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Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.
The Idea of Dance by Guru Pandit Shyamal Maharaj Pdf
The Idea of Dance is a culmination of Kathak Guru Pandit Shyamal Maharaj’s five-decade-long career as star performer and then beloved Guru to thousands of students. An alumnus of Visva-Bharati, Shantiniketan, and Kathak Kendra, New Delhi, Pandit Shyamal Maharaj has developed a unique style of Kathak, based on the Lucknow Gharana. This book exemplifies the Guru–Shishya parampara as the renowned Guru shares his in-depth knowledge of dance through it with students of Indian classical dance based in India and abroad. The Idea of Dance is based on the syllabus provided by Pracheen Kala Kendra, Chandigarh, and various universities and is meant for students from Prarambhik Part I to those in their Seventh Year of Indian classical dance as well as for all others who have a deep interest in Indian classical dance and wish to acquire knowledge about it.
The history of dance theory has never been told. Writers in every age have theorized prescriptively, according to their own needs and ideals, and theorists themselves having continually asserted the lack of any pre-existing dance theory. Dance Theory: Source Readings from Two Millenia of Western Dance revives and reintegrates dance theory as a field of historical dance studies, presenting a coherent reading of the interaction of theory and practice during two millennia of dance history. In fifty-five selected readings with explanatory text, this book follows the various constructions of dance theories as they have morphed and evolved in time, from ancient Greece to the twenty-first century. Dance Theory is a collection of source readings that, commensurate with current teaching practice, foregrounds dance and performance theory in its presentation of western dance forms. Divided into nine chapters organized chronologically by historical era and predominant intellectual and artistic currents, the book presents a history of an idea from one generation to another. Each chapter contains introductions that not only provide context and significance for the individual source readings, but also create narrative threads that link different chapters and time periods. Based entirely on primary sources, the book makes no claim to cite every source, but rather, in connecting the dots between significant high points, it attempts to trace a coherent and fair narrative of the evolution of dance theory as a concept in Western culture.
Moving History/Dancing Cultures by Ann Dils,Ann Cooper Albright Pdf
This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history—particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text. Ebook Edition Note: Ebook edition note: Five essays have been redacted, including “The Belly Dance: Ancient Ritual to Cabaret Performance,” by Shawna Helland; “Epitome of Korean Folk Dance”, by Lee Kyong-Hee; “Juba and American Minstrelsy,” by Marian Hannah Winter; “The Natural Body,” by Ann Daly; and “Butoh: ‘Twenty Years Ago We Were Crazy, Dirty, and Mad’,”by Bonnie Sue Stein. Eleven of the 41 illustrations in the book have also been redacted.
Attention and Focus in Dance by Clare Guss-West Pdf
The Western approach to dance is largely focused on control and mastery of technique, both of which are certainly necessary skills for improving performance. But mindful attention, despite its critical role in high performance, has gotten short shrift—until now. Attention and Focus in Dance, a how-to book rooted in the 20 years of attentional focus findings of researcher Gabriele Wulf, will help dancers unlock their power and stamina reserves, enabling efficient movement, heightening their sensory perception and releasing their dance potential. Author Clare Guss-West—a professional dancer, choreographer, teacher and holistic practitioner—presents a systematic, science-based approach to the mental work of dance. Her approach helps dancers hone the skills of attention, focus and self-cueing to replenish energy and enhance their physical and artistic performance. A Unique, Research-Based Approach Here is what Attention and Focus in Dance offers readers: A unique approach, connecting the foundations of Eastern movement with Western movement forms Research-based teaching practices in diverse contexts, including professional dance companies, private studios, and programmes for dancers with special needs or movement challenges Testimonies and tips from international professional dancers and dance educators who use the book’s approach in their training and teaching A dance-centric focus that can be easily integrated into existing training and teaching practice, in rehearsal, or in rehabilitation contexts to provide immediate and long-term benefits Guss-West explores attentional focus