of a life lived onstage, offstage, and backstage. It is also an accomplished work of criticism and social history that chronicles one man’s phenomenal career and places it squarely in the cultural ferment of a time when New York City was truly “a helluva town.”
Banes begins by considering the act of dance criticism itself, exploring its modes, methods, and underlying assumptions, and examining the work of other critics. She traces the development of contemporary dance from the early work of such influential figures as Merce Cunningham and George Balanchine to such contemporary choreographers as Molissa Fenley, Karole Armitage, and Michael Clark. She analyzes the contributions of the Judson Dance Theatre and the Workers’ Dance League, the emergence of Latin postmodern dance in New York, and the impact of black jazz in Russia. In addition, Banes explores such untraditional performance modes as breakdancing and the “drunk dancing” of Fred Astaire.
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NOT GOT MUCH TIME?
One, five and ten-minute introductions to key principles to get you started.
Lots of instant help with common problems and quick tips for success, based on the authors' many years of experience.
Tests in the book and online to keep track of your progress.
EXTEND YOUR KNOWLEDGE
Extra online articles at www.teachyourself.com to give you a richer understanding of ballroom dancing.
FIVE THINGS TO REMEMBER
Quick refreshers to help you remember the key facts.
Innovative exercises illustrate what you've learnt and how to use it.
"... [an] important step... in the ineluctable dance by postmodern historians across a bridge that spans the gaps among disciplines, between theory and practice, and betweeen present and past." -- Theatre Journal
"This complex and important book needs to be read by anyone interested in dance history or the cultural politics of dance." -- Dance Theatre Journal
"Mark Franko's Dancing Modernism/Performing Politics is challenging, groundbreaking, insightful, and, I believe, an important contribution to the field of dance scholarship." -- Dance Research Journal
A revisionary account of the evolution of "modern dance" in which Mark Franko calls for a historicization of aesthetics that considers the often-ignored political dimension of expressive action. Includes an appendix of articles of left-wing dance theory, which flourished during the 1930s.
As a subject for visual artists, dance has given new meaning to America’s perennial myths, cherished identities, and most powerful dreams. Their portrayals of dance and dancers, from the anonymous to the famous—Anna Pavlova, Isadora Duncan, Loïe Fuller, Josephine Baker, Martha Graham—have testified to the enduring importance of spatial organization, physical pattern, and rhythmic motion in creating aesthetic form.
Through extensive research, sparkling prose, and beautiful color reproductions, art historian Sharyn R. Udall draws attention to the ways that artists’ portrayals of dance have defined the visual character of the modern world and have embodied culturally specific ideas about order and meaning, about the human body, and about the diverse fusions that comprise American culture.
primary classroom and are searching for resources to support teaching
and learning, look no further. Through Complete Guide to Primary Dance, you’ll gain the insight, expertise and confidence to teach dance to children from reception to year 6.
Ballroom explores the intersection of dance cultures, dress and the body. Presenting the author's experiences at an international range of dance events in Europe, the US and UK, as well as featuring the views of individual dancers, the book shows how dancing influences mind and body alike. For students of anthropology, dance, cultural and performance studies, Ballroom provides an ethnographic picture of how dancers and others live their lives both on and off the dance floor.
Presenting a series of historical case studies, the book explores the ways in which, from the nineteenth century into the twentieth, ballet has been a means of conjuring homosexuality – of enabling some degree of expression and visibility for people who were otherwise declared illegal and obscene.
the perverse sororities of the Romantic ballet the fairy in folklore, literature, and ballet Tchaikovsky and the making of Swan Lake Diaghilev’s Ballets Russes and the emergence of queer modernity the formation of ballet in America the queer uses of the prima ballerina Genet’s writings for and about ballet.
Also including a consideration of how ballet’s queer tradition has been memorialized by such contemporary dance-makers as Neumeier, Bausch, Bourne, and Preljocaj, this is an essential book in the study of ballet and queer history.
