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Books on the topic 'Creating a danger'

Author: Grafiati
Published: 24 April 2022

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1

Cheney, Gay. Basic concepts in modern dance: A creative approach. 3rd ed. Pennington, N.J: Princeton Book Co., 1989.

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2

1963-, Freeman Susan, ed. Torah in motion: Creating dance midrash. Denver, Colo: A.R.E. Pub., 1990.

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3

1983-, Kulak Jeff, ed. Learn to speak dance: A guide to creating, performing, & promoting your moves. Toronto, Ont: Owlkids Books Inc., 2011.

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4

Sarabhai, Mrinalini. Creations. Ahmedabad: Mapin, 1986.

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5

Colatosti, Camille. To be an artist: Musicians, visual artists, writers, and dancers speak. Bowie, Maryland: E L Kurdyla Publishing, 2012.

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6

Poulichet, Sylvie Le. L' art du danger: De la détresse à la création. [Paris]: Anthropos, 1996.

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7

Assembly, World Dance Alliance Global. Dialogues in dance discourse: Creating dance in Asia Pacific. [Kuala Lumpur]: Cultural Centre, University of Malaya, 2007.

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8

Fyfe, Hamish. She danced and we danced: Artists, creativity and education. Belfast: Stranmillis Press, 2002.

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9

Payne, Helen. Creative movement & dance in groupwork. Oxon, U.K: Winslow, 1992.

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10

Payne, Helen. Creative movement & dance in groupwork. Bicester, Oxon: Winslow, 1990.

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11

Inclusive creative movement and dance. Champaign, IL: Human Kinetics, 2006.

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12

Zappa, Enric Andrew. God's glory in the creation: Seven dances for piano. New York, N.Y: Seesaw Music, 1992.

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13

Lepczyk, Billie Frances. Dance literacy: Creative dance as a writing intensive. Reston, Va: National Dance Association, 1998.

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14

Dance: A creative art experience. 3rd ed. Madison, Wis: University of Wisconsin Press, 1998.

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15

Drewe, Sheryle Bergmann. Creative dance inspirations: Facilitating expression. Calgary, Alberta: Detselig Enterprises Ltd., 1998.

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16

Hansen, Sophie. Growing bolder: A start up guide to creating dance with older people. London: Green Candle Dance Company, 1995.

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17

Paintner, Christine Valters, writer of foreword, ed. Dancing mindfulness: A creative path to healing & transformation. 2nd ed. Woodstock, Vermont: SkyLight Paths Publishing, 2016.

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18

Association, National Dance, ed. Creative dance for all ages: A conceptual approach. Reston, Va: American Alliance for Health, Physical Education, Recreation, and Dance, 1992.

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19

Sharon, Friedman, ed. Teaching creative dance: A handbook. Cape Town: Kwela Books, 1997.

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20

First steps in teaching creative dance to children. 3rd ed. Mountain View, Calif: Mayfield Pub. Co., 1994.

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21

Lynne, McNett, ed. Creative dance for learning: The kinesthetic link. Boston: McGraw-Hill, 2008.

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22

Adventures in creative movement activities: A guide for teaching. 2nd ed. Dubuque, Iowa: Eddie Bowers, 1998.

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23

Laberge, Jocelyne. Croque-musique: 20 comptines pour chanter et danser. Saint-Lambert, Quebec: Dominique et compagnie, 2001.

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24

Muriel, Broadman, ed. Creating a character: A physical approach to acting. New York: Applause, 1993.

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25

Muriel, Broadman, ed. Creating a character: A physical approach to acting. New York: Back Stage Books, 1990.

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26

Yakim, Moni. Creating a character: A physical approach to acting. New York: Applause, 1990.

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27

Weisbrod, Alexis A. Defining Dance, Creating Commodity. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.021.

