Tango Argentino - Piccolo Breviario Per i Suoi Ballerini
In questo libro scopriamo il codice d'onore dei ballerini 'porte簽os' del Tango Milonguero che sono rimasti 'incontaminati' dal turismo che circonda il Tango e che hanno pi羅 o meno 70-80 anni. Il loro comportamento riflette concetti di cui si parlava gi? nell'antica Cina! Scopriamo insieme l'antica saggezza de los Viejos Milongueros'. Rimarrete stupiti da ci簷 che scoprirete!
Finding Balanchine’s Lost Ballets
Ever since George Balanchine arrived on the American dance scene in 1933, his revolutionary, fleet-footed repertoire has been immortalized in the ballet canon. Yet most of the works he created in Russia as a budding choreographer have been lost to history--until now. In the first book to focus exclusively on Balanchine's Russian ballets, Elizabeth Kattner offers new insights into the artistic evolution of a legend through her reconstruction of his first group ballet, Funeral March.Drawing on more than a decade of research conducted in archives in the United States and Europe, Kattner synthesizes textual descriptions, photographs, musical scores, and the comparative study of other early Balanchine ballets in order to re-create this forgotten work. By interpreting and building upon these historical findings in the studio and in performance, this project enables dance history to be experienced kinesthetically. Addressing the controversy surrounding whether unrecorded dances should be reconstructed in the first place, Kattner meticulously describes her research methodologies, providing a valuable resource for other scholars seeking to revive history in this way.Finding Balanchine's Lost Ballets enriches our understanding of Balanchine's development as a choreographer through its ambitious, original approach to the subject. Kattner argues for the importance of dance reconstruction, when correctly approached, as a tool for reimagining the past and charting the future possibilities of dance history research.
Du mouvement ? la danse
"C'est l'矇lan qui fait tout", ai-je jadis lanc矇 du haut de mes quatre ans, proclamant une foi qui ne m'a jamais quitt矇e et qui sans doute propulse l'humanit矇 l'adh矇sion au mouvement, ? la vie. Pourtant la civilisation occidentale a longtemps 矇t矇 fascin矇e par l'immobilit矇, que la plupart des Anciens assimilaient ? l'矇ternit矇. Mais elle s'est lentement laiss矇e gagner par l'矇merveillement face ? un univers o羅 tout est en mouvement, en perp矇tuelle auto-organisation. De m礙me, ? son 矇chelle, l'individu humain s'auto-construit, stimul矇 in utero par le mouvement qui, apr癡s la naissance, se d矇veloppe en un langage de gestes et de vocalisations, premiers appels ? l'autre, premi癡re expression du d矇sir, premi癡re expression corporelle. La conscience, d癡s lors, se d矇veloppe en se d矇doublant. Elle se d矇ploie et s'矇l癡ve ? partir d'elle-m礙me comme une spirale ascendante. Et les partenaires de cette sorte de danse de la conscience sont le mouvement d'autrui, le mouvement des choses, le mouvement du monde. Lorsqu'il joue de cette musicalit矇 mobile pour elle-m礙me, pour le seul bonheur de cultiver ses liens ? l'environnement, ? l'autre et ? lui-m礙me, l'礙tre humain se fait danseur. Il peut alors, par imagination et par identification, 矇pouser tous les modes d'exister de la mati癡re, ? travers les r癡gnes, min矇ral, v矇g矇tal, animal. Haute 矇cole d'empathie et exutoire ? la violence, la danse plonge au plus profond des corps et aux tr矇fonds de la mati癡re. Elle incarne les trag矇dies et les espoirs de notre temps, de notre Terre tant aim矇e, mal aim矇e, malmen矇e. La joie de danser pousse sur le lourd terreau de l'existence. Sondant la gravit矇 de la vie, elle y puise sa force d'envol, sa jubilation. Jusqu'au grand 璽ge, le corps danseur, forge intime d'espace-temps, entretient sous la braise le foyer de ses flamboyances, qu'un souffle suffit ? raviver, ? projeter en 矇tincelle d'矇ternit矇.
Foundations of Dance
The Foundations of Dance: An Anthology provides readers with a carefully selected collection of articles that introduce them to various dance forms and their respective movements. The anthology features differentiating perspectives on ballet, jazz, and modern dance, as well as explorations about dance as ethnography, production, performance, legacy, and tradition.The various authors whose writings are included within the volume approach traditional dance subject matter from perspectives that incorporate dance as an expression of humanity, the relationship between choreography and elements of dance, the performing arts industry, spirituality and dance, LGBTQ traditions in dance, and the American dance scene. Additional readings underscore the importance of mentoring, the role of matriarchs, and the passing on of heritage within dance communities. Each article is supplemented with post-reading questions to inspire critical thought and reflection.Covering information value to individuals currently teaching or planning to teach dance classes, The Foundations of Dance is an ideal resource for courses in dance and the arts. It can also be used by dance instructors who own studios and work within their communities.
