Wise Words Charli XCX
Channel your inner brat through Charli XCX's own words of wisdom From playing at raves in London with her parents at fifteen to the global phenomenon of Brat, Charli XCX has always carved out her own space in the pop world. In this book you'll find Charli's unique philosophy for life, in her very own words. Featuring her advice on everything from making art to partying, and from finding confidence to growing up, discover Charli at her funniest, bravest, most vulnerable and most outrageous. So grab a white tank top and a Bic lighter, and let's ride!
The Routledge Companion to Contemporary European Theatre and Performance
The Physically Disabled Dancer and the Affirmative Model of Disability
This volume investigates the contributions and achievements of the physically disabled dancer while at the same time challenging and recognizing the inherent inequities in the field of integrated dance in the UK which currently places greater emphasis on the learning-disabled performer.This is the first book ever written by a physically disabled dancer on the subject of physically disabled dancers. Inherent in this examination is the model of examining disability that is most closely associated with the disability arts movement which is the 'affirmative model of disability'. This model is defined as an approach to disability in which the disabled person is neither an object of medical care nor a victim of social indifference but a self-respecting, autonomous individual in which their disability is a positive and affirming aspect of their self-identity. The book, based on interviews with physically disabled dancers, choreographers, academics and arts producers all in a UK context, combines a wide range of perspective of disability dance together with the intellectual rigor of disability studies to produce a new definition of the physically disabled dancer as an affirming, positive, indispensable practitioner of contemporary performance art. The volume pioneers perspectives of the physically disabled dancer prioritizing first person accounts from the performers themselves to produce an unprecedented contribution to the study of disability arts from a uniquely British perspective.This book will offer educators as well as arts and cultural professionals a critical resource for facilitating work by and in alliance with practitioners of integrated dance.
Dancing in Utopia
In 1925 Dorothy and Leonard Elmhirst bought the Dartington Hall Estate, planning for a community where arts and education would underpin a fulfilling life. There was an emphasis on the art of dance, with artists from Europe, America and Asia gracing its studios and gardens. This is the story of utopian dance at Dartington in its centenary year.
Behind the Red Velvet Curtain
In 2012 Joy Womack made history when she became the first American ballerina to sign a contract with the Bolshoi Ballet Theater in Moscow, Russia.Dancing in Moscow was not the Onion Dome fairy tale she'd hoped for. The Bolshoi and its school were filled with cutthroat competition, acts of violence, and coaches who encouraged obsessive devotion. They sent her on stage with broken bones, helped her forge immigration paperwork, and encouraged her to toe a dangerous political line - all for the privilege of dancing on one of the world's most storied stages. As Joy's career took off and she made a name for herself in the Russian ballet world, she had to face a hard choice. Were the growing dangers of a professional lifestyle descending into corruption worth the realization of her life's dream?
Butoh and Suzuki Performance in Australia
In Butoh and Suzuki Performance in Australia: Bent Legs on Strange Grounds, 1982-2023, Marshall considers how the originally Japanese forms of butoh dance and Suzuki's theatre reconfigure historical lineages to find ancient yet transcultural ancestors within Australia and beyond. Marshall argues that artists working in Australia with butoh and Suzuki techniques develop conflicted yet compelling diasporic, multicultural, spiritually and corporeally compelling interpretations of theatrical practice. Marshall puts at the centre of butoh historiography the work of Tess de Quincey, Yumi Umiumare, Tony Yap, Lynne Bradley, Simon Woods, Frances Barbe, and Australian Suzuki practitioners Jacqui Carroll and John Nobbs. Jonathan W. Marshall's Bent Legs on Strange Grounds is an important contribution to the body of literature on butoh, as well as to studies of dance in Australia that will be valuable to practitioners and scholars alike. Detailed discussions of Australian butoh artists open up consideration of how global and local histories, migrations, and landscapes not only were key to butoh's formation in Japan, but also to its continued development around the world. Attention to butoh's emplacement in Australia, Marshall convincingly argues, reveals insights about national identity, race, power, and more that are relevant well beyond the Australian performance context. -- Rosemary Candelario, Texas Woman's University, co-editor, Routledge Companion to Butoh Performance (2018) Marshall's Bent Legs on Strange Grounds explores the remarkable transformative era of Australia's reconsideration of its place in the region. A definitive study of Australian experiments in butoh and the theatrical vision of Suzuki Tadashi, the book shows how new corporeal and spatial dramaturgies of the Japanese avant-garde fundamentally changed Australian performance. Expansively researched and annotated, this impressive study connects Australian performance after the New Wave with globalization, postmodern dance, Indigeneity, and subcultures, and it details the work of leading Australian/Asian artists. Bent Legs on Strange Grounds speaks about the development of embodied knowledge and the consequential refiguration of Australia's sense of being in the world. It is also a study of butoh and Suzuki's legacy in global terms, wherein Australian experimental performance also becomes something larger than itself. -- Peter Eckersall, The Graduate Center, CUNY, author of Performativity and Event in 1960s Japan (2013).
