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Books on the topic 'Danmei'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Xiu, Mo Xiang Tong. Scum Villain's Self-Saving System: Ren Zha Fanpai Zijiu Xitong Vol. 2. Seven Seas Entertainment, LLC, 2022.

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2

Yang, Ling. Xin shi ji wen xue yan jiu de chong gou: Yi Guo Jingming he dan mei wei qi dian de tan suo = Reconfiguring literary studies in the 21st century : an exploration with Guo Jingming and danmei. Xiamen da xue chu ban she, 2019.

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3

Miyata, Itsumi. Danhei oshinariki. Iwakuni Chōkokan, 1987.

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4

Tai, Hikosaka. Dansei shinwa. Komichi Shobō, 1991.

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5

(Organization), CoupleDanceWorld, ed. 1000 novelty & fad dances: A guide to how these are danced. AuthorHouse, 2009.

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6

Gladys, Laubin, ed. Indian dances of North America: Their importance to Indian life. University of Oklahoma Press, 1989.

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7

Qian, Yingqiu. Danmai shi lü. Ha'erbin chu ban she, 1993.

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8

translator, Wang Minwen, ed. Danmai nü hai. Mai tian chu ban, 2015.

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9

Lemaire, Claudine. Les basses danses de Marguerite d'Autriche =: Das Tanzbüchlein der Margarete von Österreich : vollständige Faksimile-Ausgabe im Originalformat der Handschrift MS 9085 aus dem Besitz der Bibliothèque royale Albert Ier, Bruxelles. Kommentarband. Akademische Druck- u. Verlagsanstalt, 1988.

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10

1871-1937, Fukuzawa Yasue, and Hakubunkan, eds. Chōsen shakaishi no danmen. Ryūkei Shosha, 2009.

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11

Abe, Takayuki. Hagane no dansei keisū. Kinzoku Zairyō Gijutsu Kenkyūjo, 1997.

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12

Kegang, Wu, ed. Danmai de jiao yu. Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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13

Boje, Andreas. Danmai de jiao yu. Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2007.

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14

Chinatsu, Kuma, Yokohama Bijutsukan, and Kokuritsu Kokusai Bijutsukan (Japan), eds. Tabaimo: Danmen no sedai. Seigensha, 2009.

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15

Marsico, Katie. Dancer. Cherry Lake Pub., 2011.

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16

McCann, Colum. Dancer. QPD, 2003.

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17

Vanlessen, Wim. Dancer. Hannibal Publishing, 2019.

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18

Le grand maître de la cultivation démoniaque tome 1. Bookmark, 2022.

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19

Xiu, Mo Xiang Tong. Scum Villain's Self-Saving System: Ren Zha Fanpai Zijiu Xitong Complete 4-Book Novel Set. STEMCOOL, 2022.

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20

The basse dance handbook: Text and context : seventeen original sources. Pendragon Press, 2011.

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21

K, Tatsy. We Dances: Serius 3 I Danced with Him. Independently Published, 2018.

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22

Daniel, Yvonne. Ferocious Dance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0008.

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This chapter examines ferocious or combat dance in Circum-Caribbean history. It documents martial art forms and stick-fighting dances on the African continent and Diaspora combat dances that are similar to Brazilian capoeira and maculelê. It also proposes the inclusion of armed and unarmed combat rituals within Caribbean dance categories. The chapter begins with a discussion of the African legacies of ferocious dance, focusing on the importance of martial arts to the societies of colonial Angola and its connection to Caribbean combat dances, as well as the ways in which martial techniques were

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23

Nijinsky's Feeling Mind: The Dancer Writes, the Writer Dances. Lexington Books/Fortress Academic, 2023.

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24

Nijinsky's Feeling Mind: The Dancer Writes, the Writer Dances. Lexington Books/Fortress Academic, 2023.

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25

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 reper

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26

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

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27

Barba, Fabian. Quito-Brussels. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.30.

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This text is grounded in Barba’s lived experience as a dancer trained in Quito and Brussels. He begins by examining an instance in which a dance is said to look old-fashioned even though it has been recently created. When this judgment occurs across continental boundaries, Barba notes that from a Eurocentric and historicist perspective, working outside the parameters of the so-called centers for contemporary dance can be perceived as traveling back in time. This dismissal of a particular dance, or even of an entire dance tradition, as not really contemporary when identified from within the bor

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28

Gray, Laurel Victoria. Women's Dance Traditions of Uzbekistan. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350249509.