Look Before You Leap
Look Before You Leap guides parents towards helping their children to achieve their greatest success in dance. As we pull back the curtain on the dance industry, it has never been more important for parents and students to become as informed as possible to avoid the damage that is being done to children through the world-wide epidemics of extreme training, over-training, unqualified teachers and the global sexualisation of dance students. A safe and successful dance education can be achieved as parents discover what to look for and what to avoid when choosing a dance studio and ensuring the best, safe pathways to a happy, fulfilling and successful dance journey.From pre-school dance to full-time training, the easy to read "Look Before You Leap" brings information together from Dance Professionals, Dance Medicine/Science experts and the observations, opinions and advice through the extensive experience of the author. Whether a child learns dancing as a fun, recreational hobby or dreams of a professional career in dance or the performing arts, Look Before You Leap is a must read for all parents, families, students, teachers and the extended dance community.
Sidi Larbi Cherkaoui
This book analyses the world-renowned Belgian choreographer's key approaches and dramaturgical strategies through selected case studies from his oeuvre between 2000 and 2010, from Rien de Rien to Babel(words). It investigates Cherkaoui's choreographic and dramaturgic interventions in debates on the nation, culture, religion and language, by emphasising the transcultural, transreligious and geopolitical dimensions of the dialogues and exchanges he explored during this initial decade. Engaged spectatorship refers to the ongoing thinking, talking, research and writing that the spectator is invited to do in order to fulfil the work's macro-dramaturgical potential to resist nationalism, populism and religious fundamentalism. The book meticulously explores Cherkaoui's rich, multi-layered theatrical imagery and aural landscapes to demonstrate the agile and ever-shifting interpretive acts the works elicit from their audiences. Offering a full-length analysis of Cherkaoui's work, the book is essential reading for students, researchers, practitioners and Cherkaoui fans.
The Natural Body in Somatics Dance Training
From its beginnings as an alternative and dissident form of dance training in the 1960s, Somatics emerged at the end of the twentieth century as one of the most popular and widespread regimens used to educate dancers. It is now found in dance curricula worldwide, helping to shape the look and sensibilities of both dancers and choreographers and thereby influencing much of the dance we see onstage worldwide. One of the first books to examine Somatics in detail and to analyse how and what it teaches in the dance studio, The Natural Body in Somatics Dance Training considers how dancers discover and assimilate new ways of moving and also larger cultural values associated with those movements. The book traces the history of Somatics, and it also details how Somatics developed in different locales, engaging with local politics and dance histories so as to develop a distinctive pedagogy that nonetheless shared fundamental concepts with other national and regional contexts. In so doing it shows how dance training can inculcate an embodied politics by guiding and shaping the experience of bodily sensation, constructing forms of reflexive evaluation of bodily action, and summoning bodies into relationship with one another. Throughout, the author focuses on the concept of the natural body and the importance of a natural way of moving as central to the claims that Somatics makes concerning its efficacy and legitimacy.
The People’s Dance
This book presents an analysis of how the grassroots movement of Guangchang Wu or 'square dance' in China has become a national phenomenon. Through oral narratives offering rich descriptions of lived encounters, the experiences of those involved in leading, organizing, teaching and learning Guangchang Wu are revealed. Through these narratives, this book serves to understand the leadership practices occurring and how this dance practice is deeply rooted in the complexities of China's rapid economic development, acceleration of urbanisation, and the desire for a healthier and more communal lifestyle.
Ballet in the Cold War
In 1959, the Bolshoi Ballet arrived in New York for its first ever performances in the United States. The tour was part of the Soviet-American cultural exchange, arranged by the governments of the US and USSR as part of their Cold War strategies. This book explores the first tours of the exchange, by the Bolshoi in 1959 and 1962, by American Ballet Theatre in 1960, and by New York City Ballet in 1962. The tours opened up space for genuine appreciation of foreign ballet. American fans lined up overnight to buy tickets to the Bolshoi, and Soviet audiences packed massive theaters to see American companies. Political leaders, including Khrushchev and Kennedy, met with the dancers. The audience reaction, screaming and crying, was overwhelming. But the tours also began a series of deep misunderstandings. American and Soviet audiences did not view ballet in the same way. Each group experienced the other's ballet through the lens of their own aesthetics. Americans loved Soviet dancers but believed that Soviet ballets were old-fashioned and vulgar. Soviet audiences and critics likewise appreciated American technique and innovation but saw American choreography as empty and dry. Drawing on both Russian- and English-language archival sources, this book demonstrates that the separation between Soviet and American ballet lies less in how the ballets look and sound, and more in the ways that Soviet and American viewers were trained to see and hear. It suggests new ways to understand both Cold War cultural diplomacy and twentieth-century ballet.