Kathakali
Authored by a leading exponent of the form, this book provides a clear guide to Kathakali, exploring its origin, evolution, and characteristics and the ways it has adapted for a 21st-century audience. Kathakaliis an introduction to this vibrant mode of dance drama, which comes from Kerala in southwest India and combines poetry, music, rhythm, and dance to represent stories of gods, demons, and humans. Originating in the latter part of the 16th century, today Kathakali commands attention and involves practitioners from around the world. Largely drawing its stories from the Ramayana and the Mahabharata, it integrates music, dance, grand makeup, and costume to evoke the epic universe. This book illuminates how Kathakali combines associated literary texts, performative conventions, and practices from local and pan-Indian contexts. The actors use their whole body-deploying complex dance movements, interpretive gestures, and highly developed facial expressions-as a site to depict, elaborate, and interpret action. Encapsulating the world of Kathakali, its performative grammar, and the aesthetic theories that underpin it, this book examines its history as one of continual change.The book traces the distinctive features of Kathakali, which is sometimes tightly structured with fixed conventions, and sometimes fluid enough to incorporate imaginative flights of fancy. It assesses Kathakali's cultural legacy and charts how the form has changed over the centuries. It also includes translations of extracts from poems, plays, and performance manuals, as well as interviews with actors and cultural historians.
Text as Dance
This book offers a groundbreaking investigation into issues of gender, power and the representation of sovereignty in French Baroque court ballet - and in today's performances that recall them. Mark Franko uses powerful interpretive tools derived from historiography and critical theory, especially the work of German-Jewish philosopher Walter Benjamin, to offer the reader both a historical and a theoretical interpretation of this genre of dance in France (c. 1615-1654), as well as its aftermath and legacy today. Through doing so, he reaches conclusions about how sovereignty and power were both perceived by viewers at the time and how they were represented through dance, given that it was the noble class who devised and performed court ballets. He enquires into the role of choreography and theatricality as potentially critical forces operating at the heart of sovereignty. Franko places the work of Louis Marin on power, representation and movement in French Baroque painting and performance in juxtaposition to that of Benjamin on theater. Other historians whose work is prominent in this study are Ernst Kantorowicz, Michel Foucault and Jos矇 Antonio Maravall. With wide breadth in the work of historians, philosophers, political scientists, critical theorists, musicologists and dance historians, this is the culmination of a career's-worth of scholarship and research in the field.
The Joy of Salsa
Dance into a World of Joy and ConfidenceEmbark on an exhilarating journey with The Joy of Salsa: Unleash Your Confidence, Step by Step, where the thrill of dance meets personal transformation. Enter a vibrant world of rhythm and movement that promises to lift your spirits and boost your confidence.Explore the heart and soul of salsa, as you discover its rich origins and diverse styles in the opening chapters. Whether you're a newbie taking your first step or a seasoned dancer, this book offers a treasure trove of insights and techniques to enhance your journey. Learn the foundational steps and footwork, and feel the rhythm that will guide your every move.Dive deeper into the art of salsa with chapters dedicated to perfecting posture and balance-a critical component for any dancer. Experience the music on a new level, understanding its beats and expressions, and becoming one with its flow. As you advance, unlock the magic of partner work, mastering the subtle art of communication without words.Add your unique flair with styling techniques that will have you spinning and turning with grace and confidence. The book offers practical strategies to overcome common dance fears, empowering you to glide across the dance floor with self-assurance. Structured practice guides and goal-setting advice ensure not just improvement, but true mastery.Experience the joy of salsa in social settings, understanding its culture and etiquette to enrich your interactions and connections. Beyond steps and spins, discover the incredible fitness benefits of salsa, making it a fulfilling workout for body and spirit. Finally, the book invites you to continually expand your skills and embrace salsa as a lifelong journey of joy and growth.