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This chapter examines how the rhetoric utilized inSo You Think You Can Dance(United States) presupposes details of dance training, including the experience of certain types of bodies and the expectations of racial identity in regards to highly skilled bodies. The structure of the show emphasizes the language of the judges and producers over the work of the dancers. This language, which establishes values and comparisons between bodies, is used to train audience members to read dancing bodies. Examining these patterns of rhetoric, this chapter defines the termconceived body, identifying how it is constructed on both contemporary and hip-hop dancers during the course of the television show’s first eight seasons. Finally, the racialized construction of these dancing bodies is addressed in relation to the spectacle and commodification created by and on these bodies.
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28

Press, Carol M., and Edward C. Warburton. Creating Dance: A Traveler's Guide. Hampton Pr, 2013.

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29

Shay, Anthony. The Spectacularization of Soviet/Russian Folk Dance. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.010.

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In the early 20th century, folk dance had been used to show symbolic support for several nation states by transporting masses of peasants to major urban centers to perform in festival settings. Igor Moiseyev, a well-known dancer and choreographer with the Boshoi Ballet, was appointed by the government of the former USSR in 1936 to found a professional dance ensemble, to be named the State Ensemble of Folk Dance of the Peoples of the USSR, but called the Moiseyev Dance Company in the West. Following state directives, he prominently featured the dances of the Russian ethnic majority in his repertoire. In this essay Shay suggests that, in fact, Moiseyev spectacularized folk dance by creating choreographies with spectacular movements in what was essentially an invented tradition based on classical ballet rather than using authentic folk dances.
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30

Callahan, Judy Job. Peters Wright Creative Dance: Update 2004. 2004.

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31

Kedhar, Anusha. Flexible Bodies. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840136.001.0001.

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Flexible Bodies charts the emergence of British South Asian dance as a distinctive dance genre. Analyzing dance works, dance films, rehearsals, workshops, and touring alongside immigration policy, arts funding initiatives, citizenship discourse, and global economic conditions, author Anusha Kedhar traces shifts in British South Asian dance from 1990s Cool Britannia multiculturalism to fractious race relations in the wake of the July 7, 2005, terrorist attacks to economic fallout from the 2008 global financial crisis, and, finally, to anti-immigrant rhetoric leading up to the Brexit referendum in 2016. Drawing on more than a decade of ethnographic fieldwork and interviews with dancers, in-depth choreographic analysis of major dance works, and the author’s own lived experiences as a professional dancer in London, Flexible Bodies tells the story of British South Asian dancers and the creative ways in which they negotiate the demands of neoliberal, multicultural dance markets through an array of flexible bodily practices, including agility, versatility, mobility, speed, and risk-taking. Attending to pain, injury, and other restrictions on movement, it also reveals the bodily limits of flexibility. Theorizing flexibility as material and metaphor, the book argues that flexibility is both a tool of labor exploitation and a bodily tactic that British South Asian dancers exploit to navigate volatile economic and political conditions. With its unique focus on the everyday aspects of dancing and dance-making Flexible Bodies honors the lives and labor of dancers and their contributions to a distinct and dynamic sector of British dance.
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32

Oliver, Cynthia. Epiphanic Moments. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.23.

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In the form of a lyric essay, this chapter offers perspectives of artists across the field coping with the messages delivered, received, and absorbed in the dance world. From the atmosphere in the studio that primes the young dancer with particular ideas around his or her training, to the complicated and sometimes confusing conditions and processes of creating dances, this work discusses artists’ challenges with garnering support, with the steps toward and negotiations around being presented, as well as relationships with peers, the receipt and offering (or lack thereof) of criticism in both informal and formal arenas, and ultimately survival in their complicated, beloved field of dance. This chapter questions the psychological, material, and political conditions of practitioners in the field, offering its content as a means to consider the layered, complicated nature of choosing dance as a way of life in contemporary North America.
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33

Snow, K. Mitchell. A Revolution in Movement. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.001.0001.

