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Books on the topic 'The term choreography'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Vasil'ev, Oleg, Evgeniy Achkasov, and Sergey Levushkin. Damage to the musculoskeletal system from overload in ballet and sports medicine. INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1938064.

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The monograph, based on a long-term interdisciplinary study, outlines the features of the diagnosis and rehabilitation of injuries from overload of the lower limb on movement patterns unnatural for normal life, but typical for types of motor activity associated with the art of movement (choreography, classical dance, rhythmic gymnastics, etc.). It is shown that not so much professional requirements, as a lack of constitutional conditioned abilities are the cause of overload damage, the main predictor of which is muscle hypertonicity. The main X-ray morphological types of the structure of

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2

Pakes, Anna. Choreography Invisible. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199988211.001.0001.

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Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its rel

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Harris, Andrea. Making Ballet 1. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199342235.003.0003.

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Making Ballet 1 provides a choreographic analysis of the ballet Billy the Kid, produced by Ballet Caravan in 1938 with choreography by Eugene Loring, music by Aaron Copland, design by Jared French, and libretto by Lincoln Kirstein. This analysis challenges previous readings of the ballet as patriotic or conservative Americana. Instead, it places Billy the Kid within the internationalism and antifascism of the cultural wing of the Popular Front, in which its creative team was deeply enmeshed. Given those origins, the ballet exemplifies the cultural front’s initiative to critique the nation’s pa

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4

Kosstrin, Hannah. Modernist Forms in a Jewish State. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0006.

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Focusing on Sokolow’s work in Israel, this chapter highlights tensions between American Jewishness and Israeliness through critical response to her dances Dreams (1961), Opus ’63 (1963), Forms (1964), and Odes (1964). It introduces the term “sabra physicality” to describe the performative qualities of defiant vulnerability that dancers in Sokolow’s Israeli company Lyric Theatre introduced into her oeuvre. With financial support from the American Fund for Israeli Institutions (America–Israel Cultural Foundation), Sokolow was part of the North American influence building Israeli art and cultural

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5

Giersdorf, Jens. (In)Distinct Positions. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.33.

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Investigating two mutually exclusive approaches to the theorization of dance, which are labeled for the purposes of illustration German philosophical conceptualization and US identity politics, this chapter examines the differences between these two theorizing models in terms of their politics. Caused by incompatible methodologies, international communication within the field of dance studies often takes place only at the level of information—excluding critical engagement with the opposing position. Such inability to critically engage reinforces local academic norms in national models of dance

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6

Sofras, Pamela Anderson. Dance Composition Basics. 2nd ed. Human Kinetics, 2020. http://dx.doi.org/10.5040/9781718227415.

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If the saying “To be the best, you must learn from the best” holds true, then this book is gold for all aspiring dancers. Dance Composition Basics, Second Edition, doesn’t just feature the works and brilliance of dance and choreographic legends Alonzo King and Dwight Rhoden–it is completely based on the choreographic operations and forms in three of their original works: Chants and Dreamer by King and Verge by Rhoden. All compositional exercises in the book are based on those three works, and the book itself is expertly crafted by Pamela Anderson Sofras, who has 34 years of experience teaching

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7

Reeve, Justine. More Dance Improvisations. Human Kinetics, 2024. http://dx.doi.org/10.5040/9781718237964.

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More Dance Improvisations builds on the success of its predecessor, Dance Improvisations, and offers 78 brand-new activities that have been tested and refined by author Justine Reeve, a veteran dance instructor and choreographer. This text offers a wealth of creative ideas that instructors can use to help their dancers explore and experience movement. The 78 improvisation tasks and exercises support all portions of a dance class, from improvisation lessons, warm-ups, and games that stimulate creativity to choreographic tasks for creating movement material. These new activities will provide an

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8

Pouillaude, Frédéric. Oral Identities: Passing Dance On, Making Versions. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0011.

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This chapter considers the means of oral transmission in terms of what the oral implies for the survival and status of works. Where the survival of works depends on the memory of the creators and original participants, those works may surely die unless there is a real desire to reactivate that memory and an institutional framework which values the preservation of works. This kind of framework is a recent phenomenon in dance, even in the institutions devoted to classical ballet. Right up to the beginning (even the middle) of the twentieth century, the notion of the fixed repertoire remained lar

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9

Barnard, Philip, and Scott deLahunta. Intersecting shapes in music and in dance. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0025.