The Dancer's Handbook
The Dancer's Handbook offers a holistic exploration of the dance industry's challenges, authored by dancers intimately familiar with its complexities.
Ethics in Contact Rhetoric
To counterbalance traditional communication ethics grounded in linguistic or symbolic rhetorical theories, Ethics in Contact Rhetoric de-centers discourse and begins with bodies and the art of dance to formulate an immediate bio-relational communication theory-contact rhetoric--that addresses the full physical and moral range of rhetorical force.
Dancing on the Fault Lines of History
Dancing on the Fault Lines of History collects essential essays by Susan Manning, one of the founders of critical dance studies, recounting her career writing and rewriting the history of modern dance. Three sets of keywords--gender and sexuality, whiteness and Blackness, nationality and globalization--illuminate modern dance histories from multiple angles, coming together in varied combinations, shifting positions from foreground to background. Among the many artists discussed are Isadora Duncan, Vaslav Nijinsky, Ted Shawn, Helen Tamiris, Katherine Dunham, Jos矇 Lim籀n, Pina Bausch, Reggie Wilson, and Nelisiwe Xaba. Calling for a comparative and transnational historiography, Manning ends with an extended case study of Mary Wigman's multidimensional exchange with artists from Indonesia, India, China, Korea, and Japan. Like the artists at the center of her research, Manning's writing dances on the fault lines of history. Her introduction and annotations to the essays reflect on how and why these keywords became central to her research, revealing the autobiographical resonances of her scholarship as she confronts the cultural politics of the late twentieth and early twenty-first centuries.
Dancing on the Fault Lines of History
Dancing on the Fault Lines of History collects essential essays by Susan Manning, one of the founders of critical dance studies, recounting her career writing and rewriting the history of modern dance. Three sets of keywords--gender and sexuality, whiteness and Blackness, nationality and globalization--illuminate modern dance histories from multiple angles, coming together in varied combinations, shifting positions from foreground to background. Among the many artists discussed are Isadora Duncan, Vaslav Nijinsky, Ted Shawn, Helen Tamiris, Katherine Dunham, Jos矇 Lim籀n, Pina Bausch, Reggie Wilson, and Nelisiwe Xaba. Calling for a comparative and transnational historiography, Manning ends with an extended case study of Mary Wigman's multidimensional exchange with artists from Indonesia, India, China, Korea, and Japan. Like the artists at the center of her research, Manning's writing dances on the fault lines of history. Her introduction and annotations to the essays reflect on how and why these keywords became central to her research, revealing the autobiographical resonances of her scholarship as she confronts the cultural politics of the late twentieth and early twenty-first centuries.
Dance and Science in the Long Nineteenth Century
Revealing the interplay and influence of dance and scienceduring an age of colonial expansion Bringing together danceand science, two paradigms that explore the nature and possibilities of thebody, this volume illuminates the meanings and articulations of dance innineteenth-century societies. This global collection of studies reveals how thetwo fields informed each other's development and engaged with dominant Europeanworldviews in a time of unprecedented colonial expansion. The chapters in Danceand Science in the Long Nineteenth Century examine how trends anddevelopments in the performing arts reflected scientific thinking of this era, including the categorization of "types" of bodies and the ranking of culturaland religious beliefs, as well as how dance served as an active site of inquirywhere the workings and limits of the human body could be studied. Researchersdiscuss topics including the influence of plant biology on the aesthetics ofballet, technological advancements in the staging and recording ofperformances, arguments for the use of Eurhythmics in promoting a stronger"race," and European fascination with Indian dance and yoga. Featuring responseessays that put leading scholars in conversation with one another and offer newperspectives, this volume is unique in its geographic scope and its discussionof diverse bodies, cultures, themes, and scientific disciplines. It sheds lighton a historical interplay that has shaped many of today's political andcultural realities.Contributors: Johanna Pitetti-Heil Chantal Frankenbach Jane Desmond Christian Ducomb Claudia Jeschke K矇lina Gotman Pallabi Chakravorty Andrea Harris Dick McCaw Stephen Ha Emily Coates Tiziana Leucci Elizabeth Claire Susan Cook Carrie Streeter Olivia Sabee Janice Ross Alexander H. Schwan Whitney Laemmli
Butoh, as Heard by a Dancer
This book explores the origins of Butoh in post-war Japan through orality and transmission, in conjunction with an embodied research approach.The book is a gathering of seminal artistic voices - Yoshito Ohno, Natsu Nakajima, Yukio Waguri, Moe Yamamoto, Masaki Iwana, Ko Murobushi, Yukio Suzuki, Takao Kawaguchi, Yuko Kaseki, and the philosopher, Kuniichi Uno. These conversations happened during an extended research trip I made to Japan to understand the context and circumstances that engendered Butoh. Alongside these exchanges are my reflections on Butoh's complex history. These are primarily informed by my pedagogical and performance encounters with the artists I met during this time, rather than a theoretical analysis. Through the words of these dancers, I investigate Butoh's tendency to evade categorization. Butoh's artistic legacy of bodily rebellion, plurality of authorship, and fluidity of form seems prescient and feels more relevant in contemporary times than ever before.This book is intended as a practitioner's guide for dancers, artists, students, and scholars with an interest in non-Western dance and dance history, postmodern performance, and Japanese arts and culture.
