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In Appalachian Dance: Creativity and Continuity in Six Communities, Susan Eike Spalding brings to bear twenty-five years' worth of rich interviews with black and white Virginians, Tennesseeans, and Kentuckians to explore the evolution and social uses of dance in each region. Spalding analyzes how issues as disparate as industrialization around coal, plantation culture, race relations, and the 1970s folk revival influenced freestyle clogging and other dance forms like square dancing in profound ways. She reveals how African Americans and Native Americans, as well as European immigrants drawn to the timber mills and coal fields, brought movement styles that added to local dance vocabularies. Placing each community in its sociopolitical and economic context, Spalding analyzes how the formal and stylistic nuances found in Appalachian dance reflect the beliefs, shared understandings, and experiences of the community at large, paying particular attention to both regional and racial diversity. Written in clear and accessible prose, Appalachian Dance is a lively addition to the literature and a bold contribution to scholarship concerned with the meaning of movement and the ever-changing nature of tradition.
A picture book about the making of Martha Graham's Appalachian Spring, her most famous dance performance Martha Graham : trailblazing choreographer Aaron Copland : distinguished American composer Isamu Noguchi : artist, sculptor, craftsman Award-winning authors Jan Greenberg and Sandra Jordan tell the story behind the scenes of the collaboration that created APPALACHIAN SPRING, from its inception through the score's composition to Martha's intense rehearsal process. The authors' collaborator is two-time Sibert Honor winner Brian Floca, whose vivid watercolors bring both the process and the performance to life.
Appalachian Spring is perhaps the most popular work by Aaron Copland (1900–1990). Composed as a ballet for the renowned choreographer Martha Graham (1894–1991), it was the result of a close collaboration between Copland and Graham, and the music quickly took on a life of its own. However, the best known versions of the score, those most frequently recorded and heard in concert, differ in form and musical content from the original ballet, which was scored for a chamber ensemble of thirteen instruments and premiered by the Martha Graham Dance Company at the Library of Congress on 30 October 1944. This edition presents the first completed engraving of the original version of Appalachian Spring, providing musicians and scholars access to the score as it has been performed for more than 75 years by the Graham Company. On each page of the score, the editors have included stills from the 1958 film of the ballet, with Graham dancing the lead role, in order to highlight the connection between music and dance. An introductory essay explores the creation of the work, the musical structure, the origins of and differences among multiple versions of the score, and the continued significance and influence of Copland’s music. The critical commentary draws on manuscript and published sources, as well as Graham Company performance practice, to illuminate editorial decisions. The edition also includes appendices that present a comparison of historical tempi, markings from the Graham tradition for augmenting the orchestration, and a selected discography of different versions of the score.
Compiled by musician/folklorist Mike Seeger and dancer Ruth Pershing, Talking Feet introduces us to dancers from the Appalachian, Piedmont, and Blue Ridge Mountain regions of the South. In its various forms—flatfooting, buckdancing, hoedown, rural tap or clogging—Southern dancing involves a great deal of personal style and innovation as dancers create the rhythm of old-time country music—talking blues, bluegrass, hand-patting and western swing. Traditionally, people have danced at corn shuckings, apron hemmings, weddings, and house parties. Nowadays, clog dancers compete at festivals and competitions. Talking Feet is a precious record of the experience of old-timers and an inspiration to younger enthusiasts who want to absorb the tradition and make it their own.
A commission and its context -- The creation of a dance piece -- Appalachian spring performed -- Americana between war and peace -- An American icon
A collection of poems centered around life in Appalachia addresses topics ranging from the marginalization of the region's people to the environmental degradation it has endured throughout history.
This book investigates how Pragmatist philosophy as a philosophical method contributes to the understanding and practice of interdisciplinary dance research. It uses the author's own practice-based research project, Later Rain, to illustrate this. Later Rain is a post-dramatic dance theater work that engages primarily with issues in the philosophy of religion and socio-political philosophy. It focuses on ecstatic states that arise in Appalachian charismatic Pentecostal church services, states characterized by dancing, paroxysms, shouting, and speaking in tongues (glossolalia). Research for this work is interdisciplinary as it draws on studio practice, ethnographic field work, cultural history, Pentecostal history and theology, folk aesthetics, anthropological understandings of ecstatic religious rituals, and dance history regarding acclaimed works that have sought to present aspects of religious ecstasy on stage; Doris Humphrey's The Shakers (1931), Mark Godden’s Angels in the Architecture (2012), Martha Clarke’s Angel Reapers (2015) and Ralph Lemon’s Geography trilogy (2005). The project thereby demonstrates a process model of dance philosophy, showing how philosophy and dance artistry intertwine in a specific creative process.
Appalachia resides in the American imagination at the intersections of race and class in a very particular way, in the tension between deep historic investments in seeing the region as “pure white stock” and as deeply impoverished and backward. Meredith McCarroll’s Unwhite analyzes the fraught location of Appalachians within the southern and American imaginaries, building on studies of race in literary and cinematic characterizations of the American South. Not only do we know what “rednecks” and “white trash” are, McCarroll argues, we rely on the continued use of such categories in fashioning our broader sense of self and other. Further, we continue to depend upon the existence of the region of Appalachia as a cultural construct. As a consequence, Appalachia has long been represented in the collective cultural history as the lowest, the poorest, the most ignorant, and the most laughable community. McCarroll complicates this understanding by asserting that white privilege remains intact while Appalachia is othered through reliance on recognizable nonwhite cinematic stereotypes. Unwhite demonstrates how typical characterizations of Appalachian people serve as foils to set off and define the “whiteness” of the non-Appalachian southerners. In this dynamic, Appalachian characters become the racial other. Analyzing the representation of the people of Appalachia in films such as Deliverance, Cold Mountain, Medium Cool, Norma Rae, Cape Fear, The Killing Season, and Winter’s Bone through the critical lens of race and specifically whiteness, McCarroll offers a reshaping of the understanding of the relationship between racial and regional identities.