​This book investigates the global hub airport as an exemplar of cosmopolitan culture and space. A machine made for movement, itself perched at the crossroads of the world’s incessant mobility, the airport is both a symbol of and stage for the ways in which we construct and inhabit the world today. Taking an ethnographically-inflected approach, this study brings together knowledge of the moving body from dance and performance and the study of systems of mobility within cultural and mobilities studies, in order to call attention to the kinaesthetic experience of global space. What is the choreography of the global airport? How does it perform on us. How do we perform within it? Extending thinking about contemporary cosmopolitanism and cultural identity, and the performativity of places and identities, this book is essential reading for those interested in cultural debates around globalisation, the innovative application of performance theory towards everyday experience, and interdisciplinary methodologies.

This book offers new ways of thinking about dance-related artworks that have taken place in galleries, museums and biennales over the past two decades as part of the choreographic turn. It focuses on the concept of intersubjectivity and theorises about what happens when subjects meet within a performance artwork. The resulting relations are crucial to instances of performance art in which embodied subjects engage as spectators, participants and performers in orchestrated art events. Choreographing Intersubjectivity in Performance Art deploys a multi-disciplinary approach across dance choreography and evolving manifestations of performance art. An innovative, overarching concept of choreography sustains the idea that intersubjectivity evolves through places, spaces, performance and spectatorship. Drawing upon international examples, the book introduces readers to performance art from the South Pacific and the complexities of de-colonising choreography. Artists Tino Sehgal, Xavier Le Roy, Jordan Wolfson, Alicia Frankovich and Shigeyuki Kihara are discussed.

FROM POPULAR AUTHOR OF LGBTQIA ROMANCE JASON WRENCH Book two in the Love and Liquidation series Unseen enemies, hidden agendas and a love that defies all odds... The battle against extremism gets personal. Graduate student Blayne Dickenson and boy-band member Ethan Bond are jolted out of their lives when a concert takes a deadly turn, marking the beginnings of a meticulously planned coup on the shadowy organization known as The Foundation. An unexpected, injured visitor thrusts them deeper into this chaos, revealing a conspiracy against Pennington University. As threats mount, Blayne and Ethan' s bond becomes their anchor amid the chaos. Yet, when caught in the crosshairs of a vengeful vendetta, can their love withstand the onslaught? By some, they are honored as heroes, but their accolades come with perilous consequences. A lethal threat shadows their every step, demanding a perilous dance of wit and courage. Can they avert a catastrophic blow from a homegrown extremist group, or will their world crumble? Will their relationship with The Foundation take unexpected twists?

Architecture and Choreography: Collaborations in Dance, Space and Time examines the field of archi-choreographic experiments—unique interdisciplinary encounters and performed events generated through collaborations between architects and choreographers. Forty case studies spanning four decades give evidence of the range of motivations for embarking on these creative endeavors and diverse conceptual underpinnings, generative methods, objects of inquiry, and outcomes. Architecture and Choreography builds histories and theories through which to examine these works, the contexts within, and processes through which the works emerged, and the critical questions they raise about ways to work together, sites and citations, ethics and equity, control and agency. Three themes frame pairs of chapters. The first addresses disciplinarity through works that critically reflect upon their discipline’s tools, techniques, and conventions juxtaposed against projects that cite or use other art forms and cultural phenomena as source material. The second interrogates space and the role of spatial dispositifs, institutions, and sites, and their hidden and not-so-hidden conditions, as conceptual drivers and structures to subvert, trouble, unsettle, remember. The third asks who and what dances, finding a spectrum from mobilized architectural bodies to more-than-human cybarcorps. Modes of collaboration and the temporalities and life cycles of projects inform bookending chapters. Architecture and Choreography offers vital lessons not only for architects and choreographers but also for students and practitioners across design and performance fields.

