Relevant bibliographies by topics / Dance magazine

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Dance magazine'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Dance magazine"

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Brozas Polo, Mª Paz, Teresa García San Emeterio, and Sara López Azcuna. "La danza contemporánea en España (1989-2009): aproximación a la creación coreográfica a través de la revista «Por la danza» (Contemporary Dance in Spain (1989-2009): an aproach to the choregraphy performance through «Por la danza» magazine)." Retos, no. 20 (March 8, 2015): 16–20. http://dx.doi.org/10.47197/retos.v0i20.34617.

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Este estudio pretende identificar los principales elementos relativos a la creación coreográfica en el contexto español así como su evolución entre 1989 y 2009, a partir de los datos de la revista «Por la danza». Dicha revista de danza se constituye como un testigo privilegiado del desarrollo de la danza contemporánea en España en estas dos últimas décadas. Se analiza el lugar de la revista «Por la danza» en relación con las demás publicaciones que abordan la danza de forma más o menos específica y se revisan los 79 ejemplares publicados por la revista desde el punto de vista de las referencias relativas a la danza contemporánea: compañías, espacios de creación y festivales u otros eventos. Este estudio, a pesar del sesgo local de la revista que privilegia el entorno de Madrid, nos permite identificar un amplio conjunto de compañías españolas de danza y clasificarlas en función del grado de reconocimiento o consolidación y también del periodo de visibilidad. Se puede vislumbrar, además, la progresiva diversificación de los espacios y localidades de representación con el acercamiento a las artes plásticas y el incremento de eventos específicos de danza contemporánea y de nuevas artes fronterizas donde se acomoda la danza.Palabra clave: danza contemporánea, revista, creación, coreografía.Abstract: The aim of this study is to identify the main elements related to the choreographic creation in Spain as well as its evolution between 1989 and 2009, according to the information from the magazine «Por la danza». This magazine has been a privileged witness of the development of the contemporary dance in Spain in the two last decades. The study analyses the magazine’s position with regards to other dance-related publications and revises their 79 issues from a contemporary dance point of view: companies, spaces of creation and festivals or other events. Although the study refers to a Madrid local dance magazine, a variety of Spanish dance companies has been included, as well as a detailed classification according to their recognition or consolidation degree and visibility period. The study also reflects the progressive increase of the number of performance spaces and locations where audience might approach to the plastic arts and specific contemporary dance events or frontier arts.Key words: contemporary dance, magazine, creation, choreography.
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Brezavšček, Pia, and Alja Lobnik. "Impulstanz 2019: A few thoughts." Maska 34, no. 198 (December 1, 2019): 133–37. http://dx.doi.org/10.1386/maska.34.198-199.133_1.

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Abstract During their residence in Vienna, the editors of this magazine visited a part of the ImpulsTanz festival in order to map international trends in contemporary dance. They established that, following an increase in the production of contemporary dance, interest in theory (the Maska magazine being an important part of this scene for several years now) experienced a decrease. They divided the production into three categories: A Dance of Great Names (mentioning Ivo Dimchev with Selfie Concert, Jonathan Burrows with Rewriting, a piece by Wim Vandekeybus/Ultima Vez Go Figure Out Yourself and a classic by DD Dorvillier/Human Future Dance Corps: No Change, or »Freedom Is a Psycho-kinetic Skill«), the position of the viewer and the hermeticisms of the current contemporary dance (analysing Anna Juren's 42, a solo performance by Dani Michel Cutlass Spring and Compass by Simone Augherlony, Petra Hrašćanec and Saša Božić) and new formalisms and contemporary repetition (Tatiana Chizhikova and Roman Kutnov: Time to Time and Ellen Furey and Malik Nashad Sharpe: SOFTLAMP.Autonomies).
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Arsanios, Marwa. "Olga's Notes: This Whole New World." ARTMargins 4, no. 1 (February 2015): 61–78. http://dx.doi.org/10.1162/artm_a_00108.

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Olga's Notes is a script for a movie. This project tells a story composed of various collected notes, written mainly while reading Al-Hilal magazine (an Egyptian publication from the 1960s), thinking about the disciplined body, labor, and nation-state building through dance.
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Engelhardt, Molly. "SEEDS OF DISCONTENT: DANCING MANIAS AND MEDICAL INQUIRY IN NINETEENTH-CENTURY BRITISH LITERATURE AND CULTURE." Victorian Literature and Culture 35, no. 1 (January 22, 2007): 135–56. http://dx.doi.org/10.1017/s1060150307051455.