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The concept of shape figures widely in discourse about both dance and music. This chapter discusses the shape using two analytic lenses explored over ten years of cumulative, interdisciplinary collaboration within R-Research, a team working alongside the contemporary dance company Wayne McGregor | Random Dance. These two lenses help locate issues, clarify problems and situate what we can learn from choreographic practice and empirical studies of dance. The first lens is a framework for describing what goes on in the making of an artwork or in design processes generally. The second lens is that

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10

Kraut, Anthea. Hollywood Dance-ins and the Reproduction of Bodies. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197789667.001.0001.

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Abstract This book proposes that a figure who barely registers in film studies or dance studies offers valuable insight into ideas about “the body” and the reproductive labor that gives rise to images of bodies. The book is the first scholarly study of the dance-in, a dancer who executes a star’s choreography as cameras are being focused and lights set. While they share similarities with doubles and stand-ins, dance-ins do not replace stars’ bodies on screen, and they often serve multiple unseen roles, including as choreographers’ assistants and stars’ coaches, making them vital to the creatio

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11

Pouillaude, Frédéric. Identity: Two Regimes. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0010.

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This chapter examines in detail the identity of the choreographic work, which has the peculiarity of being unwritten yet repeatable. In order to do so, the chapter constructs a theoretical framework and a minimal idea of what is more or less commonly understood by the term “work.” It borrows these concepts from Nelson Goodman (1976) and Gérard Genette (1997). From Goodman, the chapter retains the distinction between autographic and allographic works. This distinction enables two broad regimes of existence and identity to be delineated for art objects: that of the singular, material object (the

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12

Pouillaude, Frédéric. Conclusion (1). Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0021.

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These final sections of the book provides some concluding thoughts on the role of art generally, and dance specifically, in the current crisis. It looks towards defining the term “contemporary.” Our era’s incapacity to understand itself still appears as an epochal characteristic, the text argues. In fact, we no longer believe in the idea of a unified, shared epoch or of a substantial community in time. But the form of our disbelief remains a way of subscribing to that idea. Whatever we may say, therefore, we remain believers. However, then epochal figuration must itself, in some way, still be

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13

Candelario, Rosemary. “Shine Your Light on the World”. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.024.

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In 2004, comedian Dave Chappelle brought residents of Yellow Springs, Ohio, and New York City together in Bedford-Stuyvesant, Brooklyn, for a hip-hop block party featuring a roster of socially engaged rap and neo-soul artists. This chapter argues that the 2006 film of the concert,Dave Chappelle’s Block Party, directed by Michel Gondry, endeavors to construct a utopian community centered on the birthplace of hip-hop. Employing dance studies methodologies to examine a non-dance event, this article attends to the choreography of the block, the party attendees and performers, and their spontaneous

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14

Kolb, Alexandra. Dance and Politics in China. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.57.

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This chapter contextualizes stage dance developments in China in the twentieth and twenty-first centuries (through Republican, Maoist, and reformist periods) against the backdrop of the country’s changing sociopolitical conditions and relationships with the Western world. It explores, in historical terms, the interface between Chinese dance and politics to suggest that Westernizing impulses lay behind many of China’s attempts at modernization, leading to hybrid performance practices that are quite unique. The chapter then focuses on the intercultural ArtsCross initiative (2009–2013), a series

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15

Franko, Mark, ed. The Oxford Handbook of Dance and Reenactment. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.001.0001.

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Starting from differences between reenactment and the more established practice of historical reconstruction, leading practitioners and theorists ask how the notion of preservation and representation associated with reconstruction is transformed by reenactment into historical experience and affective relation to the past in the present. In other terms: How does dance convey historical meaning through sensuous form? Danced reenactment poses the problem of history and historicity in relation to the troubled temporality inherent to dance itself. Ephemerality as the central trope of dance is hence

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16

Boland, Robert, and Paul Argentini. Musicals! Scarecrow Press, Inc., 1997. https://doi.org/10.5040/9798881838690.

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Musicals! is an illustrated sourcebook for total theatre training, emphasizing the director's role in the three main building blocks for mounting a performance: preparation, production, and performance. Boland and Argentini provide a comprehensive step-by-step theatre primer which will prove invaluable to musical directors, teachers, administrators, students, and actors. After the initial decisions are made, specific guidelines in preparing the stage picture, holding auditions and casting, and running the gamut of rehearsals are provided. Lighting, costumes, creating sets and scenery, and safe

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17

Steichen, James. 1937–1938 (I). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0009.