Listening to CountryIndigenous Intercultural Dance and Dramaturgy
Takes a trans-disciplinary approach, drawing on sound theory, art history, indigenous studies, performance studies and dance studiesShows how contemporary indigenous dance makes visible a crisis of knowledge values in post-colonial environmentsThree parts cover: listening as devised choreographic practice; listening to cultural, historical and political contexts; and the identification of new cultural dramaturgies
A History of Ballet in Russia (1613 - 1881)
This is a detailed history of ballet in Russia (with particular reference to St. Petersburg) from its origin to the third quarter of the 19th century. The groundwork of historical data is enlivened with notes on the different dancers, extracts from contemporary accounts of their appearances, the casts of important first performances, the stories of many of the ballets produced, and so on. We learn of the birth of interest in the Theatre early in the 17th century, during the reign of Tsar Alexis, of the Public Balls or Assemblies organised by Peter the Great, and of the establishment during the reign of the Empress Anne of a ballet company - recruited from the children of poor parents - directed by a French master called Land矇. With each new reign the company increases in size, importance and talent under the successive influence of famous ma簾tres de ballet such as Didelot, Perrot, St.-L矇on and Marius Petipa, and celebrated ballerine such as Marie Taglioni, Fanny Elssler, Carlotta Grisi, Fanny Cerrito, Caroline Rosati, Amalia Ferraris, Salvioni, Henriette d'Or and so forth. With such forces at work a line of illustrious Russian Stars is formed - Istomina, Kolosova, Zubova, Andreyanova, Petipa, Prikhunova, Bogdanova, Muravieva, Grantsova, Vazem, Sokolova and many others. The book is prefaced by a most interesting introduction by M. Andr矇 Levinson, whose reputation as an historian and critic of dancing is world-wide, which presents an admirable survey of the development of Ballet in Russia from the "age of Petipa" to the conquering of both the Old World and the New by that glorious company - composed of hand-picked artists from the Imperial Ballet - directed by Serge Diaghilev.
Anna Pavlova in Art & Life
I have had the temerity to undertake a book about Anna Pavlova for two reasons. The first is that in the whole course of her theatrical life I was her closest associate. As her husband I had her unbounded confidence, managed all her affairs -- theatrical and private -- carried on all her correspondence, received those who came to see her (Pavlova herself could only very rarely receive anyone), was present at and assisted her in all her interviews for the press --and she was obliged to grant interviews to press representatives all over the world -- spent with her her hours of leisure, made the necessary plans for new tours and discussed with her details of our vast and complicated enterprise. I stood nearer to her than anybody, and I knew and understood her thoughts and aspirations, her disappointments and chagrins better than anyone else.In addition to my personal nearness to Pavlova, I met the thousands of people in all the corners of the earth who came to voice their enthusiasm and love. Through talking with them and receiving letters from them, during Pavlova's life as well as after her death, I am in a position to judge better than any other to what a remarkable degree she shone forth a beacon of beauty and love. All human testimony from whatever sources only goes to confirm my judgment of her exceptional personality.The second and chief reason for the appearance of this book is the wish of Anna Pavlova herself. Many and many a time in the course of her life she told me that I ought to write a book about her, as nobody knew her so well as I did. This was of course impossible while she was alive, but now it is my duty. I shall be happy beyond measure if I succeed in this book in giving an image of Pavlova full of that spiritual beauty, for which as a woman and as an artist she was so beloved. And I do not think this will be difficult, for in order to render unto her that which is justly hers, one .has only to speak the truth. VICTOR DANDRE
Broadsword and Quarter-Staff Without a Master
Broadsword and Quarter-Staff Without a Master - broadsword fencing and stick or quarter-staff play after the latest European practice is an unchanged, high-quality reprint of the original edition of 1862. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
HowExpert Guide to Belly Dancing
HowExpert Guide to Belly Dancing is for all dance lovers, especially for those in love with belly dancing. It serves as a guiding tool to learn the dance from the basic movements. This guide is divided into eight main sections that teach the different aspects of the belly dancing, starting with the basic belly dance posture and then going through the belly dance movements of the lower and upper part of the body. Each section contains several sub-sections that guide you gradually towards the next step. At the end of the book, there is a review part highlighting the key moments that you have to incorporate. Besides sharing instructions for engaging the upper and lower parts of the body, this guide also gives you insight into the basic techniques on how to move on stage and how to manage your choreography. All techniques gained from the sections will not mean a thing if you do not connect them into a graceful dance. The key point of this book is to motivate and inspire you to learn, grow, and succeed in your belly dancing journey. Although some steps are easier and can be learned faster, others require more time and practice. However, no matter what the obstacles are, challenge yourself to become better with every new step. About the ExpertAneta Dimoska is a passionate dancer and dedicated learner. Her love for dancing began in the early years of her life. Ever since then, she has nurtured this passion and developed skills in many dances. Her favorites are belly dancing and Latin dances. She has affection towards the Arabic belly dancing style, but also towards the Egyptian style. As a graduate of a sociology degree, she is in love with the Middle East culture and tradition. Her interest in this civilization expands through the years following the challenges that these societies are facing. Understanding this unique culture has made her connection with belly dancing even stronger. HowExpert publishes quick 'how to' guides on all topics from A to Z by everyday experts.