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I accepted his invitation; but having once begun to dance, he would on no account be prevailed on to cease. At last I grew uneasy. I fixed my eyes upon him with anxiety; it seemed to me as if his eyes grew dimmer and dimmer, his cheeks paler and more wasted, his lips shrivelled and skinny, his teeth grinned out, white and ghastly, and at last he stared upon me with bony and eyeless sockets.—“The Dance of Death,” Blackwood's Magazine It is ill dancing with a heavy heart.—George Eliot, Mill on the Floss
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Lindgren, Allana C. "Civil Rights Strategies in the United States: Franziska Boas's Activist Use of Dance, 1933–1965." Dance Research Journal 45, no. 2 (July 13, 2012): 25–62. http://dx.doi.org/10.1017/s0149767712000058.

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At the first National Dance Congress and Festival, which was held in New York in May 1936, Edna Ocko, the dance editor ofNew Theatre Magazine, told the assembled delegates, “One cannot minimize the importance of an artist's social point of view, for it is he who, bringing his ideas before vast audiences, can organize and direct social thought” (25). Noting that young, politically aware choreographers had already embraced the political potential of dance, Ocko listed several topical social themes recently explored in choreography, including the need for “Negro and white unity”—an assertion championed by other speakers and formally adopted in the final session of the gathering when the delegates passed the following resolution: “Whereas the Negro People in America have been subject to segregation and suppression which has limited their development in the field of creative dance, be it resolved that the Dance Congress encourage and sponsor the work of the Negro People in the creative fields” (Ocko 1936, 27 and “Resolutions” 1936, 94).
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Petac, Silvestru. "„Originea jocului de călușari” de Romulus Vuia - un mic studiu de etnologie a dansului." Anuarul Muzeului Etnograif al Transilvaniei 33 (December 20, 2019): 114–23. http://dx.doi.org/10.47802/amet.2019.33.07.

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Being in an anniversary year (90 years since the National Ethnographic Park was founded that bears the name of its founder: Romulus Vuia) and we consider that a good way to render homage to the Romanian ethnographer's personality is to make some observations on a short study from his youth, published by Romulus Vuia in Dacoromania Magazine in 1922, a study entitled ”The Origin of the Călușari folk dance”. Therefore the lines below try to point out some of the important, relevant and sustainable aspects from Vuia's study, a study that I place among the ethnology studies of the dance that marked the perception of an archaic Romanian ceremonial practice: Căluș.
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Myers, Natasha. "Dance Your PhD: Embodied Animations, Body Experiments, and the Affective Entanglements of Life Science Research." Body & Society 18, no. 1 (March 2012): 151–89. http://dx.doi.org/10.1177/1357034x11430965.

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In 2008 Science Magazine and the American Academy for the Advancement of Science hosted the first ever Dance Your PhD Contest in Vienna, Austria. Calls for submission to the second, third, and fourth annual Dance Your PhD contests followed suit, attracting hundreds of entries and featuring scientists based in the US, Canada, Australia, Europe and the UK. These contests have drawn significant media attention. While much of the commentary has focused on the novelty of dancing scientists and the function of dance as an effective distraction for overworked researchers, this article takes seriously the relationship between movement and scientific inquiry and draws on ethnographic research among structural biologists to examine the ways that practitioners use their bodies to animate biological phenomena. It documents how practitioners transform their bodies into animating media and how they conduct body experiments to test their hypotheses. This ‘body-work’ helps them to figure out how molecules move and interact, and simultaneously offers a medium through which they can communicate the nuanced details of their findings among students and colleagues. This article explores the affective and kinaesthetic dexterities scientists acquire through their training, and it takes a close look at how this body-work is tacitly enabled and constrained through particular pedagogical techniques and differential relations of gender and power. This article argues that the Dance Your PhD contests, as well as other performative modalities, can expand and extend what it is possible for scientific researchers to see, say, imagine and feel.
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Scherf, Rosalyn. "I Danced at His Wedding." Neonatal Network 29, no. 3 (May 2010): 206. http://dx.doi.org/10.1891/0730-0832.29.3.206.

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ON OCTOBER 1, 2007, RN magazine published my article “David’s Story” about a patient of mine who was born prematurely 30 years ago. When David was just a day or two old, he was almost pronounced dead, but a bold and dedicated respiratory therapist asked if she could try to help him. And help him she did! David was kept alive at an outlying hospital until he could be admitted to our tertiary NICU, which at the time of David’s birth was full. Three days later, our unit at Jackson Memorial Hospital in Miami, Florida, had room to take David. At the end of that RN article, I wrote, “Maybe I’ll even get to dance at his wedding.”
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Robinson, Danielle. "The Ugly Duckling: The Refinement of Ragtime Dancing and the Mass Production and Marketing of Modern Social Dance." Dance Research 28, no. 2 (November 2010): 179–99. http://dx.doi.org/10.3366/drs.2010.0103.