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After the collapse of the American Ballet, Balanchine turned his attention to work on Broadway and in Hollywood. In the course of his work as choreographer for the Samuel Goldwyn film The Goldwyn Follies he collaborated with the Gershwin brothers, Vernon Duke, and his future wife and artistic partner Vera Zorina. He subsequently joined the creative team for two additional Rodgers and Hart shows, I Married an Angel and The Boys from Syracuse, and also contributed to the short-lived production Great Lady. These shows allowed him to create opportunities for his new wife Zorina as well as secure w

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18

Scolieri, Paul A. Ted Shawn. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.001.0001.

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This book is the first critical biography of Ted Shawn (1891–1972), the self-proclaimed “Father of American Dance.” Based on extensive archival research, it offers an in-depth examination of Shawn’s pioneering role in the formation of Denishawn (the first American modern dance company and school), Ted Shawn and His Men Dancers (the first all-male dance company), and Jacob’s Pillow (the internationally renowned dance festival and school located in the Berkshire Hills of Massachusetts). For many years and with great frustration, Shawn attempted to tell the story of his life’s work in terms of it

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19

Leggott, James. Billy Elliot. Bloomsbury, 2025. https://doi.org/10.5040/9781839027833.

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Set against the turbulent backdrop of the UK miners’ strike (1984–5), Billy Elliot (2000) follows eleven-year-old Billy as he pursues his dream of becoming a ballet dancer. Hailed for its heartfelt portrayal of working class life and its powerful challenge to gender stereotypes, Stephen Daldry’s film is recognised today as a significant contribution to the tradition of British social-realist cinema. James Leggott’s insightful study explores the creative forces behind Billy Elliot’s development, drawing from interviews with many of the core production team, such as the screenwriter Lee Hall, th

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20

Durkin, Hannah. Josephine Baker and Katherine Dunham. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042621.001.0001.

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This book investigates African American dancers Josephine Baker and Katherine Dunham’s self-inventions on screen and in writing to map the intellectual underpinnings and visual impact of their art. Baker was the first Black woman to enjoy a starring role in mainstream cinema and Dunham was the first Black choreographer to be credited for her screen work. Equally, they were the first well-known African American women to produce multivolume accounts of their lives, and their writings serve as valuable firsthand documents of Black women’s interwar experiences. Why did Baker and Dunham enjoy such

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21

Pouillaude, Frédéric. Section 2. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0018.

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The first feature of the transformation described above consists in the dissolution of stable companies. Temporary and local coalitions took the place of stable teams of salaried collaborators (what used to be called “companies). These coalitions brought together around a defined project a group of individuals with their own independent artistic careers. The coalition model is both liberal and libertarian, in linking labor to the temporary mission and the circumscribed consent of the participants. Yet its presence in dance is not merely a response to economic pressures, as the dissolution of M

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22

Mitra, Royona. Unmaking Contact. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197627761.001.0001.

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Abstract Unmaking Contact: Choreographing South Asian Touch interrogates “contact,” understood in Global North dance discourse as a shorthand for the movement discipline of contact improvisation (CI) and its characteristic shifting points of weight-sharing between two or more bodies through physical touch, by attending to inherent power asymmetries that are foundational to this practice. By placing South Asian aesthetics, bodies, discourses, and philosophies on touch at the heart of its interrogation through the lenses of caste, ecology, faith, gender, and sexuality, the book argues for an int

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23

Snodgrass, Mary Ellen. Caribbean Women and Their Art. Rowman & Littlefield Publishers, 2019. https://doi.org/10.5040/9798881819910.

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Overlooked in the history of artistic endeavors are the contributions of female writers, painters, and crafters of the Caribbean. The creative works by women from the Caribbean proves to be as remarkable as the women themselves. In Caribbean Women and Their Art: An Encyclopedia, Mary Ellen Snodgrass explores the rich history of women’s creative expression by examining the crafts and skill of over 70 female originators in the West Indies, from the familiar islands—Jamaica, Haiti, Cuba, Puerto Rico—to the obscurity of Roatan, Curaçao, Guanaja, and Indian Key. Focusing particularly on artistic st

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24

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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Paulicelli, Eugenia. Fashion under Fascism. 2nd ed. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350353398.

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Looking at the dark history of Italian fashion by focusing on the impact of 1930s Fascism, this is the second edition of Eugenia Paulicelli's classic text. InFashion under Fascism, Paulicelli explores the subtle yet sinister changes to the seemingly innocuous practices of everyday dress and shows why they were such a concern for the state. Importantly, she also demonstrates how these developments impacted on the global dominance of Italian fashion today. Alongside interviews with major designers, such as Fernanda Gattinoni and Micol Fontana, this newly expanded revised edition includes updated

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