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Books on the topic 'Dance (discipline)'

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Published: 26 July 2024

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1

Jordan, Stephanie. Dancing back: Current debates and the discipline. London: Roehampton Institute, 1995.

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2

Grau, Andrée, and Georgiana Wierre-Gore. Anthropologie de la danse: Genèse et construction d'une discipline. Pantin: Centre national de la danse, 2005.

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3

Kenzie, Robert J. Mac. Setting limits in the classroom: How to move beyond the classroom dance of discipline. Rocklin, CA: Prima Pub., 1996.

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4

Setting limits in the classroom: How to move beyond the dance of discipline in today's classrooms. 2nd ed. Roseville, Calif: Prima Pub., 2003.

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5

Adamson, Rosalind Cara. A study into methods by advisers and primary co-ordinators in order to acquire and disseminate skills and knowledge in music and dance as a combined arts discipline. [Guildford]: [University of Surrey], 1995.

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6

Follia e disciplina: Lo spettacolo dell'isteria. Milano: Mimesis, 2014.

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7

Cecilia, Nocilli, and Pontremoli Alessandro, eds. La disciplina coreologica in Europa: Problemi e prospettive. Roma: Aracne, 2010.

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8

The rhetorical act. 2nd ed. Belmont, Calif: Wadsworth Pub. Co., 1996.

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9

Schultz, Huxman Susan, ed. The rhetorical act: Thinking, speaking, and writing critically. 3rd ed. Belmont, CA, USA: Thomson/Wadsworth, 2003.

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10

Lombardi, Elena. The syntax of desire: Language and love in Augustine, the Modistae, Dante. Toronto: University of Toronto Press, 2007.

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11

1923-, Brockett Oscar Gross, and Ball Robert J, eds. Plays for the theatre: A drama anthology. 9th ed. Boston: Thomson/Wadsworth, 2008.

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12

For documentary: Twelve essays. Berkeley: University of California Press, 1999.

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13

Gasparini, Evel. Il matriarcato slavo. Edited by Marcello Garzaniti and Donatella Possamai. Florence: Firenze University Press, 2010. http://dx.doi.org/10.36253/978-88-8453-999-1.

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This book on Slavic matriarchy is the result of the studies and researches that Evel Gasparini carried out over the span of his lifetime. Intrigued by the possibility of a close link between the collective ownership of the land and the ancient agricultural-matriarchal substrate of Slav culture, Gasparini launched on the titanic enterprise of analysing the archaeological and historical sources of early Slavic civilisation. Basing himself on a concept of culture elaborated in the ethnological field, he brought to light certain contradictions in the application of the Indo-European paradigm to Slavic culture and identified a series of elements illustrating the matriarchal substrate. Exploiting an uncommon knowledge of cultural anthropology and profound linguistic competencies, in this book Gasparini maps out a complex panorama ranging from the economy to the social structure and from the religious traditions to music and dance. Out of print for some time, the book is now proposed in a new, more convenient form, complete with an appendix on Finns and Slavs – which was originally intended as another chapter in the book but was then left out – a detailed preface by Gasparini's disciple Remo Faccani, and a bibliography of the scholar's oeuvre edited by Donatella Possamai.
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14

Ontario. Esquisse de cours 12e année: Danse atc4m cours préuniversitaire. Vanier, Ont: CFORP, 2002.

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15

1946-, Weaver David H., ed. The American journalist in the 21st century: U.S. news people at the dawn of a new millennium. Mahwah, N.J: L. Erlbaum Associates, 2007.

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16

Campbell, Robinson Deanna, ed. Music at the margins: Popular music and global cultural diversity. Newbury Park, Calif: Sage Publications, 1991.

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17

1988, Berman Robert A., ed. Fade in: The screenwriting process. Westport, CT: M. Wiese Film Productions, 1988.

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18

Berman, Robert A. Fade in: The screenwriting process. 2nd ed. Studio City, CA: M. Wiese Productions, 1997.

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19

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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20

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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21

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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22

Discipline-based dance education: A translation and interpretation of discipline-based art education for the discipline of dance. 1991.

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23

Adler, Janet. Offering from the Conscious Body: The Discipline of Authentic Movement. Inner Traditions International, Limited, 2002.

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24

Offering from the Conscious Body: The Discipline of Authentic Movement. Inner Traditions, 2002.

