The Ballet Called Swan Lake
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Baron at the Ballet
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Invitation to the Ballet
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Music and the Dance
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Invitation to Ballet
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Dancing
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The Folk Dance Library; 5
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Baron's Ballet Finale
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Fonteyn, a Study of the Ballerina in Her Setting
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A History of Russian Ballet From Its Origins to the Present Day
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A Day With Alicia Markova
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Dances of Rumania
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Dances of Bulgaria
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Enrico Cecchetti; a Memoir
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Ballet Technique; a Series of Practical Essays
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Ballet Design
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Dancers of Bali
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Looking at the Dance
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Ballet--to Poland
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The Dance and Its Place in Education
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Dancing
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A Short History of Ballet
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The Folk Dance Library; 1
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The Folk Dance Library; 2
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Group Instruction in Social Dancing
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Dancing for Diaghilev; the Memoirs of Lydia Sokolova
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Dance Memoranda
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Regional Dances of Mexico
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What's Wrong With the Dance?
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The Country Dance Book; pt. 1
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Vaslav Nijinsky
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Dances of Argentina
The gaucho - 'a beggar on horseback' whose dance music was the strumming of a guitar and the jingling of his spurs - was the civiliser of the pampa. His presence, more than anything else, led to the creation of the essentially Argentine folk dance; for while the folk culture of the northern provinces is shared with Chile, Peru and Bolivia, the dances of the plains, the Chacareras and Escondidos, are Argentina's own exclusive property. And they bear still the hall-marks of the gaucho, that remarkable mixture of Spanish courtesy, gravity and elegance combined with the sinewy toughness of the Indian.Mr. Lloyd, who was a member of the Editorial Board of the English Folk Dance and Song Society, and of the International Folk Music Council, roamed Argentina from the River Plate to the Bolivian frontier. And wherever he went he delved into folklore, particularly in the provinces of Salta and Jujuy. Music and step notations for two dances from these areas, which are rich in dance and song, are given in this book, together with two from the gaucho plains. In addition, there are four colour plates showing the traditional costumes worn.
Dances of Scotland
The enthusiasm with which Scottish gatherings all over the world welcome the strains of a Reel tune or a stately Strathspey is no less marked today than it was in the eighteenth century, when an English visitor to an Edinburgh ballroom noted, 'The moment one of these tunes is played, up they start, and you would imagine they had been bit by a tarantula.' Some of the dwindling antique treasure of music and dance is now being recovered, including such dances as the weird 'Carlin of the Mill Dust' and the fascinating 'Hebridean Weaving Lilt' from the Isles. More commonly known are the highland step-dances and the country dances; step-notation and music for four of these are provided in this book. Also included is a bibliography for further study, and four colour-plates showing authentic costumes.Miss Milligan, one of the founders of the Scottish Country Dance Society, played a leading part in the preservation and teaching of Scottish dances. Mr. MacLennan, renowned as an expert of Highland dancing, made a lifelong study of Scottish dances, bringing to light many not hitherto generally known.
The Feldenkrais Method in Creative Practice
Bringing together scholars and researchers in one volume, this study investigates how the thinking of the Ukrainian-Israeli somatic educationalist Moshe Feldenkrais (1904-84) can benefit and reflect upon the creative practices of dance, music and theatre. Since its inception, the Feldenkrais Method has been associated with artistic practice, growing contiguously with performance, cognitive and embodied practices in dance, music, and theatre studies. It promotes awareness of fine motor action for improved levels of action and skill, as well as healing for those who are injured. For creative artists, the Feldenkrais Method enables them to refine and improve their work. This book offers historical, scientific and practical perspectives that develop thinking at the heart of the Method and is divided into three sections: Historical Perspectives on Creative Practice, From Science into Creative Practice and Studies in Creative Practice. All the essays provide insights into self-improvement, training, avoiding injury, history and philosophy of artistic practice, links between scientific and artistic thinking and practical thinking, as well as offering some exercises for students and artistic practitioners looking to improve their understanding of their practice. Ultimately, this book offers a rich development of the legacy and the ongoing relevance of the Feldenkrais Method. We are shown how it is not just a way of thinking about somatic health, embodiment and awareness, but a vital enactivist epistemology for contemporary artistic thought and practice.
Dances of Rumania
The charm of the folk dances of Rumania derives, to a large extent, from many strange and ancient peasant customs, including shades of 'bacchic frenzy', and the still practised initiation ordeals connected with the ritual Calusari dance. Superstition and magic are evidence of the supposed presence of fairies in this amazing dancing rite; and there seems to have been a curious custom in which a group of young men sold themselves to the devil and started out from their native village, literally dancing their way through the country.The four typical dances chosen for presentation in detail, complete with music and step-notation, are the nation-wide Hora, the gay Invartita, the energetic and popular Sarba, and the dignified Banul Maracine. Their traditional tunes appear here in admirable piano arrangements by Arnold Foster, and four delightful colour plates show authentic peasant costumes.Miron Grindea, editor of the literary monthly Adam published in London in the English and French languages, was also known as a music critic and broadcaster, and as the founder of the International Arts Guild. Carola Grindea, a pupil of Constanta Erbiceanu and Tobias Matthay, gave many piano recitals of Balkan music.
