In Corporeal Politics, leading international scholars investigate the development of dance as a deeply meaningful and complex cultural practice across time, placing special focus on the intertwining of East Asia dance and politics and the role of dance as a medium of transcultural interaction and communication across borders. Countering common narratives of dance history that emphasize the US and Europe as centers of origin and innovation, the expansive creativity of dance artists in East Asia asserts its importance as a site of critical theorization and reflection on global artistic developments in the performing arts. Through the lens of “corporeal politics”—the close attention to bodily acts in specific cultural contexts—each study in this book challenges existing dance and theater histories to re-investigate the performer's role in devising the politics and aesthetics of their performance, as well as the multidimensional impact of their lives and artistic works. Corporeal Politics addresses a wide range of performance styles and genres, including dances produced for the concert stage, as well as those presented in popular entertainments, private performance spaces, and street protests.

Introduces the history, methods of teaching, ceremonial styles, basic steps, and famous figures of traditional Asian dance from Japan, China, India and more.

Original essays and interviews by artists and scholars who are making, defining, questioning, and theorizing Asian American dance in all its variety.

Indian Dance is not what it was. The classical dances of the subcontinent have undergone fission, have been deconstructed and have become part of a contemporary dance idiom. Some of the most innovative work has taken place because of interaction with Western dancers or because it was conceived in a Western and/or global context. Thus the British experience-the work and contribution of Indian dance practitioners based in Britain and working primarily in a British/European context-have been very important for the new development of Indian dance.

Chronicles Asian Americans' fight for equality and political inclusion in the United States during the late twentieth century, exploring how the movement brought about surprising social change in ethnic neighborhoods across the country and how it influenced Asian American art, literature, and culture.

Which dancers dance through fire? Why does it take several hours to put on make-up for a kathakali dance? Which dance company uses tai chi, meditation, Chinese opera movement, martial arts, modern dance and ballet in its dancing? African and Asian Dance provides a detailed look at the development of African and Asian dancing, from the huge variety of traditional folk dances to the modern techniques used by choreographers such as Germaine Acogny and the Cloud Gate Theatre today. The book looks at how the choreography and improvisation differ from other styles of dance, and explores the part played by costumes and make-up.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Revolutionary Bodies is the first English-language primary source–based history of concert dance in the People’s Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China’s dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.

This lavishly illustrated book provides an introduction to the richtraditions of South-East Asian dance, theatre and puppet theatre. It focusesmainly on classical traditions which are still performed and separate sectionsare devoted to Burma, Thailand, Java, Bali, Malaysia, Cambodia, and Laos.Chinese theatre in the region and the Chinese-influenced theatre of Vietnam arealso discussed.

Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers’ legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.