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25

Schupp, Karen. Studying Dance. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212817.

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Studying Dance: A Guide for Campus and Beyond is a comprehensive bridge for students transitioning into the first year of a college dance program. Through this text, students will understand dance in new and exciting ways, embrace it as an academic discipline, navigate and take charge of their dance education, and visualize potential careers after graduation. Studying Dance: A Guide for Campus and Beyond opens students’ eyes to all the artistic, cultural, and educational aspects of dance. By expanding their thinking, students will move to a deeper understanding of themselves as dancers and the world around them. The author demystifies the entire first-year experience while guiding students in the discovery of dance as a multifaceted discipline. Students will examine academic expectations, time management, the importance of staying focused, and balancing school and life. They will delve into the various areas of dance and a range of careers and paths available to them. They will learn the differences in types of college dance courses, the approaches used, and how to personalize their dance education through individualized instructional opportunities and peer collaboration. The text also will prompt students to visualize and plan their dance lives beyond campus so they can set clear goals for studying and succeeding as young professionals.
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26

Setting Limits in the Classroom: How to Move Beyond the Classroom Dance of Discipline. Prima Lifestyles, 1996.

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27

Mackenzie, Robert J., and Robert J. MacKenzie. Setting Limits in the Classroom, Revised: How to Move Beyond the Dance of Discipline in Today's Classrooms (Setting Limits). Three Rivers Press, 2003.

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28

Egert, Gerko. Moving Relation: Touch in Contemporary Dance. Taylor & Francis Group, 2019.

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29

Egert, Gerko. Moving Relation: Touch in Contemporary Dance. Taylor & Francis Group, 2019.

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30

Egert, Gerko. Moving Relation: Touch in Contemporary Dance. Taylor & Francis Group, 2019.

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31

Crosby, Jill Flanders, and JT Torres. Situated Narratives and Sacred Dance. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402060.001.0001.

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Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, this book explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline.
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32

Egert, Gerko. Moving Relation. Taylor & Francis Group, 2021.

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33

Moving Relation. Taylor & Francis Group, 2019.

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34

Krasnow, Donna H., and M. Virginia Wilmerding. Motor Learning and Control for Dance. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212749.

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As dance training evolves and becomes more complex, knowledge of motor behavior is foundational in helping dancers learn and master new skills and become more efficient in integrating the skills. Motor Learning and Control for Dance is the first resource to address motor learning theory from a dance perspective. Educators and students preparing to teach will learn practical ways to connect the science behind dance to pedagogy in order to prepare dancers for performance. Dancers interested in performance from the recreational to professional levels will learn ways to enhance their technical and artistic progress. In language accessible even to those with no science background, Motor Learning and Control for Dance showcases principles and practices for students, artists, and teachers. The text offers a perspective on movement education not found in traditional dance training while adding to a palette of tools and strategies for improving dance instruction and performance. Aspiring dancers and instructors will explore how to develop motor skills, how to control movement on all levels, and—most important—how motor skills are best taught and learned. The authors, noted experts on motor learning and motor control in the dance world, explore these features that appeal to students and instructors alike: • Dance-specific photos, examples, and figures illustrate how to solve common problems various dance genres. • The 16 chapters prepare dance educators to teach dancers of all ages and abilities and support the development of dance artists and students in training and performance. • An extensive bibliography of sports and dance science literature allows teachers and performers to do their own research. • A list of key terms is at the beginning of each chapter with an accompanying glossary at the back of the book. Part I presents an overview of motor behavior, covering motor development from birth to early adulthood. It provides the essential information for teaching posture control and balance, the locomotor skills underlying a range of complex dance skills, and the ballistic skills that are difficult to teach and learn, such as grand battement and movements in street dance. Part II explores motor control and how movement is planned, initiated, and executed. Readers will learn how the nervous system organizes the coordination of movement, the effects of anxiety and states of arousal on dance performance, how to integrate the senses into movement, and how speed and accuracy interact. Part III investigates methods of motor learning for dancers of all ages. Readers will explore how to implement a variety of instructional strategies, determine the best approaches for learning dance skills, and motivate and inspire dancers. This section also discusses how various methods of practice can help or hinder dancers, strategies for improving the recall of dance skills and sequences, and how to embrace somatic practice and its contribution to understanding imagery and motor learning. Motor Learning and Control for Dance addresses many related topics that are important to the discipline, such as imagery and improvisation. This book will help performers and teachers blend science with pedagogy to meet the challenge of artistry and technique in preparing for dance performaance.
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35

Carpenter, W. Boyd. Dante and Educative Discipline. Kessinger Publishing, 2005.