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A Revolution in Movement is the first book to illuminate how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity. K. Mitchell Snow traces this relationship throughout nearly half a century of developments in Mexican dance—the emulation of Diaghilev’s Ballets Russes in the 1920s, the adoption of U.S.-style modern dance in the 1940s, and the creation of ballet-inspired folk dance in the 1960s. Snow describes the appearances in Mexico by Russian ballerina Anna Pavlova and Spanish concert dancer Tortóla Valencia, who helped motivate Mexico to express its own national identity through dance. He discusses the work of muralists and other visual artists in tandem with Mexico’s theatrical dance world, including Diego Rivera’s collaborations with ballet composer Carlos Chávez; Carlos Mérida’s leadership of the National School of Dance; José Clemente Orozco’s involvement in the creation of the Ballet de la Ciudad de México; and Miguel Covarrubias, who led the “golden age” of Mexican modern dance. Snow draws from a rich trove of historical newspaper accounts and other contemporary documents to show how these collaborations produced an image of modern Mexico that would prove popular both locally and internationally and continues to endure today.
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34

Carline, Sally. Lesson Plans for Creative Dance. Human Kinetics, 2011. http://dx.doi.org/10.5040/9781718212909.

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Children love to express themselves through movement—and with this great new resource, you can guide them through a range of actions and dances that will help them develop both physically and mentally. Lesson Plans for Creative Dance: Connecting With Literature, Arts, and Music is a resource for physical educators, classroom teachers, and dance specialists as well as a useful supplement to college level elementary education courses. Author Sally Carline has tested and refined the creative movement activities that she has prepared for educators and for preservice teachers, and she includes background material that will ground you in understanding how to best teach and incorporate movement activities in a variety of classes and settings. Lesson Plans for Creative Dance supplies you with • lesson plans that incorporate Laban movement concepts and extend children’s movement vocabulary; • a progression of learning that creates a rich, extended experience for students; • 28 dances with music for students through age 12; and • ways to incorporate dance with various types of literature, art, and music. Part I presents guidelines for assessing creative dance based on Rudolf Laban’s analysis of human movement. You learn about body, dynamic, spatial, and relationship awareness and gain insight into using rubrics to evaluate your students. You also learn how to help children warm up properly, channel their energy, and improve their footwork and rhythmic skills. Part I will help you incorporate dance with action words, action rhymes, and other poetry as well as with visuals and rhythm in a variety of settings. Part II offers 28 age-appropriate, ready-to-use dances that include a variety of lesson progressions as your students acquire and develop movement skills. You will be able to teach dance skills and incorporate other creative elements and concepts to give your students an understanding of the many ways in which a skill can be performed. Through Lesson Plans for Creative Dance, you can work on several ideas within the same lesson and continue to develop those ideas in future lessons. You can also incorporate ideas from language arts, social studies, art, music, and science to facilitate children’s learning and increase their enjoyment of various subjects. This lesson planner will help you take your movement education to the next level, help your students acquire skills and knowledge, and bring meaning and joy to your creative dance sessions.
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35

Drewe, Sheryle Bergmann. Creative Dance: Enriching Understanding. Detselig Enterprises, 1996.

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36

Spalding, Susan Eike. Mr. Perry’s Sweet Shop and a New Old Time Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038549.003.0005.

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This chapter examines the role of of cultural exchange in the evolution of old time dancing and the creation of a new style in dance in the coal town of Dante in Russell County, Virginia. It begins with a historical background on the Cumberland Plateau and the town of Dante as well as the community's transition from farming to coal mining. It then discusses the impact of social and economic factors, including the interaction among local residents, African American southerners, and European immigrants, on Dante's dance traditions. It also looks at the exchange of dance ideas that took place in venues like Mr. Perry's Sweet Shop, along with the ways that dancing forged connections among African American communities in the coalfields. Finally, it explores changes in the old time dancing in Dante, citing the role played by the values embedded in the movement of the old and new dances and to people's beliefs about community, change, and the individual's relationship to it.
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37

Australia Dances: Creating Australian Dance 1945 - 1965. Wakefield Press Pty, Limited, 2010.

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38

Quin, Edel, Sonia Rafferty, and Charlotte Tomlinson. Safe Dance Practice. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212886.