Lavender & MariposasUn Ballet Futurista
Lavender sue簽a con ser una bailarina de ballet. Trabaja muy duro para formar parte de la Compa簽穩a de Ballet de la Naci籀n Mariposa. La Compa簽穩a de Ballet de la Naci籀n Mariposa es una presentaci籀n futurista cuando los planetas son dejados a su propia energ穩a viva. Las elixitinas son personas mariposas en busca de un refugio seguro porque su planeta Elixitina se vuelve inhabitable. Han viajado por el espacio para refugiarse en la Tierra durante una revoluci籀n el穩ptica. Son personas amables, inteligentes, trabajadoras y pac穩ficas. Sinti矇ndose amenazada por estas diferentes criaturas con alas hermosas y coloridas, una avispa celosa y cruel llamada Crushel intenta invadir y destruir su nuevo hogar. Pero una valiente avispa chica encuentra una manera de advertir a la naci籀n mariposa y las defiende del ataque con la ayuda de la gente ara簽a. Se restablece la paz y el equilibrio. Todos viven en armon穩a y felices para siempre. Lavender contin繳a so簽ando despierta, y su aventura justo acaba de empezar.
The Human Touch in the art of ballet
In its purest form art cannot be explained. But some of its most powerful works relate to personal experience, and are better appreciated with a touch of insight. The artistic director of A Moving Experience brings her understanding of ballet to these critical articles which freshly illuminate the classical repertoire and underline its relevance to today's world.
Introduction to 22 Kinds of Dances
Anyone can learn to dance! This simple and logical system really works. Harold Bob Jones spent thousands of dollars and countless hours over more than six decades learning to dance in studios, clubs, organizations, college courses, and cruise ships with many different instructors, including world-champion dancers. After his experiences, he set out to find a faster, easier, more efficient, and more effective way to teach and learn how to do many different types of dances. Jones has tried out his method on hundreds of students in many countries. It was so effective, many of his students are now using the method to teach others themselves. About the Author Harold Bob Jones is a world traveler who has lived and worked in eight countries and visited 214! He has studied twelve languages and studied many kinds of dances on six continents and danced on all seven continents, including Antarctica! Jones has retired to his native Oklahoma, where he works part-time running a fitness center and will gladly teach dance to anyone who wants to learn.
Tango Calendar 2022Tango Art
Tango Calendar 2022. Tango Art. Month by month calendar with photo and art of tango poses. Description of five tango lessons, information about tango. Argentine Tango exercises. Tango main orchestras
Книга. Календа
Ежемесячный календарь 2021 года с красивыми фотографиями великолепных медицинских растений, которые можно собирать, сажать, есть, пить чай. В нем дана краткая информация, интересные факты о полезных травах, ягодах и съедобных растениях. В качестве лекарственных растений широко используют алоэ, бруснику, девясил, зверобой, календулу, клюкву, малину, мать-и-мачеху, мелиссу, мяту, облепиху, подорожник, ромашку, солодку, тысячелистник, шалфей, шиповник и многие другие. Даже некоторые дикие растения, ягоды и семена безопасны для вашего здоровья и стола. Но собирайте и ешьте их только если вы абсолютно уверены в их съедобности и полезности.Наша щедрая земля нам дарит огромн
The Compassion of JazzTheCompassion of JazzMy Incredible Life in Music & the Movement
Книга - Календа
Месячный календар на 2022 год. Красочные фотографии и картины Уругвайских художников отражающих танцоров в танго позициях. Книга кратко рассказывающая об искусстве овладения мастерством Аргентинского танго. История танца, особенности музыки, первых танцоров. Об этикете танцевальной вечеринки - Милонга. Некоторые советы по технике танца
Moving Lessons
Moving Lessons is an insightful and sophisticated look at the origins and influence of dance in American universities, focusing on Margaret H'Doubler (1889-1982), who established the first university courses and the first degree program in dance. Janice Ross shows how H'Doubler changed the way Americans thought not just about female physicality but also about higher education for women. In this second edition, Ross adds new details on H'Doubler's radical pedagogy--including her use of a skeleton as a teaching tool in the classroom--and reflections on recent developments in dance studies and education.
Salsa Chica
Once Solange began to dance salsa she did little else. She worked and she danced. Try as she may, she could not imagine a more desirable way to spend her time. She became a "Salsera" or a "Salsa Chica," a woman who rearranges her entire life to accommodate her need to dance as much as humanly possible. It was a big experiment at first. What would happen if she danced night after night? Would her body fall apart? Would she be able to function at work? Would her mom get mad? She just lost weight and toned her body without getting on a hamster torture device. She grew more comfortable in her skin, developed confidence, became friends with people from different cultures, learned about music, and fell in love with the "wrong guys," - Salsa Guys - who weren't that different from other "wrong guys" but these guys could dance. Like every other Salsa Chica she struggled with her passions, choices, and technique. In "Salsa Chica: How I Learned To Dance Salsa And Avoid Real Life," Solange recounts the journey of learning to dance salsa and how it transformed and maybe even saved her life.
