The Folk Dance Library; 3
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Baron at the Ballet
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A Picture History of Ballet
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Fonteyn, Impressions of a Ballerina
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Invitation to the Ballet
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The Art of Dancing
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Dances of Mexico
Mexico's heritage of folk dance is rich in music and costume. Centuries ago the people were encouraged by the friars to dramatise religious teaching by dancing to the beat of drums and the rattle of gourds. Today their folk music has developed from primitive percussion to a blend of Spanish and native cultures. It may be strummed on an instrument made from the shell of an armadillo or played on the more orthodox guitar, but whatever the instrument it is the rhythms that more than all else characterise the people's dancing. They are like no others in the world.Born near Pachuca, a mountain town in the high Mexican plateau, Guillermina Dickins passed her childhood in the half-feudal world of the great haciendas. Later she journeyed to the remotest corners of her country, studying the infinite variety of its dance, its music and its tradition.She gives here three of the most colourful and famous dances of all. Complete with music and step notations and four colour plates, by the Mexican artist Mireya Iturbe, the book is a fascinating introduction to this land of grace and gaiety.
Igor Youskevitch
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Classical Ballet, Its Style and Technique
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Invitation to the Ballet
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Three Centuries of Ballet
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Dances and Musical Activities for Juniors
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The Ballet Called Swan Lake
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A History of Russian Ballet From Its Origins to the Present Day
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Invitation to Ballet
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Music and the Dance
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The Dance and Its Place in Education
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Ballet Design
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Ballet Technique; a Series of Practical Essays
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Ballet--to Poland
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Dances of Bulgaria
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Dances of Rumania
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A Day With Alicia Markova
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Enrico Cecchetti; a Memoir
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A Short History of Ballet
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The Folk Dance Library; 5
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Dancing
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Looking at the Dance
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Fonteyn, a Study of the Ballerina in Her Setting
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Dancing
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Dancers of Bali
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Baron's Ballet Finale
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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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The Folk Dance Library; 1
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The Country Dance Book; pt. 1
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What's Wrong With the Dance?
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Regional Dances of Mexico
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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.
Vaslav Nijinsky
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Dance Memoranda
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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.
