Dance on Its Own Terms


Book Description

Dance on its Own Terms: Histories and Methodologies anthologizes a wide range of subjects examined from dance-centered methodologies: modes of research that are emergent, based in relevant systems of movement analysis, use primary sources, and rely on critical, informed observation of movement. The anthology fills a gap in current scholarship by emphasizing dance history and core disciplinary knowledge rather than theories imported from disciplines outside dance. Individual chapters serve as case studies that are further organized into three categories of significant dance activity: performance and reconstruction, pedagogy and choreographic process, and notational and other written forms that analyze and document dance. The breadth of the content reflects the richness and vibrancy of the dance field; each deeply informed examination serves as a window opening onto the larger world of dance. Conceptually, each chapter also raises concerns and questions that point to broadly inclusive methodological applications. Engaging and insightful, Dance on its Own Terms represents a major contribution to research on dance.




Beauty Is Experience


Book Description

Beauty is Experience is a collaboration between dancer/writer Emmaly Wiederholt and photographer Gregory Bartning. For more than two years, they collected interviews and photographs of dancers over age 50 along the West Coast. Spanning from Los Angeles and the San Francisco Bay Area to Portland and Seattle, the culmination includes over 50 interviews with dancers ranging in age from 50 to 95, and ranging in practice from ballet and Argentine tango to African and contact improvisation.




Dance Anatomy-2nd Edition


Book Description

Dance Anatomy is a visually stunning presentation of more than 100 of the most effective dance, movement, and performance exercises, each designed to promote correct alignment, improved placement, proper breathing, and prevention of common injuries.




Geographies of Dance


Book Description

This volume provides a theoretical and practical examination of the relationships between bodies, dance and space. Using ten case studies, it illustrates the symbolic power of dance that is crafted by choreographers and acted out by dancers. The book portrays a multitude of ways in which public and private spaces (stages, buildings, town squares as well as natural environments) are transformed and made meaningful by dance. Furthermore, it explores the meaning of dance as emotionally experienced by dancers, and examines how movement in certain spaces creates meaning without the use of words or symbols.




The Particulars of Peter


Book Description

"This might be one of the month’s, if not the year’s, sweetest books — zaniest, too.” ―The Washington Post "A hilarious addition to the dogoir canon.” ―People "Perhaps the greatest love story ever told.” ―Refinery29 "The feel-good book the world needs." —PopSugar From one of the Internet's most original voices, a hilarious journey through the odd corners of obsessive dog ownership and the author's own infatuation with her perfect dog Peter. The author met Peter in the spring of 2017. He -- calm, puppy-eyed, with the heart of a poet and the soul of, also, a poet -- came to her first as a foster. He was unable to stay with his previously assigned foster for reasons that are none of your business, but which we will tell you were related to frequent urination. The rescue needed someone free of the sort of responsibilities that would force her to regularly leave the house for either work or socializing, and a writer was the natural choice. Thus began a love story for the ages. The Particulars of Peter is a funny exploration of the joy found in loving a dog so much it makes you feel like you're going to combust, and the author's potentially codependent relationship with her own sweet dog, Peter. Readers will follow Peter and his owner to Woofstock, "the largest outdoor festival for dogs in North America," and accompany them to lessons in Canine Freestyle, a sport where dogs perform a routine set to music, creating the illusion that they're dancing with their owners. From learning about Peter's DNA, to seeing if dogs can sense the presence of ghosts, The Particulars of Peter will give readers a smart, entertaining respite from the harsh world of humans into the funny little world of dogs. Readers will accompany this lovable duo through exciting trips, lessons, quiet moments of connection, and probably a failure or two. By fusing memoir and infotainment, The Particulars of Peter promises to refresh the perennially popular dog lit category in a scrumptiously bighearted barnstormer of a book.




Dance We Do


Book Description

In her first posthumous work, the revered poet crafts a personal history of Black dance and captures the careers of legendary dancers along with her own rhythmic beginnings. Many learned of Ntozake Shange’s ability to blend movement with words when her acclaimed choreopoem for colored girls who have considered suicide/when the rainbow is enuf made its way to Broadway in 1976, eventually winning an Obie Award the following year. But before she found fame as a writer, poet, performer, dancer, and storyteller, she was an untrained student who found her footing in others’ classrooms. Dance We Do is a tribute to those who taught her and her passion for rhythm, movement, and dance. After 20 years of research, writing, and devotion, Ntozake Shange tells her history of Black dance through a series of portraits of the dancers who trained her, moved with her, and inspired her to share the power of the Black body with her audience. Shange celebrates and honors the contributions of the often unrecognized pioneers who continued the path Katherine Dunham paved through the twentieth century. Dance We Do features a stunning photo insert along with personal interviews with Mickey Davidson, Halifu Osumare, Camille Brown, and Dianne McIntyre. In what is now one of her final works, Ntozake Shange welcomes the reader into the world she loved best.




