A Dancer's Pocket Guide to Embodied Performance takes an inside, experiential view of the art of dance performance. It encourages dancers to reach through and beyond technique into the rich landscape of expression that sensory embodiment allows. Whether exploring this broader territory as a student, performer, teacher or audience member, the concepts presented will help the reader gain insight into the expressive elements of the art of dance.
Rebel Dance, Renegade Stance shows how community music-makers and dancers take in all that is around them socially and globally, and publicly and bodily unfold their memories, sentiments, and raw responses within open spaces designated or commandeered for local popular dance. Umi Vaughan, an African American anthropologist, musician, dancer, and photographer "plantao" in Cuba-planted, living like a Cuban-reveals a rarely discussed perspective on contemporary Cuban society during the 1990s, the peak decade of timba, and beyond, as the Cuban leadership transferred from Fidel Castro to his brother. Simultaneously, the book reveals popular dance music in the context of a young and astutely educated Cuban generation of fierce and creative performers.
By looking at the experiences of black Cubans and exploring the notion of "Afro Cuba,"Rebel Dance, Renegade Stance explains timba's evolution and achieved significance in the larger context of Cuban culture. Vaughan discusses a maroon aesthetic extended beyond the colonial era to the context of contemporary society; describes the dance spaces of Cuba; and examines the performance of identity and desire through the character of the "especulador." This book will find an audience with musicians, anthropologists, ethnomusicologists, interdisciplinary specialists in performance studies, cultural studies, and Latin American and Caribbean studies, as well as laypeople who are interested in Atlantic/African and African American/Africana studies and/or Cuban culture.
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.
"Passing Performances" gathers a range of critical and biographical essays on notable personalities whose major contributions to the stage occurred before 1969, the year of the Stonewall riots that kicked off the gay rights movement in the United States. How these theater practitioners variously "passed"-- i.e., managed unconventional sexual inclinations both on- and offstage--significantly determined the course of their personal and professional lives and thus the course of U.S. theater history.
Cameron is a capercaillie and capercaillies LOVE to dance -- well, all except Cameron! Cameron thinks he is the worst dancer in the Scottish Cairngorms -- but his new friend, Hazel the squirrel, has other ideas...Together they travel through the forest, jumping up and down, ducking under branches and kicking pinecones. Then when the dancing begins, Hazel tells Cameron to JUMP, DUCK and KICK. Maybe he can dance after all! Full of fun sounds and actions, this is a brilliant story about learning to believe in yourself by Emily Dodd, with gentle illustrations of a host of loveable Scottish animals by Katie Pamment.
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