Karbala in the Taʿziyeh Episode, Shiʿi Devotional Drama in Iran
"I am not Shemr, this is not a dagger, nor is this Karbala," recites the arch-antagonist as a taʿziyeh performance begins. Verisimilitude is not the endeavour; this is a devotional offering that stirs lament for the the Shiʿi martyrs by representing events crucial to sacred history. But what does that retelling entail? Through study of four of its main episodes--from their long inter-female dialogues to the protagonists' encounters with jinn, dervishes, and foreigners--this book explores the taʿziyeh repertoire's compositional features. Combining a wide range of historical scripts, largely unpublished manuscripts, with witness accounts, it tracks the tradition's development from Safavid to Qajar Iran asking, who were its contributors? And, how have they left their mark?
The Routledge Introduction to Ballet, its Culture and Issues
As an introduction to ballet's history, culture, and meanings, this book draws on the latest ballet scholarship to describe the trajectory of a dance form that has risen to global ubiquity and benefited from many diverse influences along the way.
Researching Popular Entertainment
Researching Popular Entertainment is an essential volume for scholars delving into the vibrant yet complex world of popular entertainment.Written by a global network of experts, this book addresses the unique challenges researchers face in this field. The often-dismissed status of popular entertainment, coupled with its reliance on physicality and improvisation over scripted performances, has meant archival and textual sources tend to be more limited than in related theatre and performance disciplines. This scarcity requires historians to find alternative pathways through the available materials to recuperate seemingly insignificant figures and performance forms from our cultural past. This book provides a candid look into the research processes of its authors, highlighting some of the approaches they have adopted to overcome these challenges. It emphasises that reading performance as entertainment is a deliberate methodological choice. Regardless of whether a work is deemed high or low art, legitimate or illegitimate, understanding how it captivates its audience is central to the study of entertainment.Readers will benefit from its in-depth analysis and practical guidance, making it an indispensable resource for anyone studying popular entertainment.
Humanizing Ballet Pedagogies
In Humanizing Ballet Pedagogies, Jessica Zeller offers a new take on the ballet pedagogy manual, examining how and why ballet pedagogies develop, considering their implications for students and teachers, and proposing processes by which readers can enact humanizing, equitable approaches.This book supports pedagogical thinking and development in ballet. Across three parts, it reflects how pedagogies come to be: through rationales, dialogues, and practices. Part 1, Philosophies, offers a contextual reading of ballet pedagogy's historic relationship to ideals, and it describes an alternative approach that takes its meaningful purpose from the embodied knowledge of participants in the ballet class. Part 2, Perspectives, looks at how the teacher's person shapes the ballet class. It draws from a new survey of ballet students that illuminates the direct effects of pedagogies and proposes future directions. Praxis, Part 3, includes three theoretically based approaches that can be applied directly or adjusted to readers' contexts for teaching ballet: yielding to student agency and autonomy, ungrading graded ballet classes in higher education, and practicing reflection for growth. Grounded in the wide range of people who participate in ballet, themes of equity, ethics, and humanity are at the heart of this book.Humanizing Ballet Pedagogies is a valuable resource for those teaching or developing a teaching approach in ballet. It addresses important issues for school owners, administrators, or anyone responsible for supporting ballet teachers or students in the twenty-first century.