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36

Adamson, Rosalind Cara. A study into methods adopted by advisers and primary co-ordinators in order to acquire and disseminate skillsand knowledge in music and dance as a combined arts discipline. 1995.

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37

Thurner, Christina. Time Layers, Time Leaps, Time Loss. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.45.

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The crisis of historiography, diagnosed by postmodern theorists, is taken as a basis of methodological reflections on dance history/historiography. This chapter asks if and how dance as art and theory reflects on the problem of history and about the potential of a critical reworking, accounting, or narration of a history or histories proper to dance. Concerning the constructive character of historiography, the chapter discusses alternative models of historiography taken from other disciplines (especially literary theory) as they relate to dance and ultimately lay the foundation of a nonvectorial, “spatialized” historiography of dance. It points out that writing an alternative history of dance takes as its starting point the enmeshed model of a network, or a choreographic contemporaneity of the noncontemporaneous. Danced reenactments finally are understood as choreographic juxtapositions, as reflections of moving scenes in relation to each other in time and space, or rather through times and spaces.
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38

The paper canoe: A guide to theatre anthropology. London: Routledge, 1995.

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39

Platform Papers 25 : Moving Across Disciplines: Dance in the Twenty-first Century. Currency House, 2010.

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40

Pouillaude, Frédéric. On Transcendental Absenting. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0001.

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This chapter posits a certain “void” upon which the few scraps of philosophical discussion of dance are scattered. It argues that this central void operates like a caesura, determining a “before” and an “after” This void implicates an absence—and the absence of dance from philosophy coincided precisely with the birth of aesthetics. There was thus a moment when a new kind of discourse about art and the beautiful was established, when a new discipline was formed which reorganized the disparate empirical realities of practices and works according to the architectonics of the concept. It was also the moment when dance was excluded, positioned beyond classification and ultimately marginalized as an art form.
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41

Dunagan, Colleen T. Consuming Dance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190491369.001.0001.

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Consuming Dance examines dance in television and online advertising as both cultural product and cultural meaning-maker. The text interweaves semiotics, choreographic analysis, cultural studies, media studies, and critical theory to place contemporary dance-in-advertising in dialogue with other dance media. Grounding contemporary advertising within media and cultural history, the work both analyzes examples from early television and performs semiotic readings of historical references within later ads. Analysis of individual commercials and campaigns reveals how commercials act as rhizomatic assemblages of cultural history as traditional advertising positioning strategies engage with content, conventions, and discourses from other disciplines and cultural forms. The text explores the power of dance in advertising, examining how it generates affect and spectacle in service of both brand identity and the construction of the commodity-sign. This analysis of dance’s power, in turn, reveals advertising’s intertextuality and its contributions to social identity and the construction of the neoliberal subject. Ultimately, the text highlights advertising’s contradictions, exposing how its appropriation of dance functions as a response simultaneously to marketing needs, shifting ideologies, and growing cultural diversity all while continuing to serve the needs of neoliberal capitalism.
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42

Loring, Dawn Davis, and Julie L. Pentz. Dance Appreciation. Human Kinetics, 2022. http://dx.doi.org/10.5040/9781718230668.

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Dance Appreciation meets the needs of dance students who are new to dance as well as those who are experienced in the art form. The text helps learners discover more about themselves, connect with dance, and make it a relevant and vital part of their lives. Dance Appreciation includes the following: Instructor ancillaries consisting of an instructor guide, test package, and PowerPoint presentation package make the teaching experience both easier and more effective, whether teaching in face-to-face or online settings.HKPropel Access supplies students with learning activities, individual and group projects, handouts, time lines, suggestions for further reading, video recommendations, and more to facilitate the learning experience.Five video segments demonstrate elements of dance and offer associated learning and movement activities, bringing the content to life for students.Textbook elements such as learning objectives, key terms, Enduring Understanding statements, Spotlight special elements, and chapter discussion questions help students navigate the chapters and retain the essential content. Dance Appreciation helps students understand dance from the perspectives of dancers, choreographers, and professionals in other careers related to dance. Students are introduced to a broad range of dance genres and learn to connect dance with other academic and artistic disciplines and with their own life experiences.
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43

Hines, James R. Skating with a Partner. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039065.003.0007.