techniques for dancers, teachers and dance health care practitioners, making practical connections between research, movement theory and day-to-day dance practice. “Many dancers are using excessive energy deployment and significant counterproductive effort, and that can lead to a global movement dysfunction, lack of stamina and an increased risk of injury,” says Guss-West. “Attentional focus training is the most relevant study that sport science and Eastern-movement practice can bring to dance.” Book Organisation The text is organised into two parts. Part I guides dancers in looking at the attentional challenges and information overload that many professional dancers suffer from. It outlines the need for a systematic attention and focus strategy, and it explains how scientific research on attentional focus relates to dance practice. This part also examines the ways in which Eastern-movement principles intersect with and complement scientific findings, and it examines how the Eastern and scientific concepts can breathe new life into basic dance elements such as posture, turnout and port de bras. Attention and focus techniques are included for replenishing energy and protecting against energy depletion and exhaustion. Part II presents attention and focus strategies for teaching, self-coaching and cueing. It addresses attentional focus cues for beginners and for more advanced dancers and professionals, and it places attentional focus in the broader context of holistic teaching strategies. Maximising Dance Potential “Whether cueing others or yourself, cueing for high performance is an art,” Guss-West says. “Readers will discover how to format cues and feedback to facilitate effective neuromuscular response and enhance dancer recall of information and accessibility while dancing.” Attention and Focus in Dance offers an abundance of research-backed concepts and inspirational ideas that can help dancers in their learning and performance. This book aids readers in filtering information and directing their focus for optimal physical effect. Ultimately, it guides dancers and teachers in being the best version of themselves and maximising their potential in dance.
'Queer Dance' challenges social norms and enacts queer coalition across the LGBTQ community. The text joins forces with feminist, anti-racist, and anti-colonial work to consider how bodies are forces of social change.
Emerging Bodies by Gabriele Klein,Sandra Noeth Pdf
The concept of »worldmaking« is based on the idea that 'the world' is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing 'dance worlds': through artistic practice, discourse and media, choreographic form and dance material. The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral - an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal »world of dance«, but rather a multitude of interrelated dance worlds with more emerging every day.
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
When an alligator shows up to class one day, Mrs. Iraina and her ballet students are very suprised. But she is able to follow along, so they decide it's okay for her to join. The class starts calling her Tanya and even creates a new dance to showcase her larger-than-life talents and big, swishy tail: "The Legend of the Swamp Queen." Tanya has the starring role.
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
Essentials of Dance Movement Psychotherapy by Helen Payne Pdf
Essentials of Dance Movement Psychotherapy contributes to the global interest in embodiment approaches to psychotherapy and to the field of dance movement psychotherapy specifically. It includes recent research, innovative theories and case studies of practice providing an inclusive overview of this ever growing field. As well as original UK contributions, offerings from other nations are incorporated, making it more accessible to the dance movement psychotherapy community of practice worldwide. Helen Payne brings together well-known, experienced global experts along with rising stars from the field to offer the reader a valuable insight into the theory, research and practice of dance movement psychotherapy. The contributions reflect the breadth of developing approaches, covering subjects including: • combining dance movement psychotherapy with music therapy; • trauma and dance movement psychotherapy; • the neuroscience of dance movement psychotherapy; • the use of touch in dance movement psychotherapy; • dance movement psychotherapy and autism; • relational dance movement psychotherapy. Essentials of Dance Movement Psychotherapy will be a treasured source for anyone wishing to learn more about the psychotherapeutic use of creative movement and dance. It will be of great value to students and practitioners in the arts therapies, psychotherapy, counselling and other health and social care professions.