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The focus of this article is the transformation of ragtime dancing into modern social dance by hundreds of teachers, writers and performers working in an emerging dance industry, rooted in New York City. Based on dance manuals and magazines of the period, I argue that dance professionals worked collectively to create new products (i.e. dances) that could more easily be mass-produced and marketed. Importantly, they called their efforts a ‘refinement’ of ragtime and justified their work through discourses of artistry and morality. Upon closer examination, however, the changes they made to the dances indicate that artistry and morality were actually achieved by removing the black associations of ragtime dancing and instead, using modern social dance to construct an idealized white racial identity.
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Klein, Jeanne. "The Cake Walk Photo Girl and Other Footnotes in African American Musical Theatre." Theatre Survey 60, no. 1 (December 21, 2018): 67–90. http://dx.doi.org/10.1017/s0040557418000509.

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On 22 August 1897, theAmerican Woman's Home Journalpublished seven photographs of “The Cake Walk as It Is Done by Genuine Negroes” in which “Williams and Walker Show How the Real Thing Is Done before the Journal Camera.” In this series, the African American stars Bert Williams, George Walker, Belle Davis, and Stella Wiley perform their popular cake walk act with situational humor in medias res before an unknown photographer in a nondescript space. Among the seven selected poses, one intriguing photograph in the lower right-hand corner depicts the encircled dancers gazing down upon an empty space in the center. The subject of their gaze becomes apparent when comparing the magazine images with the seven “Post Cards” Franz Huld published as part of his “Cake Walk/Negro Dance” series around 1901. Although the performers’ poses are the same, the postcard includes extra space between Wiley and Walker to feature a young girl of mixed racial heritage bending forward while hiking the back of her dress with her smiling face proudly held high (Fig. 1). If standing upright, she appears to be less than four feet tall and perhaps five to nine years of age. Given the obscure date and location of her photo shoot, her birth year could range anywhere from the mid-1880s to the early 1890s. Like Thomas F. DeFrantz, an African American dance theorist who gazes upon two 1920s photographs of other dancing girls, my gaze leads me to wonder about her identity, how she met and socialized with these four dancers, and whether she pursued a theatrical career.
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Dissertations / Theses on the topic "Dance magazine"

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McKetta, Dorothy Jean. "The Leo Castelli Gallery in Metro magazine : American approaches to post-abstract figuration in an Italian context." 2012. http://hdl.handle.net/2152/18520.

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Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists.
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Books on the topic "Dance magazine"

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name, No. Stern's directory 2003: A publication of Dance magazine. [New York, NY]: MacFadden Dance Magazine, Inc., 2002.

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Page, Ralph. Contras as Ralph Page called them: Containing photocopies of over 220 contra dances collected from a syllabus produced at the Stockton, California Folk Dance Camp in 1957 and from the pages of Ralph Page's magazine, "Northern junket". Ithaca, NY (702 N. Tioga St., Ithaca 14850): R.C. Knox, 1990.

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Osgood, Bob. The caller text: The art and science of calling square dances : with articles for callers written by callers from 37 years of Square dancing magazine. [S.l.]: Sets in Order American Square Dance Society, 1985.

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Mcdermott, Leeanne. GamePro Presents: Sega Genesis Games Secrets: Greatest Tips. Rocklin: Prima Publishing, 1992.

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Dance magazine. Oakland, CA: Dance Magazine, 2000.

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McCormack, Allen E. Dance Magazine College Guide: 2000-01 (Dance Magazine, 2000 2001). Dance Magazine, 2000.

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McCormack, Allen E. Dance Magazine College Guide: 1998-99 (Dance Magazine College Guide). 9th ed. Dance Magazine, 1998.

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Dance Magazine College Guide 2005 & 2006 (Dance Magazine College Guide). Dance Magazine, 2005.

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Dance Magazine College Guide 2006 & 2007 (Dance Magazine College Guide). Dance Magazine, 2006.

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Dance Magazine College Guide/1994-95 (Dance Magazine College Guide). Dance Magazine, 1994.

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Book chapters on the topic "Dance magazine"

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Van Dyke, Jan. "Dance in America." In Dance and Gender. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062662.003.0002.

