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Books on the topic 'Dance and Leisure'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

McBee, Randy D. Dance hall days: Intimacy and leisure among working-class immigrants in the United States. New York: New York University Press, 2000.

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2

Ofsted. Inspecting post-16: Leisure and tourism : with guidance on self-evaluation. London: Ofsted, 2002.

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3

D, McLean Daniel, and American Association for Leisure and Recreation., eds. ABC's of grantsmanship: A project of the American Association for Leisure and Recreation, an association of the American Alliance for Health, Physical Education, Recreation and Dance. Reston, VA: AAHPERD, 1988.

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4

Ofsted. University of Brighton: Initial teacher training : stage 1, 29 November - 3 December 1993 stage 2, 15 March - 18 March 1994stage 3, 18 April - 29 April 1994. [London]: Ofsted, 1994.

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5

Automats, taxi dances, and vaudeville: Excavating Manhattan's lost places of leisure. New York: New York University Press, 2009.

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6

Kraus, Rachel. Gendered Bodies and Leisure. Taylor & Francis Group, 2020.

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7

Calabria, Frank M. Dance of the Sleepwalkers: The Dance Marathon Fad (Popular Entertainment and Leisure). Popular Press 1, 1993.

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8

A, Harris Jane, and Harris Jane A, eds. Social dance: From Dance a while. 2nd ed. San Francisco: B. Cummings, 2003.

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9

Gendered Bodies and Leisure: The Practice and Performance of American Belly Dance. Taylor & Francis Group, 2016.

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10

Pittman, Anne M., Marlys S. Waller, Cathy L. Dark, and Jane A. Harris. Social Dance from Dance a While (2nd Edition). 2nd ed. Benjamin Cummings, 2002.

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11

British Council of Physical Education., ed. Careers in physical education, leisure studies, sport science, sport studies and dance. Dudley: British Council of Physical Education, 1993.

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12

Fox, Karen. Entering into an Indigenous Cypher. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.12.

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Although music-dance making would seem, intuitively, to be part of leisure studies, music and dance very seldom appear beyond the simple form of “activity” and rarely as music-dance making. Many Indigenous peoples conceptualize music-dance making as essential to life, knowledge, and taking care of the earth and cosmos. Seeking insight and wisdom from Indigenous practices and words, this chapter enacts maieutic listening to engage with Indigenous music-dance making that has sustained and nourished Indigenous Kanaka Maoli, Kanaka ‘Ōiwi, and Diné peoples for generations. The aim of the discussion is to gesture to social and political insights that can emerge through dialogue between Indigenous music-dance making and knowledge systems and Western leisure: a dialogue that unprivileges Western leisure. As Indigenous initiatives related to sovereignty, self-determination, and concern for the earth crisscross the world, the presence, power, and survivance of Indigenous music-dance making, as an integral component challenges, enriches, or changes how leisure is imagined and practiced.

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13

Gutzke, David W., and Michael John Law. Roadhouse Comes to Britain: Drinking, Driving and Dancing, 1925-1955. Bloomsbury Publishing Plc, 2018.

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14

The Roadhouse Comes to Britain: Drinking, Driving and Dancing, 1925-1955. Bloomsbury Academic, 2017.

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15

Cottrell, Anna. London Writing of the 1930s. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474425643.001.0001.

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Exploring London's literary identity during the 1930s Anna Cottrell shows how vital writing was to the capital’s booming leisure scene on the eve of the Second World War. The book explores London and Londoners, with a focus on the way in which London's lower-middle-class citizens became inseparable from central London’s leisure scene in the period’s imagination. In contrast with Modernism’s flâneurs and flâneuses, the key figures of 1930s London literature were shop girls, clerks, dance hostesses, and financially insecure journalists whose leisure hours were spent in London’s cinemas, bars, and glittering teashops. Writing about this type of Londoner and her milieus was at the heart of the decade’s experiments in revitalising the British novel, which to many of the period’s writers and intellectuals appeared to lack energy and authenticity. Meticulous description was central to this project of re-energising British writing, and it is in passages describing London milieus such as the teashop and the Soho nightclub that this book locates the decade’s most original and astute meditations on modernity, mass culture, and the value of ordinary lives.

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16

Stallings, L. H. From the Freaks of Freaknik to the Freaks of Magic City. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039591.003.0007.

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This chapter argues that funk produces mythologies about the body, labor, leisure, and pleasure, and that these occur in music as well as in black fiction, art, and performance centered on the potential force or energy that excites or that neutral sexual pleasures might yield. Adding to Tony Bolden's “Groove Theory: A Vamp on the Epistemology of Funk,” where he argues that the sensing techniques that black dancers employ have been central to innovations in black musicianship generally, the chapter discusses how funk's sensing techniques innovate sexual cultures as sites of memory. It brings three disciplines together—literature, performance, and dance—to theorize nonhuman agency in the street party Freaknik, as well as black strip clubs.

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17

Morat, Daniel. Music in the Air—Listening in the Streets. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.15.

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The history of music listening has focused mainly on art music and the cultivated listeners of the educated classes. But the nineteenth century saw not only the rise of concert music and its middle- and upper-class audiences, it also witnessed the “popular music revolution” in European and North American cities and metropolises. By drawing on the example of turn-of-the-century Berlin, this chapter explores the place of popular music within modern urban leisure culture. The chapter investigates the different venues and locations in which popular music was performed and consumed (dance halls, café terraces, amusements parks, street corners, and so on). Then it focuses on the ways in which popular music was listened to and appropriated by urbanites and how these urban-listening habits facilitated the process of mental adaptation to big-city life and the development of a metropolitan mentality.

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18

Poyser, Ronnie. Using the Internet to support research in the Departments of Physiotherapy, Occupational Therapy, Sports Science and Service Sector Management at the University of Brighton. 1995.

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19

Adams, Jade Broughton. F. Scott Fitzgerald's Short Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.001.0001.

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F. Scott Fitzgerald is remembered primarily as a novelist, but he wrote nearly two hundred short stories for popular magazines such as the widely-read Saturday Evening Post. These stories are vividly infused with the new popular culture of the 1910s, 1920s, and 1930s, from jazz and blues music to motion pictures and performing arts. This book demonstrates how popular culture had a deep impact on Fitzgerald’s work, not just in terms of evoking period detail, but by confirming Fitzgerald as an experimental writer whose popular short stories reflect the serious modernist concerns occupying writers such as Ernest Hemingway, James Joyce, Sherwood Anderson, Dorothy Parker, and Langston Hughes. This book explores how popular culture impacted on F. Scott Fitzgerald’s literary aesthetics on both thematic and formal levels, to a greater extent than previously recognised. Encompassing spheres of both American studies and cultural studies, this book offers a revisionist perspective on Fitzgerald’s short fiction of the interwar period, which is often overlooked in favour of the novels, especially The Great Gatsby. By exploring Fitzgerald’s fascination with leisure, specifically the intertwined cultural spheres of dance, music, theatre, and film, this book argues that he innovatively imported practices borrowed from other popular cultural media into his short stories, deploying disruptive techniques of ambiguity and parody that sit in tension with reader expectations of his lyrical style and the commercial publication contexts of his stories.

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