"This book began in 2014 as an introduction to the book I was then writing about a small group of dance theorists-five Germans and an Englishman-and their treatises published between 1703 and 1721: obviously a very narrow conspectus in subject and years. The aim of the introduction was to place these largely ignored writers (epecially the Germans) in a broad historical context that would demonstrate how essential and pivotal they were. As I read further in dance theory I found more and more sources on the subject that turned out to be far more interesting and complex than I had originally imagined. The introduction kept getting longer, until it became an albatross on the book's actual text, not only because of its ever-increasing length, but more gravely, because I had assumed it would trace a teleological ascent in dance theory culminating in my authors and their works, followed by a degenerative aftermath. This tendentious viewpoint threatened not only to deter readers from a sympathetic reading of the book as a whole; it turned out, the more I read and learned, to be simply wrong. The history of dance theory, as I gradually came to realize, is too interesting and important to be exploited for spurious purposes. Also, it's an untold story. Dance historians are familiar with many or most of the authors and titles, but not what they have to say about dance theory. That's the part usually at the beginning of books that is skimmed through in order to get to the more urgent preoccupations of historical dancers and dance historians: performance practice, reconstruction, technique, and repertoire. Viewed superficially, moreover, it can seem as if the same self-evident and obligatory themes keep getting repeated like clichés in these sections under the general rubric of theory: a definition of dance and/or dance theory, or at least a list of their basic components; the relation of dance to the other arts and other areas of knowledge; dance's origin and history; and its utility (i.e., health, social conduct and success, recreation). Finally, and contrary to what I had long believed, dance theory is not dead. In fact, it is thriving in the twenty-first century. Yes, I was fully aware that something called dance theory was being copiously written and talked about, and that "theory" and "theorizing" and "theorist" had become wildly ubiquitous in dance scholars' lexicon, but I believed that what they were talking about was no genuine dance theory, had no kinship with what was historically accepted as dance theory, and did not meet the criteria of what a theory should be. I was convinced that what I considered dance theory had been swept away in the iconoclastic, irreverent, and nonconformist spirit of postmodernism. Luckily, early readers tactfully convinced me to address my folly. As I wrote, I learned. Writing this book has already served as a textbook in my own learning experience. There are some excellent compilations of readings in dance history. The common format is to devote each chapter to a historical period, with an introductory essay followed by relevant readings. The number of readings tends to increase as history marches on, peaking in the nineteenth century. A sampling of such compilations follows. Each book differs from this one in different ways, but in general, and by intent, none of them does everything this book sets out to do: treat theory in depth and as a discrete topic; treat theatrical and social dance equally; include readings dating from classical Antiquity to the twenty-first century; and link the readings, through brief introductory essays, from end to end by a narrative thread based on salient topics as seen from evolving perspectives"--
“Peter Lovatt, author of The Dance Cure,… the ease with which his dancing can cheer me up is frightening.” — The Guardian “Peter Lovatt, author of The Dance Cure… the ease with which his dancing can cheer me up is frightening.” — The Guardian
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily lives of dancers, choreographers, directors, educators, and students through surveys, interviews, analyses of data from institutional sources, and action research studies. Dancers, dance artists, and dance scholars from the United States, Australia, and Canada discuss equity in three areas: concert dance, the studio, and higher education. The chapters provide evidence of bias, stereotyping, and other behaviors that are often invisible to those involved, as well as to audiences. The contributors answer incisive questions about the role of gender in various aspects of the field, including physical expression and body image, classroom experiences and pedagogy, and performance and funding opportunities. The findings reveal how inequitable practices combined with societal pressures can create environments that hinder health, happiness, and success. At the same time, they highlight the individuals working to eliminate discrimination and open up new possibilities for expression and achievement in studios, choreography, performance venues, and institutions of higher education. The dance community can strive to eliminate discrimination, but first it must understand the status quo for gender in the dance world. Wendy Oliver, professor of dance at Providence College, is coeditor of Jazz Dance: A History of the Roots and Branches. Doug Risner, professor of dance at Wayne State University, is coeditor of Hybrid Lives of Teaching Artists in Dance and Theatre Arts: A Critical Reader. Contributors: Gareth Belling | Karen Bond | Carolyn Hebert | Eliza Larson | Pamela S. Musil | Wendy Oliver | Katherine Polasek | Doug Risner | Emily Roper | Karen Schupp | Jan Van Dyke