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Books on the topic 'Network choreography'

Author: Grafiati
Published: 3 June 2025
Last updated: 31 July 2025

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1

Morris, Geraldine. A network of styles: Discovering the choreographed movement of Frederick Ashton (1904-1988). University of Surrey Roehampton, 2000.

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2

Redbooks, IBM. Patterns: Flexible Self-service Applications Using Process Choreography (IBM Redbooks). IBM.Com/Redbooks, 2004.

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3

Patterns: Flexible Self-service Applications Using Process Choreography on Z/os. Vervante, 2005.

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4

Redbooks, IBM. Patterns: Serial And Parallel Processes for Process Choreography And Workflow (Websphere Software). IBM.Com/Redbooks, 2004.

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5

Invisible Connections: Dance, Choreography and Internet Communities. Routledge, 2013.

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6

Popat, Sita. Invisible Connections: Dance, Choreography and Internet Communities. Taylor & Francis Group, 2005.

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7

Popat, Sita. Invisible Connections: Dance, Choreography and Internet Communities. Taylor & Francis Group, 2005.

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8

Popat, Sita. Invisible Connections: Dance, Choreography and Internet Communities. Taylor & Francis Group, 2010.

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9

Popat, Sita. Invisible Connections: Dance, Choreography and Internet Communities. Taylor & Francis Group, 2005.

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10

Popat, Sita. Invisible Connections: Dance, Choreography and Internet Communities. Taylor & Francis Group, 2005.

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11

Invisible connections: Dance, choreography and internet communities. Routledge, 2006.

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12

Popat, Sita. Invisible Connections: Dance, Choreography and Internet Communities (Innovations in Art and Design). Routledge, 2005.

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13

Iddon, Martin, and Philip Thomas. John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.001.0001.

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The book is a comprehensive examination of John Cage’s seminal Concert for Piano and Orchestra. It places the piece into its many contexts, examining its relationship with Cage’s compositional practice of indeterminacy more generally, the importance of Cage’s teacher, Arnold Schoenberg, on the development of his structural thought, and the impact of Cage’s (mis)understanding of jazz. It discusses, on the basis of Cage’s sketches and manuscripts, the compositional process at play in the piece. It details the circumstances of the piece’s early performances—often described as catastrophes—its rec
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14

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic an
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15

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 nonvectori
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16

Meglin, Joellen A. Ruth Page. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190205164.001.0001.

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In Ruth Page: The Woman in the Work, the Chicago ballerina emerges as a highly original choreographer who sought the iconoclastic as she transgressed boundaries of genre, gender, race, class, and sexuality in her art. Her works were often controversial—and sometimes censored—even as she succeeded in roles usually reserved for men in the ballet world: choreographer, artistic director, and impresario. From extensive dramaturgical analysis of her most famous ballets—La Guiablesse, Frankie and Johnny, Billy Sunday, Revenge, The Merry Widow, Camille, Carmina Burana, and Alice—to embodied reconstruc
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