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Equality Dancesport uses a queer feminist lens to examine the materialisation of gender and sexuality through moving and dancing bodies, by taking readers through the initiation journey of becoming an equality dancesport competitor. A recent shift in the media representation of ballroom dancing on British televised entertainment shows such as Strictly Come Dancing inspired active media discourse around same- sex dance partnerships. Questions arise as to whether and how such partnerships should be screened on television, and the extent to which gender and sexual norms around traditional ballroom dancing should be maintained in its representation. Drawing on autoethnographic research and interviews with dancers in the United Kingdom’s LGBT+ ballroom dance culture, this book illustrates identity work to involve a complex process of striking a balance between transgressing, reinterpreting and reinstating gender norms and heterosexual intimacy in traditional ballroom dancing. It offers an alternative framework for examining performing bodies as sites for discursive and embodied displays, informing future action towards a recognition of more diverse, embodied lives. Contributing to our thinking around sex, gender and sexuality, this book highlights the work involved in the production and performance of gendered and sexual bodies. It will be of interest to students and scholars across the social sciences, in particular those studying sociology, gender, sexuality, queer theory, sports studies, cultural politics, dance and leisure consumption. It will also be of interest to non-academics such as Strictly enthusiasts, dance educators and dancers.
National Dance Education Organization Ruth Lovell Murray Book Award UNCG | Susan W. Stinson Book Award for Dance Education An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language. Contributors: LaTasha Barnes | Lindsay Guarino | Natasha Powell | Carlos R.A. Jones | Rubim de Toledo | Kim Fuller | Wendy Oliver | Joanne Baker | Karen Clemente | Vicki Adams Willis | Julie Kerr-Berry | Pat Taylor | Cory Bowles | Melanie George | Paula J Peters | Patricia Cohen | Brandi Coleman | Kimberley Cooper | Monique Marie Haley | Jamie Freeman Cormack | Adrienne Hawkins | Karen Hubbard | Lynnette Young Overby | Jessie Metcalf McCullough | E. Moncell Durden Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
Competitive ballroom is much more than a style of dance. Rather, it is a continually evolving and increasingly global social and cultural arena: of fashion, performance, art, sport, gender and more. Ballroom explores the intersection of dance cultures, dress and the body. Presenting the author's experiences at an international range of dance events in Europe, the US and UK, as well as featuring the views of individual dancers, the book shows how dancing influences mind and body alike. For students of anthropology, dance, cultural and performance studies, Ballroom provides an ethnographic picture of how dancers and others live their lives both on and off the dance floor.
Focusing on the enactment of identity in dance, Indigenous Dance and Dancing Indian is a cross-cultural, cross-ethnic, and cross-national comparison of indigenous dance practices. Considering four genres of dance in which indigenous people are represented--K'iche Maya traditional dance, powwow, folkloric dance, and dancing sports mascots--the book addresses both the ideational and behavioral dimensions of identity. Each dance is examined as a unique cultural expression in individual chapters, and then all are compared in the conclusion, where striking parallels and important divergences are revealed. Ultimately, Krystal describes how dancers and audiences work to construct and consume satisfying and meaningful identities through dance by either challenging social inequality or reinforcing the present social order. Detailed ethnographic work, thorough case studies, and an insightful narrative voice make Indigenous Dance and Dancing Indian a substantial addition to scholarly literature on dance in the Americas. It will be of interest to scholars of Native American studies, social sciences, and performing arts.
AN INSTANT #1 NEW YORK TIMES BESTSELLER "A charming, wholehearted love story that's sure to make readers swoon."—Entertainment Weekly "Nicola Yoon writes from the heart in this beautiful love story."—Good Morning America “It’s like an emotional gut punch—so beautiful and also heart-wrenching."—US Weekly In this romantic page-turner from the author of Everything, Everything and The Sun is Also a Star, Evie has the power to see other people’s romantic fates—what will happen when she finally sees her own? Evie Thomas doesn't believe in love anymore. Especially after the strangest thing occurs one otherwise ordinary afternoon: She witnesses a couple kiss and is overcome with a vision of how their romance began . . . and how it will end. After all, even the greatest love stories end with a broken heart, eventually. As Evie tries to understand why this is happening, she finds herself at La Brea Dance Studio, learning to waltz, fox-trot, and tango with a boy named X. X is everything that Evie is not: adventurous, passionate, daring. His philosophy is to say yes to everything--including entering a ballroom dance competition with a girl he's only just met. Falling for X is definitely not what Evie had in mind. If her visions of heartbreak have taught her anything, it's that no one escapes love unscathed. But as she and X dance around and toward each other, Evie is forced to question all she thought she knew about life and love. In the end, is love worth the risk?
