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A fun, fact-filled, and thoroughly researched journey of country and western dancing from the roots of Western Swing to Hank Williams, the Urban Cowboy two-step of John Travolta, and the nationwide sensation of country line dancing. Country & Western Dance turns the spotlight on a uniquely American form of dance, one that has been scuffing the floorboards for nearly a century but is often overlooked. Fun, lively, and thoroughly researched, this revealing volume tells the full story of country and western dance music from the days of Bob Wills and Tulsa to Oklahoma's Cain's Ballroom to John Travolta and Gilley's of Houston, Texas. Each chapter provides information on the historical roots of the most popular country and western dances as well as the pioneers of the music of a particular era, all in the context of changing cultural, social, political, and economic forces in America. The book also examines the seminal impact of radio, television, and the movies in helping spread the music, the moves, and the good times on the country dance floor.
The History of Western Dance by Trenton Hamilton Pdf
From soaring ballet leaps to the simple swaying at a high school prom, dance is the wedding of movement to music. It is a means of recreation, of communication--for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. This engaging narrative, with biographical profiles, discusses Western dance as an art form, a folk tradition, and an entertainment spectacle. It examines the wide ranging dance types, including some of ancient rituals, Christian dance ecstasies, court and folk dances, ballet, social dances, the waltz, ballroom, tap, modern dance, and break and hip-hop dancing.
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.
The History of Western Dance by Trenton Hamilton Pdf
From soaring ballet leaps to the simple swaying at a high school prom, dance is the wedding of movement to music. It is a means of recreation, of communication--for the purpose of expressing an idea or emotion, releasing energy, or simply taking delight in the movement itself. This engaging narrative, with biographical profiles, discusses Western dance as an art form, a folk tradition, and an entertainment spectacle. It examines the wide ranging dance types, including some of ancient rituals, Christian dance ecstasies, court and folk dances, ballet, social dances, the waltz, ballroom, tap, modern dance, and break and hip-hop dancing.
"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"--
Mail Order Bride - Westward Dance (Montana Mail Order Brides by Linda Bridey Pdf
After Maddie O'Connor was brutally attacked, she sinks into a deep depression. Her older sister, Tessa, enlists the help of her brother-in-law, Seth Samuels, to coax Maddie into coming to Dawson to heal. An accident leaves Seth severely injured. Maddie is intrigued by his enticing letters, and agrees to come west. They fall in love, but will their romance survive their different lifestyles?
Both Buddhism and dance invite the practitioner into present-moment embodiment. The rise of Western Buddhism, sacred dance and dance/movement therapy, along with the mindfulness meditation boom, has created opportunities for Buddhism to inform dance aesthetics and for Buddhist practice to be shaped by dance. This collection of new essays documents the innovative work being done at the intersection of Buddhism and dance. The contributors--scholars, choreographers and Buddhist masters--discuss movement, performance, ritual and theory, among other topics. The final section provides a variety of guided practices.
This volume covers U.S. frontier culture from the Gold Rush to the close of the 19th century and discusses how myths and images of the Wild West have influenced history.
Dance and the Body in Western Theatre by Sabine Sörgel Pdf
While the body appears in almost all cultural discourses, it is nowhere as visible as in dance. This book captures the resurgence of the dancing body in the second half of the twentieth century by introducing students to the key phenomenological, kinaesthetic and psychological concepts relevant to both theatre and dance studies.
A historical western cowboy romance novella about a mail order bride. ** A clean romance novella ** Madelyn O'Connor is beautiful, popular, and comfortable with her opulent life. That is until she is brutally attacked by the son of one of the wealthiest families in Pittsburgh. Her parents are ready to fight the case out in the courts, but Madelyn doesn't want any publicity about it. She wants to forget that it ever happened, but can't. Her family grows increasingly worried about the depressive state she falls into and they try to come up with ways to help her, but nothing seems to work. Tessa feels that it would be best for Madelyn to get far away from the city and wants her to come to Montana, but Madelyn is resistant to the idea. Seth Samuels, Tessa's brother-in-law, becomes injured when he and his men are attacked by wild dogs on a cattle drive. He's morose and anxious over the prospect of not being able to participate in drives any longer. Tessa sees two people she loves hurting and thinks that maybe they can help each other when no one else can. She appeals to Seth to help convince Madelyn to come west. Seth refuses at first, but then figures that since he can't do much else he might as well try to help. Madelyn and Seth begin a volley of letters in which Seth entices Madelyn to come meet him. She finds him charming and eventually cannot resist his entreaties. She and Tessa convince her parents to let her make the trip. Geoffrey agrees to accompany his second eldest daughter to Montana. When Seth and Madelyn meet they are instantly attracted to each other, but when Seth's condition becomes even more serious, Seth is prepared to face the worst. Madelyn isn't about to give up on him, however, and becomes determined to help the man with whom she's smitten to heal. Together they embark on a journey of recovery as Seth agrees to go back East to get more modern treatment. As their relationship deepens there are seemingly insurmountable obstacles that threaten to tear them apart. Can each of them compromise in order to have a future together or will their pride keep them from realizing their dreams?
The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies. In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France) * Juan Dominguez (Spain) * Trisha Brown (US) * La Ribot (Spain) * Xavier Le Roy (France-Germany) * Vera Mantero (Portugal) and visual and performance artists: * Bruce Nauman (US) * William Pope.L (US). This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.
Dance Appreciation by Dawn Davis Loring,Julie L. Pentz Pdf
"Undergrad text for general-education courses helps students fulfill fine arts credits. This text will help students form a connection to and appreciation for dance as both an art form and a lifetime physical activity, no matter their primary course of study or eventual career path"--
