This is an exploration of the vital and rapidly evolving world of Commercial Dance, tracing the evolution and merging of Hip-Hop, Club and Jazz dance styles from the music videos of the early 1980s, to today's huge influence on pop music and dance in a multi-media culture. Chapters including ‘Iconic Moments’ and ‘Main Movers’ contextualise and analyse culturally significant works and choreographers. With direct contributions from an international array of industry leading dancers, choreographers and creatives - including JaQuel Knight (Beyonce’s choreographer), Rich + Tone Talauega (Madonna & Michael Jackson collaborators), Rebbi Rosie (Rihanna’s dancer), Dean Lee (Janet Jackson’s choreographer) and Kiel Tutin (BLACKPINK’s choreographer) - this book shines a light on the creatives in the Commercial Dance industry who have made significant impacts, not just on the world of dance but on popular culture itself. Chapters discussing dance history, copyright law, inclusivity and dance class culture as well as additional contributions from dance scholars enable this book to give credence to Commercial Dance as a legitimate academic area of study. This is a complete and comprehensive textbook for all dance students at any level of study on college, university or conservatory courses.

Never before has a greater variety of careers been available in dance—and never before has such comprehensive, expert guidance on those burgeoning careers been accessible in one book. Careers in Dance is a master guide that will help students navigate the expanding opportunities in dance and familiarize current professionals with potential career choices that best align with their pursuits and strengths. This highly practical text offers a wealth of information on career options in a variety of settings and with a variety of focuses, including commercial ventures, scholarly pursuits, administrative avenues, medical and scientific settings, and interdisciplinary opportunities. Readers are guided in discovering their deepest interests and learning how to translate their unique strengths into rich and fulfilling careers. In keeping with recent trends in higher education dance programs, Careers in Dance spotlights entrepreneurship and leadership opportunities for dancers, delving into an array of options and offering much-needed advice. The book covers some of the social and cultural influences that affect success in the field, and it explores various career opportunities: K-12 and postsecondary dance education Dance studios Performance, choreography, and production Dance research, analytical writing, and journalism Dance administration and advocacy Dance science, therapy, and medical and somatic practices Private competition companies Technical theater and related areas The text also helps readers understand the connections between dance and other disciplines. For example, it details the interdisciplinary opportunities involving technology, technical theater, and media. It also notes the possibilities for continued education in graduate school programs and suggests approaches to acclimating to life as a working professional. Careers in Dance offers two recurring elements throughout the book: Profiles of, and interviews with, esteemed professional dancers, revealing their real-world experiences and affording insights into different dance careers Reflection prompts that encourage self-reflection and prepare readers to seek career development and career advancement opportunities This text explores the opportunities dance students and professionals can pursue, helps them pinpoint their areas of interest and strengths, and equips them to create their unique paths to a fulfilling career in dance. In doing so, Careers in Dance provides the advice and strategies dancers need to actualize their own destinies in dance.

The influence of dance upon consumers has long been understood by advertisers. This work investigates the use of black social dance in television advertising. Covering the 1950s through the 2010s in the United States, dance is shown to provide value to brands and to affect consumption experiences. An interdisciplinary work drawing upon anthropological, phenomenological and cultural theoretical approaches, the text provides a theory of dance for a culture that has consistently drawn upon African-American arts to sell products.

Discovering Dance, Second Edition, is the premier introductory dance text for high school students. Whether they are new to dance or already have some experience, students will be able to grasp the foundational concepts of dance as they consider where dance movement comes from and why humans are compelled to move, and they will explore movement activities from the perspectives of a dancer, a choreographer, and an observer. The result is a well-rounded educational experience for students to build on, whether they want to further explore performance or choreography or otherwise factor dance into their college or career goals. Specifically designed to meet national and state dance education standards, Discovering Dance offers a ready-to-implement dance curriculum that is foundational and flexible. It fosters students’ discovery of dance through creating, performing, analyzing, understanding, responding to, connecting to, and evaluating dance and dance forms. The book is divided into four parts and 17 chapters. Part I focuses on the foundational concepts of dance and art processes, wellness, safety, dance elements, and composition. Part II delves into dance in society, including historical, social, traditional, and cultural dances. In part III, students explore dance on stage—including ballet, modern dance, jazz dance, tap, and hip-hop—and examine aspects of performance and production. Part IV rounds out the content by preparing students for dance in college or as a career and throughout life. The chapter content helps students discover dance genres; explore each genre through its history, artists, vocabulary, and significant works; apply dance concepts through movement and through written, oral, visual, technology, and multimedia assignments, thus deepening their knowledge and abilities; enhance learning by completing a portfolio assignment and review quiz for each chapter; and gain insight into dance artists, companies, and events through the Did You Know? and Spotlight elements. Learning objectives, vocabulary terms, and an essential question open each chapter. Throughout the chapters are four types of activities: Discover, Explore, Journal, and Research. The activities and assignments meet the needs of visual, auditory, and kinesthetic learners and help students explore dance through vocabulary, history, culture, creation, performance, and choreography. A comprehensive glossary further facilitates learning. The personal discovery process is greatly aided by technology—including video clips that demonstrate dance genres, forms, styles, and techniques as well as learning experiences that require taking photos and creating time lines, graphs, drawings, diagrams, or soundscapes.