You cannot speak of philosophies and experiences of tango without expressing and distinguishing the ways in which you embrace and/ or
perceive the body of the other; or there would not be much sense in
concentrating only on the technical elements, running the risks to
reduce it to a mere abstract form of sport competition, which would
deny the free expression of a feeling through a very distinctive art. Moving
amongst this dualism, I will try to offer my points of view, at
times, possibly too radical and conservative, both in philosophical
and technical terms, but with the aim to stimulate the dialogue
between the strongholds of those who already dance, and the
expectations and curiosity of those who have not tried to dance yet,
but are attracted by it.
being tango a very individualistic dance, an aspect which I thoroughly respect, I can only express here my very personal points
of view. I
will also try to illustrate some “hints” and technical elements I
have acquired for a decade, which reflect my personality and my
intention to keep them alive mainly in the relationship with my dance
partner in terms of intensity, posture and intimacy. I
am referring to some “hints" for discussions, as they are
often described with terms and verbs purposely written in quote marks
which could be topics for further debates and discussions. Many
terms should have been included in a glossary to help
beginner-readers to understand some dance steps, but it is not my
intention, for the moment, to offer another different version of them. Rather, the aim of my work is to convey fundamental concepts to
the reader, stimulating the interest for further studies.
meant to finish this work with a personal short story called
“Emotions of Milonga”. A story I am emotionally attached to for
the special relationship I had experienced and still experience with
the women in the Milonga; then four email messages from Argentina I
sent to some female friends back in Palermo, which, with their
permission, can give to the readers some characteristic “pictures”
to encourage them continuing with tango and beyond. Thank you, Pietro.
Using the stories of tapper Bill "Bojangles" Robinson, Ginger Rogers and Fred Astaire, ballet and Broadway choreographer Agnes de Mille, choreographer Paul Taylor, and Michael Jackson, Megan Pugh shows how freedom—that nebulous, contested American ideal—emerges as a genre-defining aesthetic. In Pugh’s account, ballerinas mingle with slumming thrill-seekers, and hoedowns show up on elite opera house stages. Steps invented by slaves on antebellum plantations captivate the British royalty and the Parisian avant-garde. Dances were better boundary crossers than their dancers, however, and the issues of race and class that haunt everyday life shadow American dance as well. Deftly narrated, America Dancing demonstrates the centrality of dance in American art, life, and identity, taking us to watershed moments when the nation worked out a sense of itself through public movement.
Dance and the Specific Image includes over one hundred improvisational structures that Nagrin created with his new company, the Workgroup, and has taught in dance classes and workshops all over the United States. Designed primarily for dancers, many can be adapted for actors and even musicians.
In the 1960s, at a time when many modern dancers were working with movement as abstraction, Nagrin turned instead toward movement as metaphor. His passionate belief that dance must speak of people led him to found the Workgroup, a small company of dancers who, in the early 1970s, devoted themselves to the practice and performance of improvisation.
Nagrin invites the reader into the mind of a dancer totally absorbed in his art, one who writes with wisdom and authority about what it means to be an artist.
The Ballet Companion is a fresh, comprehensive, and thoroughly up-to-date reference book for the dancer. With 150 stunning photographs of ballet stars Maria Riccetto and Benjamin Millepied demonstrating perfect execution of positions and steps, this elegant volume brims with everything today's dance student needs, including:
Practical advice for getting started, such as selecting a school, making the most of class, and studio etiquette
Explanations of ballet fundamentals and major training systems
An illustrated guide through ballet class -- warm-up, barre, and center floor
Guidelines for safe, healthy dancing through a sensible diet, injury prevention, and cross-training with yoga and Pilates
Descriptions of must-see ballets and glossaries of dance, music, and theater terms
Along the way you'll find technique secrets from stars of American Ballet Theatre, lavishly illustrated sidebars on ballet history, and tips on everything from styling a ballet bun to stage makeup to performing the perfect pirouette.