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This chapter discusses the development of pair skating. Skating with a partner of the opposite sex in which there is physical contact had its real beginning in England, bastion of combined skating. However, it was in the 1890s that hand-in-hand skating became fashionable and moved from the static confines of basic figures to continuous movement around a rink. The rigid English style still ruled supreme, but in that same decade the introduction of the first true skating waltz, which capitalized on speed and flow across the ice with partners in a true dance position, not just holding hands, dealt a death knell to hand-in-hand skating. The direction of couple skating changed rapidly and permanently when in 1895 the three-step waltz ushered in the era of ice dancing. As a competitive discipline at the international level ice dancing was many years in the future, but dances and steps from them provided from the beginning basic material employed in competitive programs for singles and pair skating.
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44

Girdwood, Megan. Modernism and the Choreographic Imagination. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481625.001.0001.

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Ranging from the late nineteenth to the mid-twentieth century, this book examines literary and choreographic representations of the figure of Salome, the biblical woman who danced for the head of St John the Baptist. The age of modernism witnessed an extraordinary cross-fertilisation of the arts of literature and dance, grounded in a shared appetite for formal experimentation and inter-related ideas about the representational capacities of the performing body. Following her conspicuous revival in the nineteenth-century French Symbolist movement, Salome became a focal point for these recurring interplays between text and performance, inspiring an unprecedented corpus of plays, fictions, paintings, dance performances, and silent films devoted to her ‘dance of the seven veils’. This book considers how Salome’s dancing body, across its numerous modernist iterations, framed critical questions about inter-arts collaboration, influence, aesthetic autonomy, and the porousness of different disciplines, thereby unsettling more traditional views of aesthetic hierarchies and related assumptions about female creative agency. Following salient versions of Salome from fin-de-siècle music halls and avant-garde theatres to the projects of the Ballets Russes, female film pioneers, and modernist playwrights, this book considers canonical authors such as Oscar Wilde, W. B. Yeats, and Samuel Beckett, as well as lesser-known but crucially influential performers, from the modern dancers Loïe Fuller and Maud Allan, to Ida Rubinstein, Alla Nazimova, and Ninette de Valois.
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45

Won't you join the dance?: Initiation talks between master and disciple. New Delhi: Full Circle, 1999.

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46

Duffy, Ali. Careers in Dance. Human Kinetics, 2021. http://dx.doi.org/10.5040/9781718212701.

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Never before has a greater variety of careers been available in dance—and never before has such comprehensive, expert guidance on those burgeoning careers been accessible in one book. Careers in Dance is a master guide that will help students navigate the expanding opportunities in dance and familiarize current professionals with potential career choices that best align with their pursuits and strengths. This highly practical text offers a wealth of information on career options in a variety of settings and with a variety of focuses, including commercial ventures, scholarly pursuits, administrative avenues, medical and scientific settings, and interdisciplinary opportunities. Readers are guided in discovering their deepest interests and learning how to translate their unique strengths into rich and fulfilling careers. In keeping with recent trends in higher education dance programs, Careers in Dance spotlights entrepreneurship and leadership opportunities for dancers, delving into an array of options and offering much-needed advice. The book covers some of the social and cultural influences that affect success in the field, and it explores various career opportunities: • K-12 and postsecondary dance education • Dance studios • Performance, choreography, and production • Dance research, analytical writing, and journalism • Dance administration and advocacy • Dance science, therapy, and medical and somatic practices • Private competition companies • Technical theater and related areas The text also helps readers understand the connections between dance and other disciplines. For example, it details the interdisciplinary opportunities involving technology, technical theater, and media. It also notes the possibilities for continued education in graduate school programs and suggests approaches to acclimating to life as a working professional. Careers in Dance offers two recurring elements throughout the book: 1. Profiles of, and interviews with, esteemed professional dancers, revealing their real-world experiences and affording insights into different dance careers 2. Reflection prompts that encourage self-reflection and prepare readers to seek career development and career advancement opportunities This text explores the opportunities dance students and professionals can pursue, helps them pinpoint their areas of interest and strengths, and equips them to create their unique paths to a fulfilling career in dance. In doing so, Careers in Dance provides the advice and strategies dancers need to actualize their own destinies in dance. AUDIENCE Text for undergraduate courses on careers, entrepreneurship, and leadership, and for dance students embarking on careers. Reference for professionals considering career changes in the dance field.
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47

Gotman, Kélina. Choreomania. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.001.0001.

