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Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.
Rebecca Stenn and Fran Kirmser have spent decades supporting and encouraging young dancers. They know that in addition to the immense passion and commitment that a dancer needs, a working knowledge of the financial and practical aspects of a life in dance are equally important. With A Life in Dance,Stenn and Kirmser give you resources to help you book a rehearsal space; obtain a legal representative and a tax preparer; find auditions; apply for grants; acquire health insurance; meet photographers, agents, publicists, and consultants; pay off student loan assistance; and begin financial planning. Stenn and Kirmser have also compiled narratives from some of the industry's most critically acclaimed performers to give you a glimpse into the life of a professional dancer. Brittany Schmid shows you what life is like for a dancer one year out of college. Wendy Osserman shows you what life is like fifty years out. Hamilton dancer Kamille Upshaw gives you tips on auditioning while choreographers from So You Think You Can Dance debate the benefits of live stage performance and television shows. Other stories include nuanced discussions about race in dance, mindful dancing, and the role of social media in the performing arts.
On dance and culture
Queer Dance challenges social norms and enacts queer coalition across the LGBTQ community. The book joins forces with feminist, anti-racist, and anti-colonial work to consider how bodies are forces of social change.
A conceptual framework for understanding the development of improvised dance in late 20th-century America
There is no archive or museum of human movement, no place where choreographies can be collected and conserved in pristine form. The central consequence of this is the incapacity of philosophy and aesthetics to think of dance as a positive and empirical art. In the eyes of philosophers, dance refers to a space other than art, considered both more frivolous and more fundamental than the artwork without ever quite attaining the status of a work. Unworking Choreography develops this idea and postulates an unworking as evidenced by a conspicuous absence of references to actual choreographic works within philosophical accounts of dance; the late development and partial dominance of the notion of the work in dance in contrast to other art forms such as painting, music, and theatre; the difficulties in identifying dance works given a lack of scores and an apparent resistance within the art form to the possibility of notation; and the questioning of ends of dance in contemporary practice and the relativisation of the very idea that dance artistic or choreographic processes aim at work production.
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.
Get ready to bop, bounce, and shake with this board book edition ofthe hit picture book from the acclaimed author of Alfie and Fraidyzoo There are so many ways to dance! You can jiggle or wiggle or stomp. You can bop or bounce or go completely nuts. You can dance at the market or the bus stop, with your fingers or your face. You can dance because you’re happy or even because you’re sad. But, what’s the best way to dance? Exactly how you want to! In How Do You Dance?, award-wining author-illustrator Thyra Heder explores dance in all of its creativity, humor, and—most of all—joy, in a celebration of personal expression that will inspire young and old readers alike to get up and get moving.
Deluxe -- Thank You -- Pelham Road -- There Is No Mike Here -- Things People Said: An Essay in Seven Steps -- Temporary Talismans -- Six Hours from Anywhere You Want to Be -- No One Is Ordinary; Everyone Is Ordinary -- Ring Theory -- Saris and Sorrows -- Voice Texting with My Mother.
The Idea of Dance is a culmination of Kathak Guru Pandit Shyamal Maharaj’s five-decade-long career as star performer and then beloved Guru to thousands of students. An alumnus of Visva-Bharati, Shantiniketan, and Kathak Kendra, New Delhi, Pandit Shyamal Maharaj has developed a unique style of Kathak, based on the Lucknow Gharana. This book exemplifies the Guru–Shishya parampara as the renowned Guru shares his in-depth knowledge of dance through it with students of Indian classical dance based in India and abroad. The Idea of Dance is based on the syllabus provided by Pracheen Kala Kendra, Chandigarh, and various universities and is meant for students from Prarambhik Part I to those in their Seventh Year of Indian classical dance as well as for all others who have a deep interest in Indian classical dance and wish to acquire knowledge about it.