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The first comprehensive work in English on the three major regional styles of Uzbek women’s dance –Ferghana, Khiva and Bukhara – and their broader Silk Road cultural connections, from folklore roots to contemporary stage dance. The book surveys the remarkable development from the earliest manifestations in ancient civilizations to a sequestered existence under Islam; from patronage under Soviet power to a place of pride for Uzbek nationhood. It considers the role that immigration had to play on the development of the dances; how women boldly challenged societal gender roles to perform in publi

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29

Laubin, Reginald. Indian Dances of North America: Their Importance in Indian Life (Civilization of the American Indian Series). University of Oklahoma Press, 1989.

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30

Chaganti, Seeta. The Time of Reenactment in Basse Danse and Bassadanza. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.44.

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Fifteenth-century dance manuals reveal an important distinction between the work of historical reconstruction and that of theoretical reenactment. Basse danse and bassadanza manuals clarify that the difference between reenactment and reconstruction is a difference in temporal experience. When we use these documents simply to reconstruct—to piece together and attempt to replicate a past step pattern—we discern in the manuals and in their dances an anticipatory temporality that privileges looking toward the future. When, however, we approach these texts through the theoretical discourse of reena

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31

Josei soshite dansei. Nihon Hyōronsha, 1985.

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32

Danmen Nihon kaigashi. Mokujisha, 1988.

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33

Bijutsushi no danmen. Seibundo, 1995.

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34

Gotman, Kélina. Madness after Foucault. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190840419.003.0003.

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The nineteenth-century imagination of the Middle Ages—specifically the St. John’s Day dances that intensified in the wake of the bubonic plague, or ‘Black Death’—emphasized bacchanalian raucousness. Yet the medicalization of post-plague dances overlooks an important history of pilgrimage, processions, and pre-Christian festivities. This chapter examines the recuperation of medieval histories of dance—barely legible in Latin chronicles and annals—into a history of epidemic madness. This contributes to rewriting Foucault’s history of madness by emphasizing collective exuberance and the emergence

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35

Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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36

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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37

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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38

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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39

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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40

(Translator), Michael Sullivan, ed. De Pratica Seu Arte Tripudii: "On the Practice or Art of Dancing" (Clarendon Paperbacks). Oxford University Press, USA, 1995.

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41

De pratica seu arte tripudii =: On the practice or art of dancing. Clarendon Press, 1993.

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42

Pesaro, Guglielmo Ebreo of, and Barbara Sparti. De Pratica Seu Arte Tripudii: "On the Practice or Art of Dancing". Oxford University Press, USA, 1993.

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43

Daniel, Yvonne. Creole Dances in National Rhythms. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0004.

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This chapter examines social dances that display national dance formation and how they rise to national status in one country, while other nations identify only one dance for hundreds of years. It first considers examples of Creole dances that have become synonymous with island identity, such as Jamaican reggae, Trinidadian calypso, Dominican merengue, and French Caribbean zouk. It then explores the Cuban dance matrix and its various segments, including Native American dance, Spanish dance, African dance, and Haitian dance. It also traces the development of Cuba's national dances, focusing on

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44

Xie, Chang. Ren ti wen hua: Gu dian wu shi jie li di Zhongguo yu xi fang (Zou xiang wei lai cong shu). Sichuan sheng xin hua shu dian fa xing, 1987.

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45

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 i

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46

Smith, Murray. Stone Dancer: Stone Dancer. Pocket, 1995.

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47

Pouillaude, Frédéric. A Space with No Place (Straus and Ecstasy). Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0003.

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This chapter argues that Erwin Straus assigns dance very definitely to the domain of smooth space. Music is dance’s condition of possibility because it establishes the only space that could be adequate to dancing: an acoustic space, both homogeneous and nebulous, in which the directionality of praxis is obliterated. This acoustic space of dance contrasts with the optical space of directed and purposeful movement. The optical space, Straus tells us, is “historical”; the acoustic space, meanwhile, is “presentic.” Dance, as an extension of music, enables this “presentic” relation to space, which

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48

Danmai ren zai Andong. Xin rui wen chuang, 2021.

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49

Nü xia Yan Danfei. Feng yun shi dai chu ban gong si, 2001.

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50

Satsuki dankei: Chōhen shōsetsu. Shōdensha, 2004.

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