A tune-filled, light-footed people’s history of ballroom dancing, from Vernon and Irene Castle and Arthur Murray to Dancing with the Stars. In the early twentieth century, American ragtime and the Parisian Tango fueled a dancing craze in Britain. Public ballrooms—which had never been seen before—were built throughout the country, providing a glamorous setting for all classes to dance. The new styles of dance being defined and taught in the 1920s, as well as the films of Fred Astaire and Ginger Rogers in the 1930s, ensured that ballroom dancing continued to be the most popular pastime until the 1960s, rivaled only by the cinema. This book explores the vibrant history of Ballroom and Latin: the dances, the lavish venues, competitions, and influential instructors. It also traces the decline of competitive dancing and its resurgence in recent years with the hugely popular TV shows Strictly Come Dancing and Dancing with the Stars.
Dance Pedagogy is a comprehensive resource designed for dance students and teaching artists to develop skills and strategies in the multifaceted practice of teaching dance. This invaluable resource features essential components and considerations necessary for the dance teacher in any setting, including the private and community sector, university setting, and professional venues. Five distinct units provide insight into the paradigm, learning process, class environment factors, planning, and delivery of the dance class in a broad context through the use of examples within the dance forms of ballet, jazz, modern, tap, and hip-hop. Readers intently explore cognitive and motor learning, strategies for developing curricula and lesson plans, and methods of delivering material to students. Basic principles of anatomy, understanding student behavior and participation, the importance of diversity, equity, inclusion and accessibility (IDEA), music concepts for the dancer, injury prevention, and classroom management are included to provide a well-rounded approach to the many challenges faced in the classroom. Dance Pedagogy provides the most holistic approach available in the art of teaching dance and is a core textbook for academic courses related to Dance Teaching Methods as well as an invaluable handbook for practicing dance teachers.
First published in 1985, the Handbook for Achieving Gender Equity Through Education quickly established itself as the essential reference work concerning gender equity in education. This new, expanded edition provides a 20-year retrospective of the field, one that has the great advantage of documenting U.S. national data on the gains and losses in the efforts to advance gender equality through policies such as Title IX, the landmark federal law prohibiting sex discrimination in education, equity programs and research. Key features include: Expertise – Like its predecessor, over 200 expert authors and reviewers provide accurate, consensus, research-based information on the nature of gender equity challenges and what is needed to meet them at all levels of education. Content Area Focus – The analysis of gender equity within specific curriculum areas has been expanded from 6 to 10 chapters including mathematics, science, and engineering. Global/Diversity Focus – Global gender equity is addressed in a separate chapter as well as in numerous other chapters. The expanded section on gender equity strategies for diverse populations contains seven chapters on African Americans, Latina/os, Asian and Pacific Island Americans, American Indians, gifted students, students with disabilities, and lesbian, gay, bisexual, and transgender students. Action Oriented – All chapters contain practical recommendations for making education activities and outcomes more gender equitable. A final chapter consolidates individual chapter recommendations for educators, policymakers, and researchers to achieve gender equity in and through education. New Material – Expanded from 25 to 31 chapters, this new edition includes: *more emphasis on male gender equity and on sexuality issues; *special within population gender equity challenges (race, ability and disability, etc); *coeducation and single sex education; *increased use of rigorous research strategies such as meta-analysis showing more sex similarities and fewer sex differences and of evaluations of implementation programs; *technology and gender equity is now treated in three chapters; *women’s and gender studies; *communication skills relating to English, bilingual, and foreign language learning; and *history and implementation of Title IX and other federal and state policies. Since there is so much misleading information about gender equity and education, this Handbook will be essential for anyone who wants accurate, research-based information on controversial gender equity issues—journalists, policy makers, teachers, Title IX coordinators, equity trainers, women’s and gender study faculty, students, and parents.
Responding to recent evolutions in the fields of dance and religious and secular studies, The Oxford Handbook of Jewishness and Dance documents and celebrates the significant impact of Jewish identity on a variety of communities and the dance world writ large. Focusing on North America, Europe, and Israel in the twentieth and twenty-first centuries, this Handbook highlights the sometimes surprising, often hidden and overlooked Jewish resonances within a range of styles from modern and postmodern dance to folk dance and flamenco. Privileging the historically marginalized voices of scholars, performers, and instructors the Handbook considers the powerful role of dance in addressing difference, such as between American and Israeli Jewish communities. In the process, contributors advocate values of social justice, like Tikkun Olam (repair of the world), debate, and humor, exploring the fascinating and potentially uncomfortable contradictions and ambiguities that characterize this robust area of research.
For some people, at some times, in some places, on some drugs, dance music can be a gateway to transformative, even transcendent experiences. With the help of skilled DJs, dancers can reach euphoric states, discard their egos, and feel social barriers dissolve. Dance floors can be sites of openness, subversion, and even small-scale acts of political resistance. At a minimum, dance music lightens the burdens of contemporary life. At its best, dance music offers glimpses of better worlds. Yet even where dance music communities are built on principles of resistance and liberation, they nevertheless share the grittier realities of the rest of the world. Dance Music makes the case that dance music is ordinary and that something exceeding the social and spatiotemporal bounds of the dance floor is required for the transformative promise of dance music to be realized.