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This “what is”—rather than “how to”— volume proposes a theoretical framework for understanding dance leadership for dancers, leaders, and students of both domains, illustrated by portraits of leaders in action in India, South Africa, UK, US, Brazil and Canada. What is dance leadership? Who practices it, in what setting, and why? Through performance, choreography, teaching, writing, organizing and directing, the dance leaders portrayed herein instigate change and forward movement. Illustrating all that is unique about leading in dance, and by extension the other arts, readers can engage with such wide-ranging issues as: Does the practice of leading require followers? How does one individual’s dance movement act on others in a group? What does ‘social engagement’ mean for artists? Is the pursuit of art and culture a human right?
By the 1920s, much of the world was ‘dance mad,’ as dancers from Buenos Aires to Tokyo, from Manchester to Johannesburg and from Chelyabinsk to Auckland, engaged in the Charleston, the foxtrot and a whole host of other fashionable dances. Worlds of social dancing examines how these dance cultures spread around the globe at this time and how they were altered to suit local tastes. As it looks at dance as a ‘social world’, the book explores the social and personal relationships established in encounters on dance floors on all continents. It also acknowledges the impact of radio and (sound) film as well as the contribution of dance teachers, musicians and other entertainment professionals to the making of the new dance culture.
Kariamu Welsh Asante examines and celebrates the ethnic diversity of Zimbabwe and the survival and endurance of the Zimbabwean national character. She emphasises how the former colonial power had proscribed indigenous cultures.
This book provides an engaging and contextualised insight into a South African township-based arts centre that has survived the vicissitudes of steady militarisation in townships during some of the worst years of apartheid as well as the exhilaration of a new democratic policy while attempting to circumnavigate different policies and funding dispensations. Sibikwa provides arts centres across the world and especially those in decolonising countries with strategies for survival in tumultuous times. This multi-disciplinary book maps and co-ordinates wider historical, political, and social contextual concerns and events with matters specific to a community-based east of Johannesburg and provides an exploration and analysis by experts of authentic theatre-making and performance, dance, indigenous music, arts in education and NGO governance. It has contemporary significance and raises important questions regarding inclusivity and transformation, the function and future of arts centres, community-based applied arts practices, creativity, and international partnerships. This study will be of great interest to students and scholars in theatre and performance, indigenous music, dance, and South African history.
Fifty Contemporary Choreographers is a unique and authoritative guide to the lives and work of prominent living contemporary choreographers; this third edition includes many new names in the field of choreography. Representing a wide range of dance genres and styles, each entry locates the individual in the context of contemporary dance and explores their impact. Those studied include: Kyle Abraham Germaine Acogny William Forsythe Marco Goeke Akram Khan Wayne McGregor Crystal Pite Frances Rings Hofesh Shechter Sasha Waltz With an updated introduction by Deborah Jowitt and further reading and references throughout, this text is an invaluable resource for all students and critics of dance and all those interested in the everchanging world and variety of contemporary choreography.
In recent years, the work of Zakes Mda—novelist, painter, composer, theater director and filmmaker—has attracted worldwide critical attention. Gail Fincham’s book examines the five novels Mda has written since South Africa’s transition to democracy: Ways of Dying (1995), The Heart of Redness (2000), The Madonna of Excelsior (2002), The Whale Caller (2005), and Cion (2007). Dance of Life explores how refigured identity is rooted in Mda’s strongly painterly imagination that creates changed spaces in memory and culture. Through a combination of magic realism, African orature, and intertextuality with the Western canon, Mda rejects dualistic thinking of the past and the present, the human and the nonhuman, the living and the dead, the rural and the urban. He imbues his fictional characters with the power to orchestrate a reconfigured subjectivity that is simultaneously political, social, and aesthetic.
Movements of Interweaving is a rich collection of essays exploring the concept of interweaving performance cultures in the realms of movement, dance, and corporeality. Focusing on dance performances as well as on scenarios of cultural movements on a global scale, it not only challenges the concept of intercultural dance performances, but through its innovative approach also calls attention to the specific qualities of "interweaving" as a form of movement itself. Divided into four sections, this volume features an international team of scholars together developing a new critical perspective on the cultural practices of movement, travel and migration in and beyond dance.
South Africa has a uniquely rich and diverse theatre tradition which has responded energetically to the country's remarkable transition, helping to define the challenges and contradictions of this young democracy. This volume considers the variety of theatre forms, and the work of the major playwrights and theatre makers producing work in democratic South Africa. It offers an overview of theatre pioneers and theatre forms in Part One, before concentrating on the work of individual playwrights in Part Two. Through its wide-ranging survey of indigenous drama written predominantly in the English language and the analysis of more than 100 plays, a detailed account is provided of post-apartheid South African theatre and its engagement with the country's recent history. Part One offers six overview chapters on South African theatre pioneers and theatre forms. These include consideration of the work of artists such as Barney Simon, Mbongeni Ngema, Phyllis Klotz; the collaborations of William Kentridge and the Handspring Puppet Company; the work of Magnet Theatre, and of physical and popular community theatre forms. Part Two features chapters on twelve major playwrights, including Athol Fugard, Reza de Wet, Lara Foot, Zakes Mda, Yaël Farber, Mpumelelo Paul Grootboom, Mike van Graan and Brett Bailey. It includes a survey of emerging playwrights and significant plays, and the book closes with an interview with Aubrey Sekhabi, the Artistic Director of the South African State Theatre in Pretoria. Written by a team of over twenty leading international scholars, The Methuen Drama Guide to Contemporary South African Theatre is a unique resource that will be invaluable to students and scholars from a range of different disciplines, as well as theatre practitioners.