Always a Dancer
This is the story of a young boy who wants to be a professional dancer. Surmounting the inevitable obstacles of parental rejection and the advice of guidance counselors, with stakes set against one starting training as late as seventeen, he ventures to New York City in hopes of dancing in West Side Story. Instead, he discovers his true love is Classical Ballet, not Broadway. In his first year with the Joffrey Ballet, he is drafted into the US Army. Changing from dance tights to M-16 rifles, he encounters one of the more remarkable periods of his young life. Miraculously avoiding assignment in Vietnam, he returns to the ballet career that then takes him to twenty-five countries on five continents. Along the way he meets and marries his favorite ballerina, Linda DeBona, and together, they dance the great classical repertoire on the world's stages, meeting and working with many of the great names in music and dance. Upon becoming a father and changing careers, he sees new opportunities. In his work as an insurance broker, he is able to give back to his former profession in the form of creating a disability insurance product for dancers: a first for the insurance industry and for the professional dance world. A new stage has been set, this time with the audience across the table. Finally, he finds his way back to dance by developing the health club industry's first adult ballet class. He is back in his element reminding one and all that he is first and Always a Dancer.
Always a Dancer
This is the story of a young boy who wants to be a professional dancer. Surmounting the inevitable obstacles of parental rejection and the advice of guidance counselors, with stakes set against one starting training as late as seventeen, he ventures to New York City in hopes of dancing in West Side Story. Instead, he discovers his true love is Classical Ballet, not Broadway. In his first year with the Joffrey Ballet, he is drafted into the US Army. Changing from dance tights to M-16 rifles, he encounters one of the more remarkable periods of his young life. Miraculously avoiding assignment in Vietnam, he returns to the ballet career that then takes him to twenty-five countries on five continents. Along the way he meets and marries his favorite ballerina, Linda DeBona, and together, they dance the great classical repertoire on the world's stages, meeting and working with many of the great names in music and dance. Upon becoming a father and changing careers, he sees new opportunities. In his work as an insurance broker, he is able to give back to his former profession in the form of creating a disability insurance product for dancers: a first for the insurance industry and for the professional dance world. A new stage has been set, this time with the audience across the table. Finally, he finds his way back to dance by developing the health club industry's first adult ballet class. He is back in his element reminding one and all that he is first and Always a Dancer.
Ballet for Dummies
Whether you want to participate in ballet or just watch it, the ballet experience can excite and inspire you. Ballet is among the most beautiful forms of expression ever devised: an exquisite mix of sight and sound, stunning, aesthetics, and awesome technique. Ballet For Dummies is for anyone who wants to enjoy all that the dance forms offers - as an onlooker who wants to get a leg up on the forms you're likely to see or as an exercise enthusiast who understands that the practice of ballet can help you gain: More strength Greater flexibility Better body alignment Confidence in movement Comfort through stress reduction Infinite grace - for life From covering the basics of classical ballet to sharing safe and sensible ways to try your hand (and toes) at moving through the actual dance steps, this expert reference shows you how to: Build your appreciation for ballet from the ground up. Choose the best practice space and equipment. Warm up to your leap into the movements. Locate musical options for each exercise. Look for certain lifts in a stage performance. Tell a story with gestures. Picture a day in the life of a professional ballet dancer. Identify best-loved classic and contemporary ballets. Speak the language of ballet. Today you can find a ballet company in almost every major city on earth. Many companies have their own ballet schools - some for training future professionals, and others for interested amateurs. As you fine-tune your classical ballet technique - or even if you just like to read about it - you'll become better equipped to fully appreciate the great choreography and many styles of the dance. Ballet For Dummies raises the curtain on a world of beauty, grace, poise, and possibility! P.S. If you think this book seems familiar, you're probably right. The Dummies team updated the cover and design to give the book a fresh feel, but the content is the same as the previous release of Ballet For Dummies (9780764525681).
Dance and Light
Dance and Light examines the interconnected relationship between movement and design, the fluid partnership that exists between the two disciplines, and the approaches that designers can take to enhance dance performances through lighting design. The book demystifies lighting for the dancer and helps designers understand how the dancer/choreographer thinks about their art form, providing insight into the choreographer's process and exploring how designers can make the most of their resources. The author shares anecdotes and ideas from an almost 50-year career as a lighting designer, along with practical examples and insights from colleagues, and stresses the importance of clear communication between designers, choreographers, and dancers. Attention is also given to the choreographer who wants to learn what light can do to help enhance their work on stage. Written in short, stand-alone chapters that allow readers to quickly navigate to areas of interest, Dance and Light is a valuable resource for lighting design classes wishing to add a section on dance lighting, as well as for choreography classes who want to better equip young artists for a significant collaborative partnership.
Historical Perspectives on Dance in Africa
Embedded within the dances of Africa are repositories of historical narratives, invaluable insights on the mindset of ancient and contemporary peoples, and revelations and budding hints of developing cultural phenomena. Such information greatly contributes to and facilitates deeper understanding of undeciphered African artifacts. It informs diverse disciplines, including African history, African studies, world history, archaeology, cultural studies, performance studies, and dance history, among other fields. Uncovering previously unknown artifacts is futile if their meaning continues to be a mystery. Historical Perspectives on Dance in Africa introduces students, scholars, and the general public to previously under-researched African dances and their meanings, and the cultural history that gave birth to them.
