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Dancing the World Smaller examines international dance performances in New York City in the 1940s as sites in which dance artists and audiences contested what it meant to practice globalism in mid-twentieth-century America. Debates over globalism in dance proxied larger cultural struggles over how to realize diversity while honoring difference.
Dancing the World Smaller examines international dance performances in New York City in the 1940s as sites in which dance artists and audiences contested what it meant to practice globalism in mid-twentieth-century America. During and after the Second World War, modern dance and ballet thrived in New York City, a fertile cosmopolitan environment in which dance was celebrated as an emblem of American artistic and cultural dominance. In the ensuing Cold War years, American choreographers and companies were among those the U.S. government sent abroad to serve as ambassadors of American cultural values and to extend the nation's geo-political reach. Less-known is that international dance performance, or what was then-called "ethnic" or "ethnologic" dance, enjoyed strong support among audiences in the city and across the nation as well. Produced in non-traditional dance venues, such as the American Museum of Natural History, the Ethnologic Dance Center, and Carnegie Hall, these performances elevated dance as an intercultural bridge across human differences and dance artists as transcultural interlocutors. Dancing the World Smaller draws on extensive archival resources, as well as critical and historical studies of race and ethnicity in the U.S., to uncover a hidden history of globalism in American dance and to see artists such as La Meri, Ruth St. Denis, Asadata Dafora, Pearl Primus, José Limón, Ram Gopal, and Charles Weidman in new light. Debates about how to practice globalism in dance proxied larger cultural struggles over how to reconcile the nation's new role as a global superpower. In dance as in cultural politics, Americans labored over how to realize diversity while honoring difference and manage dueling impulses toward globalism, on the one hand, and isolationism, on the other.
Clickity! Clickity! Long green feet! Who is dancing that clickity beat? Lizard is dancing on clickity feet. Clickity! Clickity! Happy feet! Introducing a get-up-and-dance toddler book-so catchy and rhythmic, you'll almost want to sing it. Lindsey Craig's rollicking text features funny sound words (Tippity! Creepity! Stompity! Thumpity!), dancing animals, a singsong beat, and a guessing element just easy enough for preschoolers to anticipate. Marc Brown's artwork is bright, textured, and joyful, a collage of simple shapes for kids to find and name. So grab a partner and tap your feet to this read-aloud picture-book treat.
This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history—particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text. Ebook Edition Note: Ebook edition note: Five essays have been redacted, including “The Belly Dance: Ancient Ritual to Cabaret Performance,” by Shawna Helland; “Epitome of Korean Folk Dance”, by Lee Kyong-Hee; “Juba and American Minstrelsy,” by Marian Hannah Winter; “The Natural Body,” by Ann Daly; and “Butoh: ‘Twenty Years Ago We Were Crazy, Dirty, and Mad’,”by Bonnie Sue Stein. Eleven of the 41 illustrations in the book have also been redacted.
A collaboration between well-established and rising scholars, Futures of Dance Studies suggests multiple directions for new research in the field. Essays address dance in a wider range of contexts--onstage, on screen, in the studio, and on the street--and deploy methods from diverse disciplines. Engaging African American and African diasporic studies, Latinx and Latin American studies, gender and sexuality studies, and Asian American and Asian studies, this anthology demonstrates the relevance of dance analysis to adjacent fields"--
Adapted from the wildly popular Dancing with Jesus, this humorous kit includes a bobbling Jesus figurine on a suction cup base that you can attach to your dashboard, your desk, or virtually anywhere you could use some peace and tranquility--or to just bring a smile to your face. Kit includes: 3" dancing Jesus bobbling figurine 48-page illustrated mini book including 10 dance moves with how-to instructions, along with the inspiration for each dance derived from Jesus's life and teachings Illustrated conga line backdrop to display with your figurine
Let Your Soul Dance with Delight in God Do you sometimes feel victimized by circumstances? Are you overwhelmed by weariness, fear, or discouragement? Do you wonder, Where can I go to claim the promise of Jesus that my joy could be made full? When trusted author and mentor Sally Clarkson noticed a lack of joy in her own life, she realized how easy it can be, especially for women with overloaded to-do lists, to feel weighed down by drudgery and disappointment. But rather than slogging through her days, Sally wanted to know the delight of God's presence. She began prayerfully exploring how to cultivate deep-rooted joy even in the midst of difficult seasons. In this warm and wise book, she invites you to experience for yourself what happens when you trust God to lead you into a life of anticipation, passion, and purpose. Weaving biblical insights with real-life stories that reflect every Christian woman's deepest longings, Dancing with My Father reveals how any woman, in any circumstance, can daily live in beauty and grace, joy and peace.
“Marvelously silly photographs . . . in addition to those hilarious images, [there is] much helpful instruction for aspiring dancers with cats.” —The New York Times Discover the mystery and magic of cat dancing with this cult classic, filled with scores of delightful and inspiring photographs of people and cats engaging in their favorite dance routines, as well as moving testimonies of the personal transformations brought about through this uniquely joyous form of human-animal connection. Dancing with Cats will have a new generation of cat lovers (and their cats) jumping for joy—and cutting a rug—in no time.
Dance is more than an aesthetic of life – dance embodies life. This is evident from the social history of jive, the marketing of trans-national ballet, ritual healing dances in Italy or folk dances performed for tourists in Mexico, Panama and Canada. Dance often captures those essential dimensions of social life that cannot be easily put into words. What are the flows and movements of dance carried by migrants and tourists? How is dance used to shape nationalist ideology? What are the connections between dance and ethnicity, gender, health, globalization and nationalism, capitalism and post-colonialism? Through innovative and wide-ranging case studies, the contributors explore the central role dance plays in culture as leisure commodity, cultural heritage, cultural aesthetic or cathartic social movement.
The private and performance lives of five female dancers in Western dance history