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Every dancer of every age, ability, and style should be able to engage fully in the act of dancing and be encouraged to achieve their potential without risk of harm to the body or mind. Practical information on all aspects of safe practice that is not too simplistic or complex has not always been easy to find. Enter Safe Dance Practice, by Edel Quin, Sonia Rafferty, and Charlotte Tomlinson. With nearly 60 years of collective experience in the dance profession as creative artists, teachers, and researchers, the authors translate extensive research and evidence-based practice in order to present the principles of safe practice that are essential to any dance experience. Guidelines in Implementing Principles The authors offer evidence-based guidelines on implementing diverse principles in practice, informing and supporting dance practitioners in an ever-growing pool of styles and genres. These guidelines and principles are of use not only to dancers and dance educators but also to choreographers, rehearsal and company directors, and studio managers. The information is underpinned by research in dance science and applied with contextual delivery in mind, ensuring an engaging experience for those accessing the book. Bridging the Gap Between Science and Practice Safe Dance Practice bridges the gap between academic research and its application for dancers and educators in all levels and genres. It illuminates the principles of working safely in dance so as to support best practice and encourages all dance practitioners and leaders to better understand, communicate, and apply principles of safe dance practice.
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39

McDonald, Ellie. Danger After Dark (creative girls club, mystery books series). DRG Publishing, 2007.

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40

Fraleigh, Sondra, ed. Dance Maps. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039409.003.0013.

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This section discusses Dance Maps, user-friendly maps that present simple structures for use as a guide for dance experiences. Designed for those who want to claim the dancer within, from the professional dancer to the novice, Dance Maps are performance templates not only for the studio but also for natural and architected environments. They are intended to help spark creative uses of transformational dance somatics. Several authors of this book provide examples, including a version of “Be a Stone” and “Be Spinach and Stone Butoh” mapped by Sondra Fraleigh; Back-to-Back exploration for Catherine Schaeffer’s “Motional Baggage”; Ecodances mapped by Alison East; a memory-based transformational Dance Map mapped by Kelly Ferris Lester; and a movement meditation mapped by Robert Bingham. These examples show how teachers of dance in somatic contexts can engage in community building through exploration of choreographic and improvisational structures based on Dance Maps.
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41

Singer, Katie. An electronic silent spring: Facing the dangers and creating safe limits. 2014.

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42

Creation of a Minority Group: The New Danger in America's Trucks. Trucking Video, 1996.

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43

Brower, Richard. When life dances: The creative mind and the creative process. Whittier Publications Inc, 1993.

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44

Reeve, Justine. Dance Improvisations. Human Kinetics, 2011. http://dx.doi.org/10.5040/9781718212824.

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Dance Improvisations: Warm-Ups, Games and Choreographic Tasks will provide assistance with any doubts that dancers and teachers might have with improvisation. This practical book promotes creativity that can lead to innovative breakthroughs among students from middle school age through college. With Dance Improvisations: Warm-Ups, Games and Choreographic Tasks, you will find new ways to help your dancers create original movements through both individual and group activities. Your students will hone their creative responses, and the innovation and energy in your dance classes will fill your studio or classroom. Students will blossom and gain inspiration using these improvisations as they learn how to develop movement and choreograph studies.
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45

Rohman, Carrie. Creative Incantations and Involutions in D. H. Lawrence. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190604400.003.0003.

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This chapter considers Lawrence’s “blood-consciousness” through the Deleuzian refrain in his poem, “Tortoise Shout,” and through the underanalyzed moments in Women in Love when Gudrun and Birkin partake in creatural dances. The rhythm, tempo, and melody of the tortoise’s shout enacts a refrain, which is ultimately linked to rhythms of the poetic voice, the body, and the earth. Thus, the poem itself is an affective becoming in which forces cross or are shared by human animal and nonhuman animal. My discussions of Gudrun’s dance of “seduction” with the cattle, and Birkin’s “licentious” dancing in Women in Love, move us beyond received interpretations of sexuality in Lawrence. Gudrun’s scene, in particular, reveals dance to be much more than some expressive practice, but rather a becoming-imperceptible/animal that capitalizes on the rituals of sexual selection. Lawrence’s Deleuzian dancing can ultimately be framed as a “lapsing out” or line of flight into the inhuman.
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46

Carwile, Christey. From Salsa to Salzonto. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.026.