Resistance and Support
Resistance and Support: Contact Improvisation @ 50 is a ground-breaking anthology that collects twenty original writings that elucidate critically important somatic and political perspectives on Contact Improvisation (CI). This form of partner dancing that was started in the United States in 1972, has spread into a vibrant global community in the twenty-first century. Resistance and Support is edited and includes an introduction by veteran CI practitioner and dance studies scholar Ann Cooper Albright. For much of its existence in the twentieth century, Contact Improvisation prided itself on its democratic and egalitarian roots. Jams are open to newcomers, women learned to lift men, and dancing roles were not conventionally gendered in the traditional sense of partnered dancing such as tango or ballroom. These conventions meant that questions of social power were often ignored within the jams and festivals where Contact Improvisation thrives. This thoughtful collection engages issues of inclusion and access through insightful essays written by people whose life experiences are shaped by this extraordinary form of kinaesthetic communication. Chapters trace the stories of CI in China and Taiwan, India, Mexico, Brazil, as well as those in the U.S., Canada, and Europe. Some discuss the somatic training that provides a movement basis for the improvisational exchanges between dancers. Others foreground the feminist and queer perspectives on the evolving twenty-first century practice of the form. Several elaborate on the healing, spiritual, or therapeutic aspects of CI, while others explore the mixed ability approaches to the form popularized by Alito Alessi's Dance Ability pedagogy. Like Critical Mass: CI @ 50, the international conference and festival honoring CI's 50th anniversary from which these writings emerged, these essays both celebrate the expansive possibilities and critique some of the exclusionary conventions of this ever-evolving form of communal dance.
Mountain Dance and Hoedown Workshop
A Basic Reference Guide to Appalachian Mountain Square Dance Figures
Ceremonies Out of the Air: Ralph Lemon
More than 40 works across media, including major ensemble performances, emerging in the afterlife of postmodern dancePhiladelphia-based artist, dancer and choreographer Ralph Lemon (born 1952) is one of the most significant figures to arise from New York's downtown scene in the 1990s. This catalog, published on the occasion of the first US museum exhibition of Lemon's work in movement, film and installation, traces the arc of his ongoing collaborations, which extend far beyond the paradigm of dance. Text by exhibition curators Connie Butler and Thomas Jean Lax is accompanied by essays and contributions by Kevin Beasley, Adrienne Edwards, Saidiya Hartman, Darrell Jones, Ralph Lemon, Okwui Okpokwasili and Kevin Quashie. Featuring a dust jacket that unfolds into a poster, the book includes full-color illustrations of Lemon's artworks and reproductions of his sketches and notations.
Creativity in Indian Dance
Heralded as the father of Indian Creative Dance, and India's cultural ambassador, Uday Shankar (1900-1977) was a dancer and choreographer who created a vibrant new Indian dance form without any ethno-regional centricity. Over time, Shankar's art evolved from being a representation of the exotic East, to a narrative of modern India. This book provides a detailed study of Shankar's works in his autumn years (1960-1977), which remain largely un-documented. It discusses the form and content of Shankar's style, and its basic tenets - something hitherto unexplored. It also analyses Rabindranath Tagore and Uday Shankar as path-breakers of the duality in Indian performing arts traditions. The productions explored in detail are Samanya Kshati (1961), Shankar's tour of USA, Canada and Europe in 1962, and India's cultural diplomacy, as well as Prakriti Ananda (1966), Shankar's last tour of USA (1968), his last masterpiece, Shankarscope (1970, 1971 and 1972), together with Shankar's legacy.This book is an essential read for scholars and researchers of dance history, art history, critical theory, artists' biographies, creative arts studies, theatre and Asian performing arts studies as well as students of International Relations theory - primarily those interested in cultural diplomacy and soft power.
Afrikinesis
This book provides scholars and non-specialists alike with a roadmap for effectively conducting culturally aware, historically relevant research on African dance and on any dance style that contains African elements.This book explains why Western research paradigms are inadequate for research on Africana dance. It exposes the value of utilizing an appropriate research paradigm that offers researchers a broader perspective and a transparent, unfettered process for analysis in under-researched topics such as African and African diaspora dance styles. Researchers are introduced to the African dance aesthetic, characteristically African body movements, definitions of steps, understandings within African culture, and a host of other jewels that facilitate a deeper grasp on the subject and refine the quality of the scholar's research, its findings, and its proficiency.This book will be of great interest to scholars of African dance studies.
