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Books on the topic 'Danwer'

Author: Grafiati

Published: 28 May 2022

Last updated: 30 July 2025

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1

Dancer, Henry. Henry Dancer: Danser avec les lignes, la lumière--, danser la couleur--. Mémoire des arts, 2004.

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2

Lever, Maurice. Isadora: Roman d'une ire. Presses de la Renaissance, 1987.

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3

1948-, Hirt-Manheimer Aron, ed. The dancer within: Intimate conversations with great dancers. Wesleyan University Press, 2008.

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4

Park, Iris. Na ŭi ch'um, na ŭi yŏnghon. Tosŏ Ch'ulp'an Sanbang, 1989.

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5

Chan, Vanessa S. The Flower Drum Dancers' guide to Chinese dances. Flower Drum Dancers, 1990.

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6

Pani, Birendra. Boy dancer: Convergence & continuum : a performance by Gotipua dancers from Orissa. Gallery Espace, 2007.

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7

Sander, Sonia. Danger rangers: Danger alert. Educational Adventures, 2006.

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8

Adair, Christy. Women and dance: Sylphs and sirens. Macmillan, 1991.

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9

Adair, Christy. Women and dance: Sylphs and sirens. Macmillan, 1992.

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10

Zeil, Martin. Danner-Preis 2011: Danner award 2011 : Danner Stiftung. Danner-Stiftung, 2011.

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11

Berardi, Gigi M. Finding balance: Fitness and training for a lifetime in dance. Princeton Book Co., 1991.

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12

Barrow, Zelma D. Danner. Z.D. Barrow, 1986.

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13

Chier, Ruth. Danger. PowerKids Press, 1996.

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14

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

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15

Chier, Ruth. Danger. PowerKids Press, 1996.

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16

McCann, Colum. Dancer. QPD, 2003.

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17

Wilmerding, M. Virginia, and Donna H. Krasnow, eds. Dancer Wellness. Human Kinetics, 2017. http://dx.doi.org/10.5040/9781718212756.

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Dancers who want to get the most out of their experience in dance—whether in college, high school, a dance studio, or a dance company—can now take charge of their wellness. Dancer Wellness will help them learn and apply important wellness concepts as presented through the in-depth research conducted by the International Association for Dance Medicine & Science (IADMS) and their experts from around the world. Four Primary Areas Dancer Wellness covers four primary topics: 1. Foundations of dancer wellness, which explores the dancer's physical environment, the science behind training, and con

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18

Lever, Maurice. Isadora. Circe, 1991.

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19

Lever, Maurice. Isadora. Circe, 1995.

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20

Lever, Maurice. Isadora: Roman d'une vie. Presses de la Renaissance, 1987.

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21

Taylor, Jim, and Elena Estanol. Dance Psychology for Artistic and Performance Excellence. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212787.

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The dance world is filled with technique books, which certainly serve an important role in helping dancers improve their performance. But the market has been conspicuously void of instruction on a vital aspect of dance performance: the mental aspect. Developing Psychological Strength in All Dancers Jim Taylor, a veteran sport and dance psychologist and author, and Elena Estanol, a dancer, instructor, and sport and dance psychologist, bring their experience and knowledge to Dance Psychology for Artistic and Performance Excellence to help dancers at all levels develop psychological strength to m

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22

Greenfield, Lois. Airborne: The New Dance Photography of Lois Greenfield. Thames & Hudson, 1998.

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23

Greenfield, Lois. Airborne: The New Dance Photography of Lois Greenfield. Chronicle Books, 1998.

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24

David, Ann R. Ram Gopal. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350166226.

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Both a biography and a history, this book explores the significant role that Indian dancer Ram Gopal (1912-2003) played in bringing Indian dance to international audiences from the 1930s to the late 1960s. Almost single-handedly, Gopal changed the perception of Indian dance abroad, introducing a global audience to specificity of movement, classically trained dancers, live musicians and exquisitely detailed costumes, modelled from Indian iconography. In this much-needed study of an often-neglected figure, the author unearths a fascinating narrative about Ram Gopal, the individual and the dancer

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25

Bosse, Joanna. Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0005.

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In this interlude, the author shares her dancing experience with two different partners and how she connects with them. The first is Dean, a single, white, thirty-something astrophysicist, whom she describes as a wonderful smooth dancer and having a good quickstep. Ballroom dance is Dean's way of making a connection, his way of experiencing joy. Her second partner is Sam, a former boyfriend and a tennis coach who taught her author how to play tennis while she taught him how to dance. The author also talks about Toby, the bartender for that night, who takes a break to watch the hustle dancers w

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26

Eichenbaum, Rose, and Aron Hirt-Manheimer. Dancer Within: Intimate Conversations with Great Dancers. Wesleyan University Press, 2013.

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27

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

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28

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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29

Winship, Lyndsey. Being a Dancer: Advice from Dancers and Choreographers. Hern Books, Limited, Nick, 2015.

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30

Dancer Speaks: Quotes by, for, and about Dancers. Independently Published, 2021.

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31

Winship, Lyndsey. Being a Dancer: Advice from Dancers and Choreographers. Hern Books, Limited, Nick, 2015.

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32

Guss-West, Clare. Attention and Focus in Dance. Human Kinetics, 2021. http://dx.doi.org/10.5040/9781718212718.

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The Western approach to dance is largely focused on control and mastery of technique, both of which are certainly necessary skills for improving performance. But mindful attention, despite its critical role in high performance, has gotten short shrift—until now. Attention and Focus in Dance, a how-to book rooted in the 20 years of attentional focus findings of researcher Gabriele Wulf, will help dancers unlock their power and stamina reserves, enabling efficient movement, heightening their sensory perception and releasing their dance potential. Author Clare Guss-West—a professional dancer, cho

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33

Foster, Susan Leigh. Dance and/as Competition in the Privately Owned US Studio. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.30.