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Since its emergence among Spanish-speaking immigrants in New York City in the 1960s, salsa dance (and music) has become a quintessential symbol of Latin identity in and outside of the United States. The worldwide adoption of the dance has opened up new possibilities for identity construction. Using field research from Accra, Ghana, this chapter explores the ways in which salsa dance has come to inform a pan-African identity, creating moments where local ethnicities become deemphasized. “Traditional” dances in Ghana have historically been viewed as reflecting local “tribal” and/or ethnic identities and later appropriated by national dance companies as a way to construct and display a Ghanaian “national culture.” However, the adoption of salsa dance in Ghana is what I call an “inventive dance tradition,” one not espoused by colonial administrators or postcolonial leaders, but pioneered by a new generation of urban youth with more global agendas.
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47

Van Leuven, Holly. Ray Bolger. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639044.001.0001.

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Ray Bolger: More Than a Scarecrow is the first book-length biography of the American eccentric dancer and popular culture figure, best known for his role in the 1939 film musical The Wizard of Oz. The book traces Bolger’s career from repertory and vaudeville into New York movie houses, Broadway, nightclubs, the major film studios, Las Vegas resorts, and television programs. Bolger’s dance lineage is also traced through eccentric dancers like Fred Stone and “Irish prince” soft-shoe dancers like George Primrose and Jack Donahue. Special attention is given to Bolger’s involvement in the nascent United Service Organizations (USO) Camp Shows, including his participation in the first ever camp show unit, which went to the Caribbean in November 1941, and later the first unit to entertain in the South Pacific. An entire chapter is dedicated to the creation and performance of Where’s Charley?, Bolger’s most important show and the one for which he earned a Tony Award for Best Featured Actor in a Musical. The Where’s Charley? material explores Bolger’s collaboration with his wife, Gwendolyn Rickard Bolger, who became the first female producer of a musical comedy on Broadway with her contributions to the production. Bolger’s later life as a political spokesperson, a television guest star, and a pop culture personality are also explored.
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48

Gilbert, Anne Green. Creative Dance for All Ages. 2nd ed. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212763.

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Creative Dance for All Ages, Second Edition, has had a long history of providing a dance curriculum to teachers and students preparing to teach creative dance. Author Anne Gilbert demystifies expectations when teaching creative dance and provides the theory, methods, and lesson ideas for success in a variety of settings and with students of all ages. This one-stop resource offers dance teachers everything they need, including a sequential curriculum, lesson plans, instructional strategies, assessment, and other forms. It’s like having a seasoned dance teacher at your side offering inspiration and guidance all year long. Internationally recognized master teacher and author Anne Gilbert Green presents creative dance for everyone and tips on meeting the challenges of teaching it. She offers a complete package for teaching creative dance that includes the theory, methodology, and lesson plans for various age groups that can be used in a variety of settings. Gilbert also offers an entire dance curriculum for sequential teaching and learning. The second edition of her classic text has been revised, reorganized, and updated to meet all the needs of dance teachers.
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49

H'Doubler, Margaret N. Dance: A Creative Art Experience. 2nd ed. Books on Demand, 1998.

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50

Kwan, SanSan. Love Dances. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197514559.001.0001.

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Our current geopolitical moment is characterized by shockingly aggressive forms of xenophobia and racism. This alarming, though not new, predicament compels us to seek creative modes for resisting hatred and encouraging care across difference. Love Dances: Loss and Mourning in Intercultural Collaboration explores the possibilities for global interrelationality in the realm of dance. The book contends that performances of interculturalism in dance offer opportunities for practicing intersubjective connection. Body-to-body engagement in the studio and on the stage carries the potential to shape everyday encounters with difference in the world. Looking specifically at duets, Love Dances examines how pairs of dance artists from unique cultural and aesthetic backgrounds—from Asia, the Asian diaspora, and the West; trained in contemporary dance, hip-hop, flamenco, Thai classical dance, kabuki, and butoh—find ways to co-create, in spite of contention, histories of power, misunderstanding, and mistranslation. Love Dances explores the ethics and politics of intercultural collaboration, acknowledging the forces of dissension, prejudice, and violence present in any contact zone, but ultimately arguing that choreographic invention across difference can be an act of love in the face of loss and serve as a model for difficult, imaginative, compassionate global affiliation.
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