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A variety of data show that men now lead the concert dance field in the United States. Not only do they receive jobs as performers and choreographers out of proportion to their representation as dance students, they also more readily achieve acclaim and financial security. Men stand out among dance artists because there is a paucity of them, giving them a professional advantage. This chapter examines funding at the state and national level, including Guggenheim Fellowships, MacArthur Grants, and National Endowment for the Arts Fellowships to see to whom funding goes. Various awards are also scrutinized for gender equity, including the Dance Magazine Award, Capezio Dance Award, Kennedy Center Honors Award, and the National Medal of the Arts. In addition, teaching and choreographing opportunities for men and women are compared.
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Dirksen, Rebecca. "Epilogue 1." In After the Dance, the Drums Are Heavy, 385–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.003.0010.

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In mid-February 2016, mere days after Michel Martelly stepped down from the presidency, an advertisement began circulating online in Kompa Magazine announcing Sweet Micky’s appearance on May 19, 2016, at the Café Iguana in Miami. The publicity enthuses, “The President of Kompa [sic] is back!” Online poster Neg Timid assessed the situation:...
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Scolieri, Paul A. "Tales of a Terpsichorean Traveler." In Ted Shawn, 153–222. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0004.

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This chapter focuses on Shawn’s extensive travels abroad during the height of the Denishawn enterprise in pursuit of learning and adapting authentic “foreign” or “ethnic” dances for the American stage. It details Shawn’s trips to Spain and North Africa (1923), where he traveled in search of the Ouled Naïl, the nomadic tribe of bejeweled dancing girls that had captured the imagination of Romantic artists and writers. It also covers Denishawn’s groundbreaking eighteen-month tour of the Far East (1925–26), focusing on the company’s status as “America’s unofficial ambassadors” and revealing Shawn’s artistic exchanges with local artists, royalty, and colonial officials. The chapter explains how Shawn translated his experiences abroad into dances that filled his repertory for years to come—as well as into business practices that helped him build an arts empire with school franchises, a mail-order dance business, and its own Denishawn Magazine.
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Nurhussein, Nadia. "Empire on the World Stage." In Black Land, 119–43. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691190969.003.0006.

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This chapter begins with a scene from George White's 1936 “Scandals,” reprised in the 1937 film “You Can't Have Everything,” that featured the dance team known as Tip, Tap, and Toe as Haile Selassie and two of his army's soldiers. Many reviews considered this scene the best one of White's Broadway musical revue, and a photograph from this scene was even included in the cover story of the January 6, 1936 issue of Time magazine, a profile of Haile Selassie declaring him the magazine's “Man of the Year.” With hints of so-called “Ethiopian minstrelsy,” the image of Selassie in the public eye was an odd amalgam of ancient solemnity and slick modernity. Literary and journalistic accounts of Selassie depicted a leader who evinced an attraction to technology and modernization that was undermined by Ethiopian culture and landscape deemed somehow averse to modern life. The chapter also addresses the theatrical representations of Ethiopia with Arthur Arent's censored 1936 Federal Theater Project Ethiopia, which was generically categorized as a “living newspaper,” and an important turn-of-the-century libretto, starring blackface performers Bert Williams and George Walker.
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Salkind, Micah E. "The Warehouse and The Music Box." In Do You Remember House?, 47–84. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698416.003.0003.

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Chapter 2 examines Chicago house music’s emergence in post-industrial spaces of queer, Black, and Latino sociality through an analysis of its two foundational spaces, The Warehouse and The Music Box. Working from oral history interviews, newspaper and magazine articles, and autobiographical accounts, as well as through close readings of commercial and amateur musical recordings, this chapter foregrounds the cultural work of promoter Robert Williams and DJs Frankie Knuckles and Ron Hardy. It builds on scholarship in African American studies, performance studies, and affect theory (Henriques 2010; Johnson 1998; Vogel 2009) to account for the ways that Chicago artists and entrepreneurs adapted New York City’s queer of color social dance traditions to meet the needs of Chicago’s musically omnivorous dancers (Gibson 2006; Novak 2013).
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Snow, K. Mitchell. "Mexicanism Russian Style." In A Revolution in Movement, 36–54. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066554.003.0003.

