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Jazz Dance: A History of the Roots and Branches by
The history of jazz dance is best understood by comparing it to a tree. The art form's roots are African. Its trunk is vernacular, shaped by European influence, and exemplified by the Charleston and the Lindy Hop. The branches are many and varied and include tap, Broadway, funk, hip-hop, Afro-Caribbean, Latin, pop, club jazz, popping, B-boying, party dances, and much more. Unique in its focus on history rather than technique, Jazz Dance offers the only overview of trends and developments since 1960. Editors Lindsay Guarino and Wendy Oliver have assembled an array of seasoned practitioners and scholars who trace the many histories of jazz dance and examine various aspects of the field, including trends, influences, training, race, gender, aesthetics, the international appeal of jazz dance, and its relationship to tap, rock, indie, black concert dance, and Latin dance. Featuring discussions of such dancers and choreographers as Bob Fosse and Katherine Dunham, as well as analyses of how the form's vocabulary differs from ballet, this complex and compelling history captures the very essence of jazz dance.
Mirrors and Scrims: The Life and Afterlife of Ballet by
Winner of the Selma Jeanne Cohen Memorial Prize (2010) In this stunning new collection of reviews and essays, dance critic Marcia B. Siegel grapples with the floating identity of ballet, as well as particular ballets, and with the expanding environment of spectacle in which ballet competes for an audience. Drawn from a wide variety of published sources, these writings concentrate on canonical works of ballet and how the performances of these works have been changing in significant ways. Siegel writes with a keen awareness of the history and mythology that surround particular works, while remaining attentive to the new ways in which a work is interpreted and re-presented by contemporary choreographers and dancers. Through her readable and provocative writings, Siegel offers critical insight into performances of the past twenty-five years to give us a new understanding of ballet in performance. The volume includes over one hundred pieces on a variety of ballet topics, from specific dances and dancers to companies and choreographers, ranging from Swan Lake and The Nutcracker to Nijinsky, Balanchine, Tharp, and Morris to the Bolshoi, the Joffrey, the Miami City Ballet, the Boston Ballet, to name just a few. Ebook Edition Note: All images have been redacted.
On Stage Alone: Soloists and the Modern Dance Canon by
Soloists ignited the modern dance movement and have been a source of its constant renewal. Pioneering dancers such as Lo e Fuller, Isadora Duncan, Ruth St. Denis, and Maud Allan embodied the abstraction and individuality of the larger modernist movement while making astounding contributions to their art. Nevertheless, solo dancers have received far less attention in the literature than have performers and choreographers associated with large companies. In On Stage Alone, editors Claudia Gitelman and Barbara Palfy take an international approach to the solo dance performance. The essays in this standout volume broaden the dance canon by bringing to light modern dance soloists from Europe, Asia, and the Americas who have shaped significant, sustained careers by performing full programs of their own choreography. Featuring in-depth examinations of the work of artists such as Michio Ito, Daniel Nagrin, Ann Carlson, and many others, On Stage Alone reveals the many contributions made by daring solo dancers from the dawn of the twentieth century through today. In doing so, it explores many important statements these soloists made regarding topics such as freedom, personal space, individuality, and gender in the modern era.
The People Have Never Stopped Dancing: Native American Modern Dance Histories by
In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these concert performances are at once diverse and connected by common influences.Illustrating how Native dance enacts cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes and offers new ways of recognizing the agency of bodies on stage.
Representing the Past: Essays in Performance Historiography by
How do historians represent the past? How do theatre historians represent performance events? The fifteen challenging essays in Representing the Past: Essays in Performance Historiography focus on the fundamental epistemological conditions and procedures that serve as the foundational ideas that guide all historians in their endeavors. Unified by their investigations into how best to understand and then represent the past, this diverse group of scholars in the field of theatre history and performance studies offers insights into the abiding issues that all historians face in the task of representing human events and actions.
Revolutionary Bodies: Chinese Dance and the Socialist Legacy by
A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)--a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries. Learn more at the TOME website, available at: openmonographs.org. Revolutionary Bodies is the first English-language primary source-based history of concert dance in the People's Republic of China. Combining over a decade of ethnographic and archival research, Emily Wilcox analyzes major dance works by Chinese choreographers staged over an eighty-year period from 1935 to 2015. Using previously unexamined film footage, photographic documentation, performance programs, and other historical and contemporary sources, Wilcox challenges the commonly accepted view that Soviet-inspired revolutionary ballets are the primary legacy of the socialist era in China's dance field. The digital edition of this title includes nineteen embedded videos of selected dance works discussed by the author.