Whether a budding ballerina, serious student, or adult returning to ballet, dancers will find a lively mix of ballet's time-honored traditions and essential new information.
Alexandra Carter and Janet O’Shea deliver a substantially revised and updated collection of key texts, featuring an enlightening new introduction, which tracks differing approaches to dance studies. Important articles from the first edition are accompanied by twenty new works by leading critical voices. The articles are presented in five thematic sections, each with a new editorial introduction and further reading. Sections cover:
Ways of looking
Locating dance in history and society
Debating the discipline
The Routledge Dance Studies Reader gives readers access to over thirty essential texts on dance and provides expert guidance on their critical context. It is a vital resource for anyone interested in understanding dance from a global and contemporary perspective.
As exhilarating as the dance itself, the story whirls us into the center of the ballroom dancing craze. And buoyed by the author's humor and passion, it imparts surprising insights about how to get on with life after you've lost in love.
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The world-renowned New York City Ballet developed their proven wellness program to help dancers reach their potential without compromising their health. As one of the key designers of this program, former dancer and clinical psychologist Linda Hamilton, Ph.D. provides the essential principles of wellness that will help you achieve your goals in all levels and forms of dance. These include keeping yourself physically healthy, nutritionally sound, and mentally prepared as a dancer. New York City Ballet's celebrated program, here for the first time in book form, highlights every tool you'll need to stay in great shape.
Dance and theatre roots and connections;
Bausch’s developmental process;
The creation of Tanztheater;
Interviews, reviews and major essays chart the evolution of Bausch’s pioneering approach and explore this evocative new mode of performance. Edited by noted Bausch scholar, Royd Climenhaga, The Pina Bausch Sourcebook aims to open up Bausch’s performative world for students, scholars, dance and theatre artists and audiences everywhere.
Forwardness is the new mindfulness. Now seventy-three, Twyla Tharp is revered not only for the dances she creates for Broadway, the American Ballet Theater, the New York City Ballet and others--but for her astounding regimen of exercise and engagement. She is famed for religiously hitting the gym at daybreak, undergoing rigorous exercises with her trainer and utilizing those drills to propel her breakneck schedule as a teacher, creator and lecturer.
In Forwardness, Tharp explores the variety of steps anyone can take to forestall the aging process, and more important, to convince one's own mind that it is truly only as old as it feels. Drawing on a variety of physical techniques, mental acuity exercises and spiritual tricks of the psyche, Forwardness will prove to be as innovative and novel as its creator.
Disco Dance explains why disco was more than just a dance form or a fad, describing many of the clubs—in New York City especially—where the disco subculture thrived. The author examines the origins of disco music, its evolution, and how young people adapted the dance styles of the day to the disco beat, charting how this dance of celebration and rebellion during troubling times became subject to ridicule by the end of the decade.
Using the Sky: a dance follows a similar path as Hay’s previous books—Lamb at the Altar and My Body the Buddhist—by exploring her unrelenting quest for ways to both define and rethink her choreographic imagery through a broad range of alternately intimate, descriptive, poetic, analytical and often playful engagement with language and writing.
This book is a reflection on the experiments that Hay set up for herself and her collaborators, and the ideas she discovered while choreographing four dances, If I Sing to You (2008), No Time to Fly (2010), A Lecture on the Performance of Beauty (2003), and the solo My Choreographed Body (2014).
The works are revisited by unfolding a trove of notes and journal entries, resulting in a dance score in its own right, and providing an insight into Hay’s extensive legacy and her profound influence on the current conversations in contemporary performance arts.
Featuring a glossary, chronology of dance history and list of useful websites, this book is the ideal starting point for anyone interested in the study of dance.
This insightful book provides not only an overview of hip hop's distinctive dance style and steps, but also a historic overview of hip hop's roots as an urban expression of being left out of the mainstream pop culture, clarifying the social context of hip hop culture before it became a widespread suburban phenomenon. Hip Hop Dance documents all the forms of street music that led to one of the most groundbreaking, expressive, and influential dance styles ever created.