What does it mean to be able to move? The Aging Body in Dance brings together leading scholars and artists from a range of backgrounds to investigate cultural ideas of movement and beauty, expressiveness and agility.
Contributors focus on Euro-American and Japanese attitudes towards aging and performance, including studies of dancers from Yvonne Rainer, Martha Graham and Anna Halprin to Kazuo Ohno and Kikuo Tomoeda, and directors such as Romeo Castellucci. They draw a fascinating comparison between the youth-oriented Western culture and dance cultures such as that of Japan's, where aging dancers are celebrated as part of the country's living heritage.
The first cross-cultural study of its kind, The Aging Body in DanceÂ offers an invaluable resource for scholars and practitioners interested in global dance cultures and their differing responses to the world's aging population.
N=omai dance drama, an artistic expression combining sacred, communal, economic, and cultural spheres of community life in the district of Higashidorimura, is a performing tradition that provides an identity to agriculturally based villages. It has retained features characteristic of the music, drama, and sacred practices of medieval Japan. N=omai singing exhibits traits linked to Buddhist chanting. The instrumental music originates from folk Shinto. This study highlights the social and cultural value n=omaii has for the residents in villages that perform it by providing the historical context in which it is examined, as well as its current performance practices. As this work explores the aspects of agricultural Japanese society, revealed through a dance drama, it will appeal to music and drama scholars as well as students of Japanese culture and history. After establishing the historical lens from which to view n^D=omai drama, the theatrical and musical aspects are discussed in detail. Photographs and musical examples enhance this thorough, well-organized study.
For centuries, the rite of the tarantula was the only cure for those 'bitten' or 'possessed' by the mythic Apulian spider. Its victims had to dance to the local tarantella or 'pizzica' for days on end. Today, the pizzica has returned to the limelight, bringing to the forefront issues of performance, gender, identity and well-being. This book explores how and why the pizzica has boomed in the Salento and elsewhere and asks whether this current popu- larity has anything to do with the historic ritual of tarantism or with the intention of recovering well-being. While personal stories and experiences may confirm the latter, a vital shift has appeared in the Salento: from the confrontation of life crises to the vibrant promotion and celebration of a local sense of identity and celebrity.
The Performance Arts in Africa is the first anthology of key writings on African performance from many parts of the continent.
Much to the seething dismay of his long time mistress, King Danube has asked Jilseponie Wyndon to become his queen. But she is torn. How can she love any man as completely as she did the Ranger Elbryan, the father of the child she lost? But unknown to Jilseponie, that child never died. Aydrian was stolen away by the queen of the elves. A headstrong boy secretly raised to be a weapon, Aydrian shows great promise in the arts of combat and he is as powerful with the gemstone magic as his mother. Now De Unnero, the weretiger and mortal enemy of Jilseponie, will join forces with Aydrian, who is hungry for power and on a collision course with destiny. . . ."
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