Out Loud


Book Description

From the most brilliant and audacious choreographer of our time, the exuberant tale of a young dancer’s rise to the pinnacle of the performing arts world, and the triumphs and perils of creating work on his own terms—and staying true to himself Before Mark Morris became “the most successful and influential choreographer alive” (The New York Times), he was a six year-old in Seattle cramming his feet into Tupperware glasses so that he could practice walking on pointe. Often the only boy in the dance studio, he was called a sissy, a term he wore like a badge of honor. He was unlike anyone else, deeply gifted and spirited. Moving to New York at nineteen, he arrived to one of the great booms of dance in America. Audiences in 1976 had the luxury of Merce Cunningham’s finest experiments with time and space, of Twyla Tharp’s virtuosity, and Lucinda Childs's genius. Morris was flat broke but found a group of likeminded artists that danced together, travelled together, slept together. No one wanted to break the spell or miss a thing, because “if you missed anything, you missed everything.” This collective, led by Morris’s fiercely original vision, became the famed Mark Morris Dance Group. Suddenly, Morris was making a fast ascent. Celebrated by The New Yorker’s critic as one of the great young talents, an androgynous beauty in the vein of Michelangelo’s David, he and his company had arrived. Collaborations with the likes of Mikhail Baryshnikov, Yo-Yo Ma, Lou Harrison, and Howard Hodgkin followed. And so did controversy: from the circus of his tenure at La Monnaie in Belgium to his work on the biggest flop in Broadway history. But through the Reagan-Bush era, the worst of the AIDS epidemic, through rehearsal squabbles and backstage intrigues, Morris emerged as one of the great visionaries of modern dance, a force of nature with a dedication to beauty and a love of the body, an artist as joyful as he is provocative. Out Loud is the bighearted and outspoken story of a man as formidable on the page as he is on the boards. With unusual candor and disarming wit, Morris’s memoir captures the life of a performer who broke the mold, a brilliant maverick who found his home in the collective and liberating world of music and dance.




Breadth of Bodies


Book Description

Breadth of Bodies seeks to investigate and dismantle the language and stereotypes often used to describe professional dancers with disabilities. Spearheaded by dancer/writer Emmaly Wiederholt and dance educator Silva Laukkanen with illustrations by visual artist Liz Brent-Maldonado, the team collected interviews with 35 professional dance artists with disabilities from 15 countries, asking about training, access, and press, as well as looking at the state of the field.




Grammar of the Art of Dancing, Theoretical and Practical


Book Description

Excerpt from Grammar of the Art of Dancing, Theoretical and Practical: Lessons in the Arts of Dancing and Dance Writing (Choregraphy); With Drawings, Musical Examples, Choregraphic Symbols and Special Music Scores At the Convention of the American National Association of Masters of Dancing held at Columbus, Ohio, June 12-17, 1905, the dedication of this edition of the Grammar was accepted and the work adopted as the standard of authority. The resolution also strongly recommends the book as a text-book for students and teachers. The Appendix, which relates to deportment, has been purposely omitted for the reason that, while it is the duty of teachers of dancing to pay some attention to that subject in the course of their instruction, it does not in itself, technically, form a part of the art of dancing. Again, rules of deportment are largely local in their application and of too transient a nature to be of authority after a lapse of twenty years. Social customs are, for the most part, creatures of fashion, and fashion is too fickle a goddess to submit to the tyranny of settled rules. Herr Zorn himself expresses the belief that persons who contemplate teaching dancing will get more practical ideas regarding deportment from their experience as teachers than it would be possible to obtain from any book. And now having set forth the principal points of this edition and the fact that it has been prepared to supply a great and increasing demand, the Editor wishes, in conclusion, to register the hope that the movement toward abandoning the use of French technical terms will be given up. These terms now form the only common ground upon which the dancing profession of the world can meet, and to discontinue them would be to indefinitely postpone the date of a possible Universal Academy. Let us not only learn these terms which have acquired such important technical significance, but let us use them. Of course there is no call for a pedantic display of them in teaching social dances, and such a use of them would be in poor taste, but it would be a distorted allegiance to the mother tongue to so far overlook our manifest advantages as to insist upon the substitution of our own language for terms that have for centuries been accepted without cavil by other nations who do not speak French. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




Perpetual Motion


Book Description

A new exploration of how digital media assert the relevance of dance in a wired world How has the Internet changed dance? Dance performances can now be seen anywhere, can be looped endlessly at user whim, and can integrate crowds in unprecedented ways. Dance practices are evolving to explore these new possibilities. In Perpetual Motion, Harmony Bench argues that dance is a vital part of civil society and a means for building participation and community. She looks at how, after 9/11, it became a crucial way of recuperating the common character of public spaces. She explores how crowdsourcing dance contributes to the project of performing a common world, as well as the social relationships forged when we look at dance as a gift in the era of globalization. Throughout, she asks how dance brings people together in digital spaces and what dance’s digital travels might mean for how we experience and express community. From original research on dance today to political economies of digital media to the philosophy of dance, Perpetual Motion provides an ambitious, invigorating look at a commonly shared practice.