In Search of Legitimacy
Every year, countless young adults from affluent, Western nations travel to Brazil to train in capoeira, the dance/martial art form that is one of the most visible strands of the Afro-Brazilian cultural tradition. In Search of Legitimacy explores why "first world" men and women leave behind their jobs, families, and friends to pursue a strenuous training regimen in a historically disparaged and marginalized practice. Using the concept of apprenticeship pilgrimage-studying with a local master at a historical point of origin-the author examines how non-Brazilian capoeiristas learn their art and claim legitimacy while navigating the complexities of wealth disparity, racial discrimination, and cultural appropriation.
The Designs of Leon Bakst for The Sleeping Princess
When Serge Diaghilev decided to produce for his 1921London season a revival of Petipa's 'Sleeping Beauty', heturned to the great Russian designer L矇on Bakst to providethe scenery and costumes. In the incredibly short time ofjust six weeks Bakst produced several hundred costumedesigns and scenery for all four acts. To avoid confusionwith English pantomimes, Diaghilev changed the name ofthe ballet to 'The Sleeping Princess'.Although the production was a financial failure it was agreat artistic success, due in a large part to Bakst's designs, and this success led to the production of this book, firstpublished in 1923 in a limited edition of one thousandcopies, and never before reprinted with the illustrationsin full colour. The original editors chose to reproduce 54of Bakst's designs, mainly of costumes for the principalcharacters but including five set designs, all of which areincluded here.
Kinaesthesia and Visual Self-Reflection in Contemporary Dance
Kinaesthesia and Visual Self-reflection in Contemporary Dance features interviews with UK-based professional-level contemporary, ballet, hip hop, and breaking dancers and cross-disciplinary explication of kinaesthesia and visual self-reflection discourses. Expanding on the concept of a 'kinaesthetic mode of attention' leads to discussion of some of the key values and practices which nurture and develop this mode in contemporary dance. Zooming in on entanglements with video self-images in dance practice provides further insights regarding kinaesthesia's historicised polarisation with the visual. It thus provides opportunities to dwell on and reconsider reflections, opening up to a set of playful yet disruptive diffractions inherent in the process of becoming a contemporary dancer, particularly amongst an increasingly complex landscape of visual and theoretical technologies.
Russian Ballet in Caricatures
In the early years of the twentieth century, two dancers at the Mariinsky Theatre in St. Petersburgh, the brothers Nikolai and Sergei Legat, produced a series of (mostly) affectionate caricatures of their fellow artists. The caricatures were initially printed individually, but later collected in folders containing varied numbers of the prints, the maximum number recorded being 94.All 94 of these prints, taken from a rare surviving complete set, are reproduced here in full colour. They include some of the great names of the day, including Cecchetti, Drigo, Gerdt, Ivanov, Karsavina, Kyasht, the Legat brothers themselves, Pavlova, Petipa, Trefilova, and many others, forming a fascinating glimpse of life at the Mariinsky at that time.
Teaching the Beauty of a Tap Melody
"Teaching the Beauty of a Tap Melody" is meant to be helpful for teaching tap dance on every level. There are reflections on every aspect concerning tap classes, as well as practical instructions, exercises and several short choreographies.
Ubuntu as Dance Pedagogy in Uganda
This book locates the philosophy of Ubuntu as the undergirding framework for indigenous dance pedagogies in local communities in Uganda. Through critical examination of the reflections and practices of selected local dance teachers, the volume reveals how issues of inclusion, belonging, and agency are negotiated through a creatively complex interplay between individuality and communality. The analysis frames pedagogies as sites where reflective thought and kinaesthetic practice converge to facilitate ever-evolving individual imagination and community innovations.
Error, Ambiguity, and Creativity
Draws together essays on arts, humanities, engineering, and medicine to comment upon the creative potential of error and ambiguityFeatures scholars and practitioners from a broad range of disciplinesExplores the idea that mistakes are a fundamental route to new knowledge
The Golden Age - Ballet in Soviet Russia 1917-1991
However difficult the Soviet era was for the peoples of Russia, its seventy-four years represented a true golden age for classical ballet. It was characterised by a wholescale repurposing of the art form from being the 'golden rattle' of the tsars to the most potent cultural weapon in the Communist regime's armoury in its struggles with the West. The Golden Age presents a detailed overview of the development of ballet in Soviet Russia, from its fight for survival in the early years after the 1917 revolutions through the political demands of Stalin's rule, the shock of armed conflict with Germany and the onset of the Cold War. As the century progressed, Soviet ballet was not immune to outside influences hastened by the onset of cultural visits and exchanges; it also suffered the defection of dancers and ultimately opened up further with perestroika in the 1980s and the fall of Communist rule in 1991. Gerald Dowler sets the complex, shifting world of Russian ballet in its political and social contexts and explores the contributions of major choreographers, dancers and teachers in creating the phenomenon of what is celebrated around the world as 'Russian ballet'. Their achievements in creating the Soviet Golden Age were truly remarkable. Gerald Dowler has written about dance for over twenty years for Dancing Times, the Financial Times, Ballet 2000, Ballet Review and numerous specialist websites, and has worked extensively with the Voices of British Ballet oral archive. He read Modern History and Modern Languages at the University of Oxford. He taught for many years at the City of London School and sits as a presiding Justice of the Peace. He was the editor of Clement Crisp Reviews (2021). He lives and works in London.