Dictionary of Ballet Terms
Comprehensive yet conveniently sized for pocket or purse, A Dictionary of Ballet Terms will be a welcome companion at performances--whether in the orchestra or up in "seventh heaven"--and in every other situation involving the exquisite art of ballet. "The clearest, simplest, and least pretentious guide to classic dance vocabulary that has ever been produced."--Clive Barnes
Tap Dancing at a Glance
You can learn tap dancing easily! This fantastic book's thirty-nine lessons will guide you to mastering the steps you've seen on stage. Each lesson is illustrated through the use of posed photographs and includes rhythm notation to aid your practice. Will the help of these lessons and some determined practice you'll be tap dancing within a month or two. Originally published in 1930, we are republishing this vintage guide now in an affordable, modern, high-quality edition complete with its original artwork and text.
Kathak
The book thoroughly examines the influence of Bharat Muni's Natyashastra, an ancient treatize of dramatic arts, on present-day KathakIt explores time and rhythm in Kathak in detail with examplesThe author is a professional Kathak dancer and has been studying and performing Kathak for the past 46 years. She brings her experience about the practical aspects of Kathak in this bookThe reader will be able to see how different aspects of Kathak are fused together to create a performanceKathak: The Dance of Storytellers explores the philosophical and practical aspects of Kathak dance - its origin, development, and techniques. Investigating this compelling dance style from cultural and historical perspectives, the book delves into the essential principles of Kathak, its schools and major artists, the format of Kathak performance, repertoire, Kathak music, predominant trends in training, and the system of practice through the lens of theory and application. A rare resource, the text is a comprehensive read for dancers, teachers, and Kathak lovers.Due to the increase of Kathak performances along with dance classes in the west, Kathak practitioners living outside India will immensely benefit from this book.
Diaghilev’s Ballets Russes
In the history of twentieth-century ballet, no company has had so profound and far-reaching an influence as the Ballets Russes. Under the direction of impresario extraordinaire Serge Diaghilev (1872-1929), the Ballets Russes radically transformed the nature of ballet--its subject matter, movement idiom, choreographic style, stage space, music, scenic design, costume, even the dancer's physical appearance. From 1909 to 1929, it nurtured some of the greatest choreographers in dance history--Fokine, Nijinsky, Massine, and Balanchine--and created such classics as Les Sylphides, Firebird, Petrouchka, L'Apr癡s-midi d'un Faune, Les Noces, and Apollo. Diaghilev brought together some of the leading artists of his time, including composers Stravinsky, Debussy, and Prokofiev; artists Picasso, Braque, and Matisse, and poets Hoffmansthal and Cocteau. Diaghilev's Ballets Russes is the most authoritative history of the company ever written and the first to examine it as a totality--its art, enterprise, and audience. Combining social and cultural history with illuminating discussions of dance, drama, music, art, economics, and public reception, Lynn Garafola paints an extraordinary portrait of the company that shaped ballet into what it is today.
Merce Cunningham
On the occasion of Merce Cunningham's centennial comes this handsome new edition of his classic and long-out-of-print artist's book Changes: Notes on Choreography, first published in 1968 by Dick Higgins' Something Else Press. The book presents a revealing exposition of Cunningham's compositional process by way of his working notebooks, containing in-progress notations of individual dances with extensive speculations about the choreographic and artistic problems he was facing. Illustrated with over 170 photographs and printed in color and black and white, the book was described by its original publisher as "the most comprehensive book on choreography to emerge from the new dance ... [which] will come to stand with Eisenstein's and Stanislavsky's classics on the artistic process." By the time these notebooks were published, Cunningham had already led the Merce Cunningham Dance Company for 15 years, and had collaborated with Cage and others on milestones such as Variations V (1966) and RainForest (1968), the latter with Andy Warhol, David Tudor and Jasper Johns. Along with his essay collection Dancing in Space and Time (1978), Changes is one of the most significant publications on Cunningham's enduring contributions to dance, which developed through collaboration with John Cage to incorporate formal innovation with regard to chance, silence and stillness.
Broadway, Balanchine, and Beyond
In this memoir of a roller-coaster career on the New York stage, former actor and dancer Bettijane Sills offers a highly personal look at the art and practice of George Balanchine, one of ballet's greatest choreographers, and the inner workings of his world-renowned company during its golden years. Sills recounts her years as a child actor in television and on Broadway, a career choice largely driven by her mother, and describes her transition into pursuing her true passion: dance. She was a student in Balanchine's School of American Ballet throughout her childhood and teen years, until her dream was achieved. She was invited to join New York City Ballet in 1961 as a member of the corps de ballet and worked her way up to the level of soloist. Winningly honest and intimate, Sills lets readers peek behind the curtains to see a world that most people have never experienced firsthand. She tells stories of taking classes with Balanchine, dancing in the original casts of some of his most iconic productions, working with a number of the company's most famous dancers, and participating in the company's first Soviet Union tour during the Cold War and Cuban Missile Crisis. She walks us through her years in New York City Ballet first as a member of the corps de ballet, then a soloist dancing some principal roles, finally as one of the "older" dancers teaching her roles to newcomers while being encouraged to retire. She reveals the unglamorous parts of tour life, jealousy among company members, and Balanchine's complex relationships with women. She talks about Balanchine's insistence on thinness in his dancers and her own struggles with dieting. Her fluctuations in weight influenced her roles and Balanchine's support for her--a cycle that contributed to the end of her dancing career. Now a professor of dance who has educated hundreds of students on Balanchine's style and legacy, Sills reflects on the highs and lows of a career indelibly influenced by fear of failure and fear of success--by the bright lights of theater and the man who shaped American ballet.