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This book traces the emergence and spread of the choreomania concept through colonial medical and ethnographic circles, showing how fantasies of instability—and of the Oriental other—haunted scientific modernity. Scenes from the archives of medical history, neurology, psychiatry, sociology, religion, and popular journalism show how the discursive history of the ‘dancing mania’ moved and transformed with its translations throughout the colonial world. From antiquarian references to ancient Greek bacchanals and medieval St. Vitus’s dances, to scientific reperformances of early modern religious ecstasies, and American government anthropology, ‘choreomania’ arose to signal every sort of gestural and choreographic unrest. Village kermesses, revolutionary crowds, and neuromotor disorders—including hysteria, epilepsy, and chorea—were among the many unruly forms of locomotion indiscriminately compared to bacchanalian turmoil. So too, charges of spontaneous political agitation levied against demonstrators from Africa and South America to the South Seas reveal heightened anxieties about the spread of social disorder. Initially employed to describe ‘contagious’ popular dances, jerking movements, and convulsions, with decolonization, the ‘dancing disease’ increasingly described the fitful drama of anti-European revolt. Closely indebted to the work of Michel Foucault, this book opens a new chapter on the way we think epidemic madness and the organization and disorganization of bodies and disciplines in the modern age. Setting ideas about disruptively moving bodies at the heart of the scientific enterprise, this book argues that disciplines themselves were at once more porous and mobile than is commonly allowed, and that ‘dance’ itself has to be radically reimagined across fields.
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48

Rust, E. The Music and Dance of the World's Religions. Greenwood Publishing Group, Inc., 1996. http://dx.doi.org/10.5040/9798400688485.

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Despite the world-wide association of music and dance with religion, this is the first full-length study of the subject from a global perspective. The work consists of 3,816 references divided among 37 chapters. It covers tribal, regional, and global religions and such subjects as shamanism, liturgical dance, healing, and the relationship of music, mathematics, and mysticism. The referenced materials display such diverse approaches as analysis of music and dance, description of context, direct experience, observation, and speculation. The references address topics from such disciplines as sociology, anthropology, history, linguistics, musicology, ethnomusicology, theology, medicine, semiotics, and computer technology. Chapter 1 consists of general references to religious music and dance. The remaining 36 chapters are organized according to major geographical areas. Most chapters begin with general reference works and bibliographies, then continue with topics specific to the region or religion. This book will be of use to anyone with an interest in music, dance, religion, or culture.
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49

Harris, Andrea. Modernism and American Ballet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0002.

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This chapter explores the international and interdisciplinary backdrop of Lincoln Kirstein’s efforts to form an American ballet in the early 1930s. The political, economic, and cultural conditions of the Depression reinvigorated the search for an “American” culture. In this context, new openings for a modernist theory of ballet were created as intellectuals and artists from a wide range of disciplines endeavored to define the role of the arts in protecting against the dangerous effects of mass culture. Chapter 1 sheds new light on well-known critical debates in dance history between Kirstein and John Martin over whether ballet, with its European roots, could truly become “American” in contrast to modern dance. Was American dance going to be conceived in nationalist or transnationalist terms? That was the deeper conflict that underlay the ballet vs. modern dance debates of the early 1930s.
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50

Sunardi, Christina. Aims and Approaches. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038952.003.0001.

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This chapter introduces the main aims and analytical approaches underpinning this book's research. It draws theoretical and methodological approaches from ethnomusicology, anthropology, gender studies, dance studies, Southeast Asian studies, and other disciplines—combining interpretive ethnography, textual analysis, and analysis of performance—in order to present a brief overview of each major theme tackled in this work: power, gender and sex, tradition, and Islam. All of these are analyzed in the context of east Javanese presentational dance and music in order to examine the perseverance of “female power” in the face of a variety of cultural pressures that work to contain, control, and suppress it.
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