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Cho Norie, twenty-seven and originally from Taiwan, is working an office job in Tokyo. While her colleagues worry about the economy, life-insurance policies, marriage, and children, she is forced to keep her unconventional life hidden--including her sexuality and the violent attack that prompted her move to Japan. There is also her unusual fascination with death: she knows from personal experience how devastating death can be, but for her it is also creative fuel. Solo Dance depicts the painful coming of age of a gay person in Taiwan and corporate Japan. This striking debut is an intimate and powerful account of a search for hope after trauma.
More Dance Improvisations builds on the success of its predecessor, Dance Improvisations, and offers 78 brand-new activities that have been tested and refined by author Justine Reeve, a veteran dance instructor and choreographer. This text offers a wealth of creative ideas that instructors can use to help their dancers explore and experience movement. The 78 improvisation tasks and exercises support all portions of a dance class, from improvisation lessons, warm-ups, and games that stimulate creativity to choreographic tasks for creating movement material. These new activities will provide an invaluable source of creative ideas for all dancers, including those who are exploring their own professional practice. More Dance Improvisations offers expert instruction in planning, teaching, and assessing students’ improvisations; a choreographic toolkit and glossary of dance and choreographic terms; step-by-step instruction and teaching tips that will save instructors preparation time; and extensions of each improv to aid further exploration and development of the improvisation skills. Instructors can use the improvs for individual lessons or in developing an entire lesson plan. “The improvisation tasks and exercises will encourage dancers’ imaginative responses to a varied selection of stimuli, whether alone or in groups,” says author Justine Reeve. “These improvisations will give dancers the keys to unlock ideas that they will find useful on their choreographic journey.” After an introductory chapter that covers many important topics on conducting safe and effective practices and workshops and on how to use the book, the text moves into its first set of improvisations: warm-up games. These games develop quick thinking, group thinking, movement communication, and an awareness of the needs and movements of others. The next two chapters explore solo and duo improvisations as well as group creative tasks. Each improvisation task has a brief description, an image, numbered tasks for clarity, a teaching tip, and ideas to take the task further or develop the dance idea as appropriate. Chapter 5 explores how the physical and aural setting can lead to creating interesting and considered dance. Chapter 6 encourages dancers to use movements, phrases, and sequences created in previous tasks to develop and structure the movement material into something new. “These games, tasks, ideas, stimuli, and developments are here to give instructors and students a little push to find creative vision, explore movement, and discover how these ideas can be developed, adapted, and structured,” says Reeve. “Instructors will find new ways to help their dancers create original movements through both individual and group activities, and students will gain inspiration through using these improvisations.” More Dance Improvisations promotes creativity that leads to innovative breakthroughs for students from middle school through college. It is the perfect resource to help dancers enjoy their exploration of movement and dance as they gain greater awareness of the capabilities they possess.
Through a series of imaginative approaches to movement and performance, choreographer Deborah Hay presents a profound reflection on the ephemeral nature of the self and the body as the locus of artistic consciousness. Using the same uniquely playful poetics of her revolutionary choreography, she delivers one of the most revealing accounts of what art creation entails and the ways in which the body, the center of our aesthetic knowledge of the world, can be regarded as our most informed teacher. My Body, The Buddhist becomes a way into Hay's choreographic techniques, a gloss on her philosophy of the body (which shares much with Buddhism), and an extraordinary artist's primer. The book is composed of nineteen short chapters ("my body likes to rest," "my body finds energy in surrender," "my body is bored by answers"), each an example of what Susan Foster calls Hay's "daily attentiveness to the body's articulateness."