I Understand Everything Better
An expansive documentation of David Neumann/Advanced Beginner Group's 2015 "deeply felt and deeply moving" (New York Times) performance piece, a multi-disciplinary, dance-based work that explored the impulse to report on calamity, the shimmer of attention to realms unseen, and the evidence of the body as possessing a will to let go of living. Includes 30 color pages and 40 B&W images.
Ballet
Uncover the most mesmerizing moments in ballet history with this scintillating visual guide. Written with ballet legend Viviana Durante, this book will introduce you to the most famous performers and enthrall you with fascinating stories. Discover more than 70 celebrated dances, from The Nutcracker and Swan Lake to The Rite of Spring. Learn about renowned companies such as The Royal Ballet and the Bolshoi Ballet. Explore the lives of ballet dancers across the centuries, such as Margot Fonteyn, Carlos Acosta, and Darcey Bussell, and meet composers and choreographers, including the likes of Pyotr Ilyich Tchaikovsky and Matthew Bourne. Tracing the history of ballet all the way from its origins at court and the first institutes to the contemporary scene, this comprehensive yet accessible volume offers an unrivaled overview of this dance form. Rarely seen photographs covering key figures, pieces, and performances, alongside compelling facts about each dance - the sources they draw from, their production history, and their reception over time - make for a sumptuous visual treat and an essential gift for all dance and ballet enthusiasts.
Applied Anatomy of Aerial Arts
An illustrated guide to anatomy and biomechanics for aerialists who want to optimize their performance and train safely Specifically designed for aerialists--including those who do trapeze, silks, and other aerial arts-- Applied Anatomy of Aerial Arts is an invaluable resource for those who want to optimize their performance and train safely. Using a biomechanical and movement-based approach, Emily Scherb--a physical therapist who specializes in the care, treatment, and education of circus performers--explains the anatomical rationale for progressions of learning and demonstrates simple movements to achieve the coordination, muscular control, strength, and fitness to hang with correct form, how to progress from hanging into a pull up, an inversion, and beyond with a strong center, precise muscle sequencing, and ease of movement. Aerialists will learn how bones, joints, muscles, and soft tissues allow for specific movements and gain an appreciation for concepts of proximal stability. This full-color illustrated guide lays a solid foundation for beginners and advanced students with a wealth of insights into their own performance as well as refreshers on fundamentals in warm ups and conditioning. It explains how to structure a training session, how to care for injuries, and best practices for basic self first aid.
The Pas de Deux
Dance.That was their instruction.But fate tripped them up, and they fell in love.Under the fluorescent sun of '80s Hollywood, aging ballerina Peridot "Peri" Jones and her new partner, seventeen-year-old Mark Maroulis, Jr., ignite a chemistry onstage that brings a dying ballet company back to life.Although wary of their age difference, they begin a highly charged love affair offstage. They keep the romance a secret because artistic director Mr. D considers Peri to be his. When Mr. D discovers their relationship, he wrenches Mark and Peri far apart. Will they be able to dance themselves back together?Lyrical and poignant, the story unfolds through the structure of a classical ballet grand pas de deux. Trigger Warning: The Pas de Deux alludes to a nonconsensual, predatory relationship between Mr. D and Peri.
Cook Up A Dance
This book is intended for teachers of dance improvisation. The authors share their method for using the history of music and visual arts to provide a wider context for the art of dance, and to explore themes that may be incorporated into dance improvisation. The book is organized as a cookbook. After an introduction explaining the premise, seven 'recipes' are included, linking compatible musical and visual artists to introduce themes that will inspire ideas about movement. Students will learn about artists as varied as Debussy, Duke Ellington, Monet and Georgia O'Keeffe, and will use what they learn to create movement together.
What the Eye Hears
The first authoritative history of tap dancing, one of the great art forms--along with jazz and musical comedy--created in AmericaWhat the Eye Hears offers an authoritative account of the great American art of tap dancing. Brian Seibert, a dance critic for The New York Times, begins by exploring tap's origins as a hybrid of the jig and clog dancing and dances brought from Africa by slaves. He tracks tap's transfer to the stage through blackface minstrelsy and charts its growth as a cousin to jazz in the vaudeville circuits. Seibert chronicles tap's spread to ubiquity on Broadway and in Hollywood, analyzes its decline after World War II, and celebrates its rediscovery and reinvention by new generations of American and international performers. In the process, we discover how the history of tap dancing is central to any meaningful account of American popular culture. This is a story with a huge cast of characters, from Master Juba through Bill Robinson and Shirley Temple, Fred Astaire and Ginger Rogers, and Gene Kelly and Paul Draper to Gregory Hines and Savion Glover. Seibert traces the stylistic development of tap through individual practitioners and illuminates the cultural exchange between blacks and whites, the interplay of imitation and theft, as well as the moving story of African Americans in show business, wielding enormous influence as they grapple with the pain and pride of a complicated legacy. What the Eye Hears teaches us to see and hear the entire history of tap in its every step.