Moving Through Conflict
Moving through Conflict: Dance and Politics in Israel is a pioneering project in examining the Israeli-Palestinian conflict through dance. It proposes a research framework for study of the social, cultural, aesthetic and political dynamics between Jews and Arabs as reflected in dance from late 19th-century Palestine to present-day Israel. Drawing on multiple disciplines, this book examines a variety of social and theatrical venues (communities, dance groups, evening classes and staged performances), dance genres (folk dancing, social dancing and theatrical dancing) and different cultural identities (Israeli, Palestinian and American). Underlying this work is a fundamental question: can the body and dance operate as nonverbal autonomous agents to mediate change in conflicting settings, transforming the "foreign" into the "familiar"? Or are they bound to their culturally dependent significance - and thus nothing more than additional sites of an embodied politics? This anthology expounds on various studies on dance, historical periods, points of view and points of contact that help promote thinking about this fundamental issue. It will be of great interest to students and scholars of dance studies, sociology, anthropology, art history, education and cultural studies, as well as conflict and resolution studies.
The Routledge Companion to Dance Studies
The Routledge Companion to Dance Studies maps out the key features of dance studies as the field stands today, while pointing to potential future developments.It locates these features both historically-within dance in particular social and cultural contexts-and in relation to other academic influences that have impinged on dance studies as a discipline. The editors use a thematically based approach that emphasizes that dance scholarship does not stand alone as a single entity, but is inevitably linked to other related fields, debates, and concerns. Authors from across continents have contributed chapters based on theoretical, methodological, ethnographic, and practice-based case studies, bringing together a wealth of expertise and insight to offer a study that is in-depth and wide-ranging. Ideal for scholars and upper-level students of dance and performance studies, The Routledge Companion to Dance Studies challenges the reader to expand their knowledge of this vibrant, exciting interdisciplinary field.
Pina Bausch’s Aggressive Tenderness
Pina Bausch's Aggressive Tenderness: Repurposing Theater through Dance maps Bausch's pieces alongside methodologies of key theater and film practitioners.This book includes discussion of a variety of Bausch pieces, including Sacre du Printemps (Rite of Spring 1975), Kontakthof (Meeting Place 1978), Caf矇 M羹ller (Caf矇 Mueller 1978), Nelken (Carnations 1982), Arien (Arias 1985), and Vollmond (Full Moon 2006). Beginning with her approach as one avenue of dance dramaturgy, the author connects the content expressed in these pieces with theoretical conversations, works from other artists inspired by Bausch, and her own experiences, providing an examination that is both academic and personally insightful. Arendell reads all of these theatrical and film approaches into Bausch's work to highlight how the time frame involves a cross-pollination between Bausch and the other artists that looks both backward and forward in its influences.Ideal for students of dance and theater, Pina Bausch's Aggressive Tenderness shows how Bausch's Tanztheater speaks a kinaesthetic language, one that Arendell translates into a somaesthetic exploration to pair a repurposed body ethic with movements that present new forms of embodiment.
Moving Relation
Moving Relation explores the notion of touch in the realm of contemporary dance.By closely analyzing performances by well-known European and American choreographers such as Meg Stuart, William Forsythe, Xavier Le Roy, Jared Gradinger and Angela Schubot, this book investigates their usage of touch on the level of movement, experience and affect. Building on the proposition that touch is more than the moment of bodily contact, the author demonstrates the concept of touch as an interplay of movements and multiple relations of proximity. Egert employs both depth, using close descriptions and analyses of dance performances with theoretical investigations of touch, with breadth, working across the fields of performance and dance studies, philosophy and cultural theory.Suitable for scholars and practitioners in the fields of dance and performance studies, Moving Relation uses a process-oriented notion of touch to reevaluate key concepts such as the body, rhythm, emotional expression, subjectivity and audience perception.
Essays on Classical Indian Dance
The book is a wide-ranging collection of essays on Indian classical dance, which include writings on dance appreciation, the criticism, theory and philosophy of dance, as well as some historical and light controversial articles. Also included is a seminal and unique monograph on the contribution of Sanjukta Panigrahi to the development of Odissi. The book approaches the subject from an internationalist point of view and opens up new possibilities for the appreciation of Indian dance in the context of a global intercultural critique. In addition, it is beautifully illustrated with a number of photographs captured by Arun Kumar. It will enrich and provide new ways of understanding for classical Indian dance, both for the dance community and for the general reader.