Fully revised and updated, this second edition of Contemporary Choreography presents a range of articles covering choreographic enquiry, investigation into the creative process, and innovative challenges to traditional understandings of dance making. Contributions from a global range of practitioners and researchers address a spectrum of concerns in the field, organized into seven broad domains: Conceptual and philosophical concerns Processes of making Dance dramaturgy: structures, relationships, contexts Choreographic environments Cultural and intercultural contexts Challenging aesthetics Choreographic relationships with technology. Including 23 new chapters and 10 updated ones, Contemporary Choreography captures the essence and progress of choreography in the twenty-first century, supporting and encouraging rigorous thinking and research for future generations of dance practitioners and scholars.

A new contribution to studies in choreography, Writing Choreography: Textualities of and beyond Dance focuses upon language and writing-based approaches to choreographing from the perspectives of artists and researchers active in the Nordic and Oceanic contexts. Through the contributions of 15 dance–artists, choreographers, dramaturges, writers, interdisciplinary artists and artist–researchers, the volume highlights diverse textual choreographic processes and outcomes arguing for their relevance to present-day practices of expanded choreography. The anthology introduces some Western trends related to utilizing writing, text and language in choreographic processes. In its focus on art-making processes, it likewise offers insight into how performance can be transcribed into writing, how practices of writing choreograph and how choreography can be a process of writing with. Readers, such as dancers, choreographers, students in higher education of these fields as well as researchers in choreography, gain understanding about different experimental forms of writing forwarded by diverse choreographers and how writing is the motional organisation of images, signs, words and texts. The volume presents a new strand in expanded choreography and acts as inspiration for its continued evolution that engenders new adaptations between language, writing and choreography. Ideal for students, scholars and researchers of choreography and dance studies.

"Everything is Choreography: The Musical Theater of Tommy Tune is the first full-scale analysis of the work of Tommy Tune, and his place in a lineage of Broadway's great director-choreographers. The decade of the 1980s was considered a low point for the American musical. Tune's predecessors in the art of complete musical staging like Jerome Robbins, Bob Fosse, Gower Champion, and Michael Bennett were either dead or withdrawn from the Broadway arena. Yet it was the period of Tune's greatest success. The book examines how he adapted to an increasingly corporatized, high-stakes producing and funding environment. It considers how Tune kept the American musical a thriving, creative enterprise at a time when Broadway was dominated by British imports. It investigates Tune's work of the last twenty-five years, when he shifted his attentions to touring and regional productions, far from the glare of Broadway. Unlike his fellow director-choreographers, Tune also maintained a successful performing career, and the book details the deft balancing act that kept him working as a popular singer-dancer-actor while directing a series of striking and influential Broadway musicals"--

One of Amazon's Best Romances of March! Love takes flight in a collection of sexy, fun novellas all set at the airport from the acclaimed author of The Fastest Way to Fall. The Love Connection An airport pet groomer meets her frequent-flier crush and finds herself in a fake-dating situation with a professional risk assessor who moonlights as a romance author. The Missed Connection Two strangers share a romantic night only to discover months later that they're professional rivals about to embark on an extended business trip together in this grumpy-meets-sunshine romance. The Sweetest Connection Two best friends have one week to return a lost love letter found in a candy store at the airport—and work up the courage to confess the deep feelings between them—before one of them leaves the country.

This manuscript is a template about “Whistle Blowing” in an organization designed for economist voters. “Court of Record” shows the author’s stand on truth for the protection of our children due to threats by various translations of either Biblical or religious texts to making them illegitimate bargaining chips. Administratively, our CF uniforms leave women open to degradation. My license to a privilege of marriage, in contrast to the construction of Capital investment involving conjugal relationships has shown a discrepancy between words like dower and dowry for those of us entitled to a sign of respect under our National Flag. Additionally and historically, the necessity for the Maple Leaf as opposed to corporeal punishment of both men and women in an area of Correctional Institutions should have supported the belief that even a low ranking officer is still an officer deserving of merit without question. This manuscript draws on the parallels of lives met with those of the solid angle of a mathematical omega. It also factually documents that I am not responsible for the red book of criminal codes given to my son. I am, however, responsible for the welfare of his name’s sake in Canada. The Red Book is a preventable threat to my family and to every man, woman and child. The local law enforcement, supporting the LGBT-Q flag, has gone too far using our resources against us as a type of entrapment where women have no say: Period.