The Art of Movement
A stunning celebration of movement and dance in hundreds of breathtaking photographs by the creative team behind NYC Dance Project. The Art of Movement is an exquisite collection of photographs by well-known dance photographers Ken Browar and Deborah Ory that capture the movement, flow, energy, and grace of many of the most accomplished dancers in the world. Featured are more than 70 dancers from companies including American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theater, Martha Graham Dance Company, Boston Ballet, Royal Danish Ballet, The Royal Ballet, Abraham in Motion, and many more. 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.
Moving Liturgy
What does it mean to be a visual aid in worship? Moving Liturgy: Dance in Christian Worship provides readers with powerful ideas to bring prayers, parables, hymns, and scripture passages to life in the most direct way--storytelling in dance and movement through the body--the best visual aid! This book offers practical and artistic information for anyone interested in learning about, or re-affirming, the use of dance and movement in worship. Jane Wellford has worked extensively in the arts of liturgical dance and drama in collaboration with clergy, musicians, conductors, visual artists, dancers, and entire congregations. Successful ideas for worship, as well as creative possibilities, are all included in this book. I believe that worship should be made multi-sensory, exciting, and as connected to real life experiences as possible. The more senses that are involved in worship, the more likely the message will be received. When we hear the word of God shared through words or music, see it come to life through dance, drama, or other visual arts, experience it through speaking the prayers, confessions, or creeds, and sing it through hymns or chants, we are more actively engaged in the experience of worship.
Staging Ghana
The Ghana Dance Ensemble takes Ghana's national culture and interprets it in performance using authentic dance forms adapted for local or foreign audiences. Often, says Paul Schauert, the aims of the ensemble and the aims of the individual performers work in opposition. Schauert discusses the history of the dance troupe and its role in Ghana's post-independence nation-building strategy and illustrates how the nation's culture makes its way onto the stage. He argues that as dancers negotiate the terrain of what is or is not authentic, they also find ways to express their personal aspirations, discovering, within the framework of nationalism or collective identity, that there is considerable room to reform national ideals through individual virtuosity.
Attending to Movement
This edited collection draws on the conference, Attending to Movement: Somatic Perspectives on Living in this World, run at C-DaRE, the Centre for Dance Research, Coventry University, 12 - 14 July, 2013. Somatic practitioners, dance artists and scholars from a wide range of subject domains cross discipline borders and investigate the approaches that embodied thinking and action can offer to philosophical and socio-cultural inquiry. The book celebrates and builds upon the work of visionary dance artist, teacher and scholar Gill Clarke (1954 -2011), who championed the value of somatic approaches within and beyond dance education and creative practice. This collection of papers covers the themes of: Somatics in the wider social context Pedagogy/Education Intercultural Dialogues Lived lineages Interplay of practice and writing Partial Contents As my attention is wandering: A score for somatic enquiry - Carolyn Roy Not Without My Body: The Struggle of Dancers and Choreographers in the Middle East - Nadra Assaf Disorganising Principles: Corporeal Fragmentation and the Possibilities for Repair - Jennifer Roche Attending to ethics and aesthetics in dance - Fiona Bannon & Duncan Holt At dusk, the collaborative spills and cycles of L219 - Cath Cullinane, Natalie Garrett Brown, Christian Kipp & Amy Voris The Art of Making Choices: The Feldenkrais Method as a soma-critique - Thomas Kampe Motion Capture and The Dancer: Visuality, Temporality and the Dancing Image - Sarah Whatley The fool's journey and poisonous mushrooms - Adam Benjamin 'The daily round the common task': Embodied Practice and the Dance of the Everyday - Hilary Kneale Re-sourcing the body: embodied presence and self-care in working with others - Penny Collinson Thinking, Reflecting and Contemplating With the Body - Lalitaraja (Joachim Chandler) Mythbusting: Using the Alexander Technique to free yourself from detrimental misconceptions in the performing arts - Jennifer Mackerras & Jane Toms A Moving and Touching Career in Dance and Chiropractic - Duncan Holt Attending to movement: the need to make dance that was different to that which went before - Sara Reed Towards a constructive interaction between somatic education and introspective verbalization - Nicole Harbonnier-Topin & Helen Simard Choreographic Mobilities: Embodied Migratory Acts Across the US-Mexico Border - Juan Manuel Aldape Munoz Readership Designed as a guide and stimulus for: teachers, students and practitioners of dance and somatic practices researchers and academics in these fields.
