2015, by Michael Huxley. "The Dancer's World 1920-1945 focuses on modern dancers as they saw themselves. Over thirty practitioners' - both artists and educators - writings are considered. They include both the very well known such as Isadora Duncan, Hanya Holm and Mary Wigman and those who are now less well known, such as Diana Jordan and Elizabeth Selden. This presents an original reading of a transatlantic phenomenon. The book has a broad sweeping narrative account whilst providing substantial analysis of dancers'own writings. It begins with the idea of the dancer, relating it to the present day. An introduction takes the reader back to the period and considers how the voice of the dancer has been lost at the expense of the choreographer. Five chapters describe a narrative arc that encompasses Europe and the USA with a focus between 1920 and 1945. A final chapter considers contemporary relevance for dancers, dance artists, choreographers, dance students and scholars alike."
2011, 2nd edition, edited by Martha Bremser and Lorna Sanders with an introduction by Deborah Jowitt. "A unique and authoritative guide to the lives and work of prominent living contemporary choreographers. Representing a wide range of dance genres, each entry locates the individual in the context of modern dance theatre and explores their impact. Those studied include: Jerome Bel Richard Alston Doug Varone William Forsythe Phillippe Decoufle Jawole Willa Jo Zollar Ohad Naharin Itzik Gallili Twyla Tharp Wim Vandekeybus With a new, 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 fascinating world of choreography."
2006, by Gay Morris. "A Game for Dancers examines the difficulties American modern dancers faced as the Cold War took hold and the genre became institutionalized after its pioneering phase. It draws on the sociology of Pierre Bourdieu to explore the interconnections between art and politics while paying close attention to modern dance's ambivalent relationship to the market. At the heart of the book is an inquiry into modernism itself, and how dancers struggled with modernist ideas of abstraction and autonomy while rarely questioning them. Crucial, too, is the issue of embodiment, which appeared to answer modernist skepticism of representation and aid modern dance's elusive pursuit of independence. Subjects include modernist dance theory, the emergence of new constituencies including African-American choreographers, and the work of Merce Cunningham and Alwin Nikolais, whose objectivism was declared a new modern dance vanguard in the 1950s."
Modern Bodies: dance and American modernism from Martha Graham to Alvin Ailey
2002, by Julia Foulkes. "In 1930, dancer and choreographer Martha Graham proclaimed the arrival of "dance as an art of and from America." Dancers such as Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in creating a new form of dance, and, like other modernists, they experimented with and argued over their aesthetic innovations, to which they assigned great meaning. Their innovations, however, went beyond aesthetics. While modern dancers devised new ways of moving bodies in accordance with many modernist principles, their artistry was indelibly shaped by their place in society. Modern dance was distinct from other artistic genres in terms of the people it attracted: white women (many of whom were Jewish), gay men, and African American men and women. Women held leading roles in the development of modern dance on stage and off; gay men recast the effeminacy often associated with dance into a hardened, heroic, American athleticism; and African Americans contributed elements of social, African, and Caribbean dance, even as their undervalued role defined the limits of modern dancers' communal visions. Through their art, modern dancers challenged conventional roles and images of gender, sexuality, race, class, and regionalism with a view of American democracy that was confrontational and participatory, authorial and populist. Modern Bodies exposes the social dynamics that shaped American modernism and moved modern dance to the edges of society, a place both provocative and perilous."
1998, edited by Charles H. Woodford, Naomi Mindlin, and Jean M. Brown. " This is the story of the development of modern dance as told by the artists who created it. The words of Isadora Duncan, Martha Graham, Doris Humphrey, Ruth St. Denis, and over thirty other modern dance artists come to life in these essays. This revised edition includes new selections by Paul Taylor, Alvin Ailey, Twyla Tharp, and Mark Morris. Rebels against society and classical ballet, the early pioneers sought and achieved freedom from unnatural, restrictive, and inexpressive performing. Each succeeding generation added its own distinctive approaches, voices, and styles to the alternating pattern of revolution and institutionalization, in the never-ending spiral of change. The Vision of Modern Dance sheds light on the viability and vitality of modern dance from its beginnings in the late nineteenth century until today."
1995, by Mark Franko. "'... almost every page offers provocative commentary on the aesthetics and politics of modern dance." --Signs "... [an] important step... in the ineluctable dance by postmodern historians across a bridge that spans the gaps among disciplines, between theory and practice, and betweeen present and past." --Theatre Journal "This complex and important book needs to be read by anyone interested in dance history or the cultural politics of dance." --Dance Theatre Journal "Mark Franko's Dancing Modernism/Performing Politics is challenging, groundbreaking, insightful, and, I believe, an important contribution to the field of dance scholarship." --Dance Research Journal. "A revisionary account of the evolution of "modern dance" in which Mark Franko calls for a historicization of aesthetics that considers the often-ignored political dimension of expressive action. Includes an appendix of articles of left-wing dance theory, which flourished during the 1930s."
1987, by Sally Banes. "The evolution of the roughly twenty-five years of American post-modern dance is expounded upon by Sally Banes. Pivotal characters in this history, of which there are several, are examined in detail, with many descriptive passages of definitive works and happenings from the era. Post-modern, originally referring only chronologically (and vaguely) to the period following what we now call historical modern dance, actually has several specific and revolutionary veins of philosophy and aesthetics attached to it. Well researched, Terpsichore in Sneakers has several photographs, choreographers' scores, charts, and notes (including some previously unpublished), a selected bibliography, and an alphabetical list of works by and about seminal contributors to the movement. This is a fascinating and enlightening reading not only for dancers, but for those interested in American cultural history and anthropology."
1976, by Don McDonagh. "This exceptional work provides brief career biographies of over one hundred important modern
choreographers, from Maud Allan to Batya Zamir, along with descriptive analyses of their outstanding
Modern Dance Forms in relation to the other modern arts
1961, by Louis Horst andCarroll Russell, preface by Janet Soares, foreward by Martha Graham. "By relating the development of modern dance to movements in painting, architecture, drama, and music, the book prompts students to develop a keen ear for emerging trends in the arts as a continual resource for dance. Horst, a composer and for many years, the music director for the Martha Graham Dance Company, employed the approach suggested in this book during his dance composition classes at Juilliard's dance program."
1928, by Isadora Duncan. "A memorial volume consisting of essays by Isadora Duncan, forewords by R. Duncan, Margherita Duncan, Mary F. Roberts, and others; with reproductions of original drawings by L. Bakst, A. Bourdelle, J. Clará, and others, and with photographs by A. Genthe and E. Steichen."
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This is a gigantic catalog of millions of materials owned by libraries all over the world describing books, essays, scores, videos, sound recordings, websites, and manuscript collections. If you find something in WorldCat not owned by the Tri-Colleges we can probably get it for you.
Part of the New York Public Library, this catalog lists works about all forms of dance, from all cultures, in print and other media. Offers citation information for an international range of dance periodicals.
ProQuest Dissertations and Theses is a collection of scholarly research in the Humanities and Social Sciences that consists of 2.7 million searchable citations to dissertations and theses from around the world, and 1.2 million full-text dissertations that are available for download in PDF format. Coverage is from 1861 to the present day.