By the 1920s, much of the world was ‘dance mad,’ as dancers from Buenos Aires to Tokyo, from Manchester to Johannesburg and from Chelyabinsk to Auckland, engaged in the Charleston, the foxtrot and a whole host of other fashionable dances. Worlds of social dancing examines how these dance cultures spread around the globe at this time and how they were altered to suit local tastes. As it looks at dance as a ‘social world’, the book explores the social and personal relationships established in encounters on dance floors on all continents. It also acknowledges the impact of radio and (sound) film as well as the contribution of dance teachers, musicians and other entertainment professionals to the making of the new dance culture.

This book develops a rubric that can assist colleges, universities, and communities in providing stronger outcomes for students seeking a career path in dance. This study will serve as a catalyst for inter-academic dialogue to strengthen and advocate the integrity and position of dance education in American colleges and universities.

The history of jazz dance is best understood by comparing it to a tree. The art form's roots are African. Its trunk is vernacular, shaped by European influence, and exemplified by the Charleston and the Lindy Hop. The branches are many and varied and include tap, Broadway, funk, hip-hop, Afro-Caribbean, Latin, pop, club jazz, popping, B-boying, party dances, and much more. Unique in its focus on history rather than technique, Jazz Dance offers the only overview of trends and developments since 1960. Editors Lindsay Guarino and Wendy Oliver have assembled an array of seasoned practitioners and scholars who trace the many histories of jazz dance and examine various aspects of the field, including trends, influences, training, race, gender, aesthetics, the international appeal of jazz dance, and its relationship to tap, rock, indie, black concert dance, and Latin dance. Featuring discussions of such dancers and choreographers as Bob Fosse and Katherine Dunham, as well as analyses of how the form's vocabulary differs from ballet, this complex and compelling history captures the very essence of jazz dance.

Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.

Beginning Hip-Hop Dance is a part of Human Kinetics’ Interactive Dance Series. The series includes resources for ballet, modern, tap, jazz, musical theater, and hip-hop dance that support introductory dance technique courses taught through dance, physical education, and fine arts departments. Each student-friendly text includes a web resource offering video clips of dance instruction, assignments, and activities. The Interactive Dance Series offers students a collection of guides to learning, performing, and viewing dance. …………………………………………………………………………………………………………………………………………. Since its development in the United States in the 1970s, hip-hop has grown to become a global dance phenomenon. In Beginning Hip-Hop Dance, students gain a strong foundation and learn the fundamentals of hip-hop techniques as they venture into the exciting world of this dance genre. Written by dance educator, historian, and scholar E. Moncell Durden, Beginning Hip-Hop Dance gives students the opportunity to explore hip-hop history and techniques, foundational information, and significant works and artists; understand the styles and aesthetics of hip-hop dance as a performing art and cultural art form; and learn about the forms of hip-hop dance, such as locking, waacking, popping and boogaloo, and house. The text comes with a web resource that includes 56 video clips to support student learning and aid in the practice of the techniques. The web resource also offers extended learning activities and prompts for e-journaling to help students understand how the dance form relates to their overall development as a dancer; glossary terms with and without definitions so students can check their knowledge; and chapter review quizzes to help students assess their knowledge and understanding of hip-hop dance and its history, artists, styles, and aesthetics. (The web resource is included with all new print books and some ebooks. For ebook formats that don’t provide access, the web resource is available separately.) As students move through the book, they will learn the BEATS method of exploring hip-hop through body, emotion, action, time, and space. This method opens up the creative and expressive qualities of the movements and helps students to appreciate hip-hop as an art form. Students will also learn how to critique a dance performance and create their own personal style of movement to music. Beginning Hip-Hop Dance is a comprehensive resource that provides beginning dance students—dance majors, minors, or general education students with an interest in dance—a solid foundation in this contemporary cultural dance genre. It intertwines visual, auditory, and kinesthetic modes of learning and offers students the techniques and knowledge to build onto the movements that are presented in the book and video clips. Beginning Hip-Hop Dance is the ideal introduction to this exciting dance genre.

From Oklahoma! and West Side Story, to Spring Awakening and Hamilton, dance remains one of the most important and key factors in musical theatre. Through the integration of song and dance in the 'dream ballets' of choreographers like Agnes De Mille; the triple threat performances of Jerome Robbins' dancers; the signature style creation by choreographers like Bob Fosse with dancers like Gwen Verdon; and the contemporary, identity-driven work of choreographers like Camille A. Brown, the history of the body in movement is one that begs study and appreciation. Dance in Musical Theatre offers guidelines in how to read this movement by analyzing it in terms of composition and movement vocabulary whilst simultaneously situating it both historically and critically. This collection provides the tools, terms, history, and movement theory for reading, interpreting, and centralizing a discussion of dance in musical theatre, importantly, with added emphasis on women and artists of color. Bringing together musical theatre and dance scholars, choreographers and practitioners, this edited collection highlights musical theatre case studies that employ dance in a dramaturgically essential manner, tracking the emergence of the dancer as a key figure in the genre, and connecting the contributions to past and present choreographers. This collection foregrounds the work of the ensemble, incorporating firsthand and autoethnographic accounts that intersect with historical and cultural contexts. Through a selection of essays, this volume conceptualizes the function of dance in musical: how it functions diegetically as a part of the story or non-diegetically as an amplification of emotion, as well as how the dancing body works to reveal character psychology by expressing an unspoken aspect of the libretto, embodying emotions or ideas through metaphor or abstraction. Dance in Musical Theatre makes dance language accessible for instructors, students, and musical theatre enthusiasts, providing the tools to critically engage with the work of important choreographers and dancers from the beginning of the 20th century to today.