In her unique collection of the verbal language of dance practitioners and researchers, Valerie Preston-Dunlop presents a comprehensive view of people in dance: what they do, their movement, their sound, and the space in which they work - from the standpoint of the performers, choreographers, audiences, administrators, and teachers. The words and phrases of their technical and vernacular languages, which are used to communicate what is essentially a non-verbal activity, have been collected in rehearsal classes and workshops by interviews, and from published sources. In this first collection of its kind Valerie Preston-Dunlop extends her selection of verbal language to include the various social and theatrical domains of dance.

Gendered Power Dynamics and Exotic Dance examines the social phenomenon of exotic dancing. Presenting a compelling multilevel analysis of dancer interactions, organizational practices, and institutional forces, this book challenges our understanding of sexuality and power. Centering the voices and experiences of exotic dancers, this book explores the relationship between exotic dancing and power at the micro-interactional, meso-organizational, and macro-institutional levels, informing a feminist theory of power that seeks out systems of domination in order to challenge and change them. Through direct interviews and observations collected between 1993 and 2021 from 40 different clubs in the United States, Deshotels and Forsyth demystify the seemingly contrary findings about exotic dancing and power. They show how and why individual dancers can be simultaneously empowered and exploited beyond individual traits, interactions, or settings in the nexus of gender and power in exotic dancing. The book will be useful for scholarly readers in the subject areas of sociology, cultural studies, gender/sexualities studies, sex work, and organizations theory. Written in a clear, accessible manner, this book will also appeal to a general audience interested in understanding the complex interactions of gender, power, feminism, and exotic dance.

The choreographies of Bill T. Jones, Cleveland Ballet Dancing Wheels, Zab Maboungou, David Dorfman, Marie Chouinard, Jawole Willa Jo Zollar, and others, have helped establish dance as a crucial discourse of the 90s. These dancers, Ann Cooper Albright argues, are asking the audience to see the body as a source of cultural identity — a physical presence that moves with and through its gendered, racial, and social meanings. Through her articulate and nuanced analysis of contemporary choreography, Albright shows how the dancing body shifts conventions of representation and provides a critical example of the dialectical relationship between cultures and the bodies that inhabit them. As a dancer, feminist, and philosopher, Albright turns to the material experience of bodies, not just the body as a figure or metaphor, to understand how cultural representation becomes embedded in the body. In arguing for the intelligence of bodies, Choreographing Difference is itself a testimonial, giving voice to some important political, moral, and artistic questions of our time. Ebook Edition Note: All images have been redacted.

Franklin provides 583 imagery exercises to improve dance technique, artistic expression and performance. More than 160 illustrations highlight the images, and the exercises can be put to use in dance movement and choreography.

THE MOLDOVA MCQ (MULTIPLE CHOICE QUESTIONS) SERVES AS A VALUABLE RESOURCE FOR INDIVIDUALS AIMING TO DEEPEN THEIR UNDERSTANDING OF VARIOUS COMPETITIVE EXAMS, CLASS TESTS, QUIZ COMPETITIONS, AND SIMILAR ASSESSMENTS. WITH ITS EXTENSIVE COLLECTION OF MCQS, THIS BOOK EMPOWERS YOU TO ASSESS YOUR GRASP OF THE SUBJECT MATTER AND YOUR PROFICIENCY LEVEL. BY ENGAGING WITH THESE MULTIPLE-CHOICE QUESTIONS, YOU CAN IMPROVE YOUR KNOWLEDGE OF THE SUBJECT, IDENTIFY AREAS FOR IMPROVEMENT, AND LAY A SOLID FOUNDATION. DIVE INTO THE MOLDOVA MCQ TO EXPAND YOUR MOLDOVA KNOWLEDGE AND EXCEL IN QUIZ COMPETITIONS, ACADEMIC STUDIES, OR PROFESSIONAL ENDEAVORS. THE ANSWERS TO THE QUESTIONS ARE PROVIDED AT THE END OF EACH PAGE, MAKING IT EASY FOR PARTICIPANTS TO VERIFY THEIR ANSWERS AND PREPARE EFFECTIVELY.

This comprehensive book will serve as a step-by-step guide to Laban/Bartenieff Movement Analysis, updating and expanding concepts and practices. Following extensive research on the method developed by Rudolf von Laban and his disciples, this book explains movement principles, exercises, and motif symbols in detail. Organized according to the four categories of Laban/Bartenieff Movement Analysis (Body-Effort-Shape-Space), additional chapters present the different developments of the theory in relation to performing arts and movement therapy. The author draws on Laban/Bartenieff Movement Analysis as a dynamic and connective approach, traveling from classroom and studio to everyday life, stage performance, and film acting. The Laban perspective serves as a multimedia artistic viewpoint, intertwining theory, learning, and imagery. This unique approach to this internationally used method is essential reading for educators and students of dance and other performing arts and movement-related professions.

On dance and culture

The history of dance theory has never been told. Writers in every age have theorized prescriptively, according to their own needs and ideals, and theorists themselves having continually asserted the lack of any pre-existing dance theory. Dance Theory: Source Readings from Two Millenia of Western Dance revives and reintegrates dance theory as a field of historical dance studies, presenting a coherent reading of the interaction of theory and practice during two millennia of dance history. In fifty-five selected readings with explanatory text, this book follows the various constructions of dance theories as they have morphed and evolved in time, from ancient Greece to the twenty-first century. Dance Theory is a collection of source readings that, commensurate with current teaching practice, foregrounds dance and performance theory in its presentation of western dance forms. Divided into nine chapters organized chronologically by historical era and predominant intellectual and artistic currents, the book presents a history of an idea from one generation to another. Each chapter contains introductions that not only provide context and significance for the individual source readings, but also create narrative threads that link different chapters and time periods. Based entirely on primary sources, the book makes no claim to cite every source, but rather, in connecting the dots between significant high points, it attempts to trace a coherent and fair narrative of the evolution of dance theory as a concept in Western culture.

KIRKUS REVIEWS excerpted for book /website Discover or rediscover the essentials of good ballet technique in this comprehensive, accessible book. Ballet has a reputation as a beautiful but intimidating art form, and those who lack natural flexibility or a typical dancer s body may feel unwelcome in a ballet studio. In his first book, former professional dancer and longtime instructor Jhung dispels that notion, reminding students and teachers of the pure joy that dance can bring while offering clear guidance on how to move with grace and confidence and avoid injury. He talks candidly about his own struggles with demanding classical technique and explains how he eventually learned to work with his body, rather than against it, when dancing. Jhung doesn t demand perfect turnout or high battements from his students; instead, he emphasizes proper posture and alignment, which he convincingly argues are the real foundation of good dance. With that in mind, he moves through a series of exercises, from simple stretches and basic barre work to more advanced center work involving turns and jumps. Lessons begin with an outline of the specific movements and are followed by a detailed analysis of each exercise so that readers will understand why it s essential to perfect simple steps before moving on to more complex choreography. These initial lessons are clearly explained and are easy to follow even for those with no prior ballet training. Throughout, Jhung maintains his encouraging, supportive tone while also discouraging the sloppiness and overreach that leads to strained, inelegant movement valuable lessons for beginners and advanced students alike. A fresh, friendly guide that demystifies classical ballet while providing clear guidance on how to be a better dancer."