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Dance Music Spaces examines the production of physical and digital spaces in dance music, and how the players—clubs, clubbers, and DJs—use authenticity, branding, and commercialism to navigate them. An in-depth study into three women DJs—The Blessed Madonna, Honey Dijon, and Peggy Gou—reveals a new concept, “authenticity maneuvering.” In it Danielle Hidalgo exposes how the strategic use of a rave ethos both bolsters acceptance in dance music spaces and hides often problematic commercial practices. This timely, thoughtful, and deeply personal book presents a compelling analysis of the complicated interplay between dancing bodies, digital practices, and spatial offerings in contemporary dance music.
"Takes as its point of departure diverse conventions of and perspectives on practices and discourses in dance. The anthology is strongly motivated by the fact that space continues to be explored and debated within dance practices and studies as well as the human sciences more generally. Yet, there are still only few publications offering a contemporary view on how the relation between movement and space can be tied to the descriptions and analyses of actual movement practice. Already owing to its embodied nature, dance is essentially spatial. It forms, produces, and takes place in space. It is thus no coincidence that dance studies have increasingly begun to address the complex issue of movement and space. This anthology aims to link conceptual descriptions that concern space as process and in process to the undertakings of specific movement practices in dance. The articles in the anthology address how historical and geopolitical influences impact our understanding and practice of dance art. In them, the kinds of spaces and interrelationships, which different forms of dancing generate, are considered. Aspects of embodied space that dancing relies upon are likewise discussed. Through case examples, the articles take a closer look on how recent artistic practice in dance utilises given environments and constructs space." -- Back cover.
Social Partner Dance: Body, Sound, and Space is an ethnographic theory of social partner dancing built on participant observation and interviews with instructors of tango, lindy hop, salsa, blues, and various other forms. The work establishes a general analytical language for the study of these dances, based on the premise that a thorough understanding of any lead/follow form must consider in depth how it manages the four-part relationship between self, partner, music, and surroundings. Each chapter begins with a brief vignette on a distinct dance form and explores the focused worlds of partnered dancing done for the joy and entertainment of the dancers themselves. Grounded intellectually in embodiment studies and sensory ethnography, and empirically in ethnographic fieldwork, Social Partner Dance promotes scholarship that understands the social, cultural, and political functions of partner dance through its embodied practice.
This book contains readings of American, British and European postmodern dances informed by feminist, postcolonialist, queer and poststructuralist theories. It explores the roles dance and space play in constructing subjectivity. By focusing on site-specific dance, the mutual construction of bodies and spaces, body-space interfaces and 'in-between spaces', the dances and dance films are read 'against the grain' to reveal their potential for troubling conventional notions of subjectivity associated with a white, Western, heterosexual able-bodied, male norm.
This book discusses the challenges and possibilities of preserving dance in order to keep dances, performances, and choreographers' legacies alive so that the dancers of today and tomorrow can experience and learn from those of the past. This book was originally published as a special issue of Dance Chronicle: Studies in Dance and the Related Arts.
The book looks at dance at the beginnings of the 20th century, the time during which modern dance first began to make its radical departure from the aesthetics of classical ballet. Author Gabriele Brandstetter traces modern dance's connection to new innovations and trends in visual and literary arts to argue that modern dance is in fact the preeminent symbol of modernity.
Performing Architectures offers a coherent introduction to the fields of performance and contemporary architecture, exploring the significance of architecture for performance theory and theatre and performance practice. It maps the diverse relations that exist between these disciplines and demonstrates how their aims, concerns and practices overlap through shared interests in space, action and event. Through a wide range of international examples and contributions from scholars and practitioners, it offers readers an analytical survey of current practices and equips them with the tools for analyzing site-specific and immersive theatre and performance. The essays in this volume, contributed by leading theorists and practitioners from both disciplines, focus on three key sites of encounter: * Projects: examines recent trends in architecture for performance; * Practices: looks at cross-currents in artistic practice, including spatial dramaturgies, performance architectonics and performative architectures; and * Pedagogies: considers the uses of performance in architectural education and architecture in teaching performance. The volume provides an essential introduction to the ways in which performance and architecture, as socio-spatial processes and as things made or constructed, operate as generating, shaping and steering forces in understanding and performing the other.
Dance plays an important role in many religious traditions, in rites of passage, processions, healing rituals or festivals. But it is also controversial, especially in Christianity. Colonial European Christian discourses tend to separate dance from religion(s) and spirituality. This volume explores dance as "Third Space", following Homi Bhabha's postcolonial metaphor. The "Inter-Dance approach" combines interdisciplinary theoretical considerations with case studies. International experts examine dance controversies and discourses from the early church to World Christianity, as well as in Hasidic Judaism, Greek mysteries, Islamic Sufism, West African Togolese religions, and Afro-Brazilian Umbanda. Christian dance theologies are unfolded and the boundary-crossing potential of dance in interreligious and intercultural encounters is explored. The volume breaks new ground in how dance as ephemeral performative art, embodied thought and gendered discourse can transform studies of religion.
Dance is the art least susceptible to preservation since its embodied, kinaesthetic nature has proven difficult to capture in notation and even in still or moving images. However, frameworks have been established and guidance made available for keeping dances, performances, and choreographers’ legacies alive so that the dancers of today and tomorrow can experience and learn from the dances and dancers of the past. In this volume, a range of voices address the issue of dance preservation through memory, artistic choice, interpretation, imagery and notation, as well as looking at relevant archives, legal structures, documentation and artefacts. The intertwining of dance preservation and creativity is a core theme discussed throughout this text, pointing to the essential continuity of dance history and dance innovation. The demands of preservation stretch across time, geographies, institutions and interpersonal connections, and this book focuses on the fascinating web that supports the fragile yet urgent effort to sustain our dancing heritage. The articles in this book were originally published in the journal Dance Chronicle: Studies in Dance and the Related Arts.