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The influence of Serge Diaghilev’s Ballets Russes saturated the artistic environment inhabited by Diego Rivera and Roberto Montenegro in Paris before World War I. In predecessors to the debates surrounding nationalism in Mexico, Diaghilev explored its intersections with folk art in the pages of his magazine Mir iskusstva. Montenegro studied with Diaghilev ally Hermen Anglada who urged his disciples to use elements from their nation’s folklore to escape the hegemony of Parisian modernism. Although Rivera disparaged the Ballet Russes’s influence on Mexican art, he painted his “Mexican trophy,” a cubist Zapatista landscape with a prominent serape, in response to an exhibit of Russian folk art that had been inspired by the success of Diaghilev’s dance company. Montenegro also cited this exhibition as one of the major influences in his decision to pursue Mexican folk art as a source of inspiration.
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van Delden, Ate. "With Fred Elizalde in England, 1928." In Adrian Rollini, 177–204. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0012.

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From Basque descent and growing up in the Philippines, Fred Elizalde was an advanced composer and orchestra leader. He had worked in the USA and was familiar with the quality of its dance music and jazz, which he wanted to bring to London and then develop further. He managed to get a contract with the Savoy Hotel, London's top hotel, and in order to fulfil his ambition he hired Americans including Rollini and Bobby Davis. Rollini was featured on most of Elizalde's records, both with the full orchestra and with a jazz band, sometimes using American arrangements. The public's reaction was generally positive, but the band's broadcasts were not always well received. Elizalde defendedhis approach to his management and with initial success. During a short trip home Rollini marries Dixie. His popularity among British music lovers grows further and Melody Maker, a major magazine, asks him to write articles about his music.
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Adams, Jade Broughton. "‘Dancing Modern Suggestive Dances that are Simply Savagery’: Fitzgerald and Ragtime Dance." In F. Scott Fitzgerald's Short Fiction, 30–57. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.003.0002.

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Irene and Vernon Castle were stewards of the transition from Victorian to modern dancing, and Fitzgerald uses this period as the setting for two series of stories. The rigid rules of Victorian dances gave way to a more improvisation-based style, and this chapter argues that a similar shift can be seen in Fitzgerald’s manipulation of short story formulae. This chapter draws parallels between the production lines of Taylorist management philosophies and the dance manuals that broke dances down into fragmented gestures and machinistic imitative steps, contextualising this as part of a wider cultural shift from the artisinal to the mass produced. In the course of his search to regain the popularity of his explosive debut at the beginning of the 1920s, Fitzgerald parodies certain of his early heroines in his later work. The use of such parodic ‘ragging’ and syncopation draws upon musical techniques that emerged from African American culture, such as jazz. Rather than reading these reimaginings as symptomatic of Fitzgerald’s dwindling talents or financial desperation, this chapter argues that this self-parody serves creative aims as well as constituting Fitzgerald’s subtle criticism of the public’s insatiable demand for the formulaic flapper stories favoured by the ‘slick’ magazines.
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Claes, Koenraad. "The Germs of a Genre: The Germ and the Oxford and Cambridge Magazine." In The Late-Victorian Little Magazine, 16–35. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474426213.003.0002.

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This chapter offers a working definition for the little magazine genre, explained as dependent on the peculiar position these publications occupied in the wider periodical marketplace. It then looks at two titles that have been suggested as the starting point for this genre: the Pre-Raphaelite Brotherhood’s journal The Germ (1850—e.g. Dante Gabriel Rossetti, Christina Rossetti, William Holman Hunt), and the closely linked Oxford and Cambridge Magazine (1856—e.g. William Morris and Edward Burne-Jones) that anticipates the message of the Arts & Crafts Movement, in which several contributors would be involved. Finally, the early tendencies in these journals towards a conceptual integration of their contents and the formal / material aspects of the printed text is related to the mid- to late-Victorian ‘Revival of Fine Printing’, which is argued to develop alongside the little magazine genre.
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Scolieri, Paul A. "An Interesting Experiment in Eugenics." In Ted Shawn, 75–152. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.003.0003.

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This chapter examines the formation and early years of Denishawn, the first American modern dance company and school. It argues that the newlywed Ruth St. Denis and Ted Shawn harnessed the cultural fascination with eugenics—the science of race betterment—to catapult their unique brand of theatrical dancing into public renown. A cultural phenomenon, Denishawn appeared in magazines from National Geographic to Vogue, fast becoming a sensation among Hollywood directors, vaudeville producers, and high society elites. Denishawn’s meteoric rise was curtailed by World War I and Shawn’s enlistment in the army as well as the interpersonal conflicts between St. Denis and Shawn, which led the couple to seek marriage counseling from Havelock Ellis, a pioneer of the British eugenics movement, while in London in 1922 with their company.
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