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This chapter examines the role of dance competitions in contemporary private dance studio training, arguing that the focus on judging and winning has substantially altered the ways that dance is experienced by both performers and viewers. Comparing contemporary studio practices with those from the early twentieth century, the author considers how the business of teaching dance has opened up new demands for teacher training and for dances that can be taught and performed, and hence new markets for the circulation and distribution of dances. The chapter situates the contemporary focus on competi

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34

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

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35

Vescovi, Curt. Crime of Tango Dancer : Seductive World of the Tango Dancers: Murder with Tango Dancer. Independently Published, 2021.

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36

Bosse, Joanna. Interlude. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0008.

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In this interlude, the author talks about some of her fellow ballroom dancers at the Regent Ballroom and Banquet Center. She begins with Tony and Sarah, one of the many “empty-nester” couples who arrive at the Regent hoping to reconnect now that their children are grown and gone. When they are on the dance floor, you can see them exchanging gestures of affection and sweetness. Next is Doris, a divorced, independent, small-business owner who runs a seamstress shop from her home. The author then turns to Marty, a middle-aged dentist who says nothing before, during, or after his dance with the au

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37

Schlapbach, Karin. Epilogue: Dance as Experience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0008.

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The epilogue synthesizes the insights gained from the preceding chapters. The observation that non-representational dances trigger interpretations in the internal audiences highlights at once the capability of dance to go beyond representation and the need to find meaning in it. Just as the dancers are affected by the physical reality of their performance, so the spectators too are affected by the physical presence of the dancers. Dance is performative and dynamic, and its way to cognition and action is experience. Dance reconciles opposites by encapsulating vitality and disruption, rational p

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38

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

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39

Publishing, Jojo. Salsa Dancer Goal and Life Planner: Salsa Dancers Notebook. Independently Published, 2020.

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40

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

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41

Holland, Nola Nolen. Music Fundamentals for Dance. Human Kinetics, 2013. http://dx.doi.org/10.5040/9781718212855.

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Music Fundamentals for Dance provides students with a fundamental understanding of music and how it applies to dance performance, composition, and teaching. This valuable reference helps professional choreographers, dance educators, and dancers expand their knowledge of music and understand the relationships between music and dance. Fundamentals of Music for Dance helps dancers understand of the elements of music—form and structure, musical time, melody, texture, and score reading—and how they relate to dance performance and choreography. They will learn music vocabulary for easier communicati

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42

Morelli, Sarah. A Guru's Journey. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042867.001.0001.

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This book provides the first ethnographic examination into the life of and the community formed around Pandit Chitresh Das, one of India’s most dynamic, outspoken, and captivating dancers. Born in Calcutta in 1944, Pandit Das immigrated to the United States in 1970 and was instrumental in establishing kathak, an Indian classical dance form, in the States. This work examines issues that arose in teaching, learning, and performing kathak in the United States over forty-five years. As a teacher, how does one transmit cultural and dance knowledge to culturally diverse groups of students? Within an

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43

Kraut, Anthea. Fixing Improvisation. Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.015.

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This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethink

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44

Krayenbuhl, Pamela. White Screens, Black Dance. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197699119.001.0001.

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Abstract White Screens, Black Dance analyzes the film and television dances of male screen stars in the United States during the mid-twentieth century. Unpacking the complex physical and visual codes performed by four case studies—the Nicholas Brothers, Gene Kelly, Elvis Presley, and Sammy Davis, Jr.—it argues that each employs Black (Africanist) dance and movement vocabularies in distinct ways, all using them to construct shifting models of masculinity over the course of their careers. In so doing, this book theorizes a practice of appropriation called blackbodying, whereby nonblack performer

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45

Danger Danger. Precious Oil Publications, 2011.

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46

Renaissance Dances: For Dancers Young and Old. Alfred Publishing Company, 2000.

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47

Giordano, Ralph G. Social Dancing in America. Greenwood, 2006. http://dx.doi.org/10.5040/9798216986591.

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This two volume set relates the history of the most popular social dances, where they began, which dances survived the test of time and why, and what attracted American men and women to social dancing in these periods. Unlike other books on social dancing that taught people How to Dance, this books not only describes the dances, but also WHY Americans danced. This two volume companion set is the most comprehensive collection of American social dance from the first settlements in 1607 through the birth of the nation in 1776 and into the beginning of the 21st century.Social Dancing in Americaenc

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48

Daniel, Yvonne. Igniting Diaspora Citizenship. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036538.003.0010.

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This book concludes by discussing the transcendence, resilience, and citizenship that have come to define Diaspora dance. It first explains the transcendent tendencies of Diaspora dance, emphasizing how its several genres have spread through migration, transnational connections, and communication technologies to Caribbean niches in other parts of the world. It then considers the resilience of both Diaspora dance and Diaspora dancers in response to change, able to recover spirit and energy in a quick but cool fashion as they deal with a variety of challenges. It also examines how citizenzhip is

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49

Dodds, Sherril, ed. The Oxford Handbook of Dance and Competition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190639082.001.0001.

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The Oxford Handbook of Dance and Competition examines the complex interactions between dance and competition, and addresses six areas of investigation: how dancers invest in competition to ensure economic survival and social standing; how dancing bodies and movement aesthetics are re-choreographed in response to a competition format; the strategies that dancers use to negotiate the dominant rhetoric of competition; the values and criteria that underpin frameworks of judgment and experiences of spectatorship in the competition realm; how failure, loss, and a resistance to structures of winning

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50

Press, Dance Thoughts. Ballet Chooses the Dancer: Practice Log Book for Young Dancers. Independently Published, 2019.

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