Dance Injuries
Across dance genres, the rigors of training and performing can take a toll on a dancer's mind and body, leading to injuries. Dance Injuries: Reducing Risk and Maximizing Performance With HKPropel Access presents a holistic wellness model and in-depth coverage of how to reduce the risk of injury in dance and how to care for injuries properly when they do occur. Written by an international team of experts in the dance medicine and science field, including physicians, athletic trainers, physical therapists, researchers, and dance educators, Dance Injuries provides an overview of common dance injuries across a wide variety of dance styles. From their extensive work with dancers, the authors provide valuable insight into minimizing dance injuries to maximize dancer longevity. The text offers practical ways to reduce the risk of dance injuries. Conditioning, flexibility training, nutrition, hydration, recovery, and rest are addressed. Additionally, a chapter on holistic wellness helps dancers apply a wellness mindset to their training and performance. Dance Injuries is richly illustrated with nearly 200 full-color illustrations and 150 photos to help dancers connect with the essential information the book offers. Armed with the understanding gained from the book's medical diagrams, dancers will be motivated to adopt habits to reduce the likelihood of an injury. To further augment learning, the text presents strategies for accessing and interpreting scientific research on dance injuries; approaches to working with various health care professionals when an injury occurs; recurring special elements, sidebars, key terms, and discussion questions; and resources offered online through HKPropel, including application activities, supplemental information, and coverage of niche topics connected to chapter content. Six appendixes add to the wealth of content presented in the chapters. These provide information on international mental health resources, psychological safety in dance, screening for dancer health, disability dance and integrated dance, considerations for professional dance, and artistry and athletics. Dance Injuries includes vital information to properly train dancers technically, physically, mentally to reduce dancers' risk of injury and allow them to perform their best in dance classes, rehearsals, and performances. Note: A code for accessing HKPropel is included with all new print books.
Embodied Nostalgia
Embodied Nostalgia is a collection of interlocking case studies that focus on how social dance in musical theatre brings forth the dancer on stage as a site of embodied history, cultural memory, and nostalgia, and asks what social dance is doing performatively, dramaturgically, and critically in musical theatre. The case studies in this volume are all Broadway musicals set during the Jazz Age (1910-1950), however, performed and produced after that time, creating a spectrum of nostalgic impulses that are interrogated for social and political resonance and meaning. All reflect the fractures or changes in the social dance when brought to the stage and expose the complexities of the embodied nostalgia - broadly interpreted as the physicalizing of community memories, longings, and historical meaning - the dances carry with them. Particular attention is focused on the Black ownership of the social dances and the subsequent appropriation, cultural theft, and forgotten legacies.By approaching musical theatre through this lens of social dance--always already deeply connected to notions of class and race--and the politics of choreography therein, a unique and necessary method to describing, discussing, and critically evaluating the body in motion in musical theatre is put forth.
Dance, Performance and Visual Art
This collection presents a selection of essays written from a point of view that has dance, movement, or performance at its centre, and examines the intellectual and material relationship to the art form from which they are conceived. The themes that emerge from the authors' contributions signify a desire to explore individual techniques in making art or unravelling the techniques of others within the composition of visual art and its contemporary movement language. Similarly, textual, and pictorial representations depict both antiquated and modern art and all their social aspects of human life. Digitization also remains a strong focus in both dance and its representation in performance contexts and place in social constructs of societies.
Frederick Ashton's Ballets
The second edition of Frederick Ashton's Ballets: Style, Performance, Choreography adds two further ballets to this ground-breaking study of Frederick Ashton's choreography. It not only examines the contribution these ballets made to twentieth century dance art, but also presents a detailed account of Ashton's work and dances, demonstrating his remarkable choreographic and artistic talent. Having danced with the Royal Ballet Company during the years Ashton was Director, author, Geraldine Morris also draws on her years as an academic in the field. As well as highlighting the dances, the book explores the contribution made by Ashton's collaborators, both designers and musicians. Central is the issue of identity and how style can be retained in dance, despite alterations in training. It considers the problem of how the values of ballet training change, thereby affecting contemporary performances of his works. Through eight works Morris examines the various sources that Ashton used, whether they were dances with words, or those influenced by dancers' movement style, jazz dance, abstraction, mysticism, or narrative. With this new material, the second edition makes a significant contribution to dance scholarship.
