Originally published in 1983 the first edition rapidly established itself as a core student text. Now fully revised and up-dated it remains the only book to address the rationale, process, techniques and methodologies specific to the study of dance history. For the main body of the text which covers historical studies of dance in its traditional and performance contexts, the editors have brought together a team of internationally known dance historians. Roger Copeland and Deborah Jowitt each take a controversial look at the modern American dance. Kenneth Archer and Millicent Hodson explain the processes they use when reconstructing 'lost' ballets, and Theresa Buckland and Georgina Gore write on traditional dance in England and West Africa respectively. With other contributions on social dance, ballet, early European modern dance and feminist perspectives on dance history this book offers a multitude of starting points for studying dance history as well as presenting examples of dance writing at its very best. Dance History will be an essential purchase for all students of dance.
This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance.
By taking a fresh approach to the study of history in general, Alexandra Carter's Rethinking Dance Historyoffers new perspectives on important periods in dance history and seeks to address some of the gaps and silences left within that history. Encompassing ballet, South Asian, modern dance forms and much more, this book provides exciting new research on topics as diverse as: *the Victorian music hall *film musicals and popular music videos *the impact of Neoclassical fashion on ballet *women's influence on early modern dance *methods of dance reconstruction. Featuring work by some of the major voices in dance writing and discourse, this unique anthology will prove invaluable for both scholars and practitioners, and a source of interest for anyone who is fascinated by dance's rich and multi-layered history.
The history of jazz dance is best understood by comparing it to a tree. The art form's roots are African. Its trunk is vernacular, shaped by European influence, and exemplified by the Charleston and the Lindy Hop. The branches are many and varied and include tap, Broadway, funk, hip-hop, Afro-Caribbean, Latin, pop, club jazz, popping, B-boying, party dances, and much more. Unique in its focus on history rather than technique, Jazz Dance offers the only overview of trends and developments since 1960. Editors Lindsay Guarino and Wendy Oliver have assembled an array of seasoned practitioners and scholars who trace the many histories of jazz dance and examine various aspects of the field, including trends, influences, training, race, gender, aesthetics, the international appeal of jazz dance, and its relationship to tap, rock, indie, black concert dance, and Latin dance. Featuring discussions of such dancers and choreographers as Bob Fosse and Katherine Dunham, as well as analyses of how the form's vocabulary differs from ballet, this complex and compelling history captures the very essence of jazz dance.
The need to 'rethink' and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book's contributions into: * Why Dance History? - the ideas, issues and key conversations that underpin any study of the history of theatrical dance. * Researching and Writing - discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making - from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.
Since the dawn of human history, dance has been a vital form of expression in virtually every culture. From the minuet to the tango to kabuki theater to square dancing, it is a part of the social fabric of all societies, as well as an important art form. Now, Oxford presents the firstreference to document all types of dance around the world and throughout history.In six volumes, with nearly 2,000 articles written by scholars from over fifty countries, the International Encyclopedia of Dance offers authoritative coverage of the full spectrum of dance, including theatrical dance, ritual dance-drama, folk, traditional, ethnic, and social dance. Extensivehistorical and cultural overviews of many nations appear along with articles on specific dance forms, music and costumes, dance performances, biographies of dancers and choreographers, and much more. The set is alphabetically arranged, with an exhaustive index, full cross-references, and more than2,000 illustrations.Amazing in its scope and dazzling in its diversity, the International Encyclopedia of Dance is like no other reference work on dance. Accessibly written and arranged for use by a wide audience, it will be an essential addition to any arts and humanities collection.
As the credits roll at the end of a film, the names of the stars, producer, director, composer, lyricist and other production personnel are prominently displayed. But one of the most important crew members is often hard to find--the choreographer. Though they may have taught Fred and Ginger a few steps or put together a dance for a large cast of nondancers, the people who make the pictures move have often been overlooked by filmmakers and film historians alike.This is a comprehensive reference work to 970 choreographers who worked in nearly 3,500 films. For each, there is a biography providing date and place of birth (and death when appropriate), a description of their choreographic style and a listing of their stage, television, music video, nightclub and concert credits. This is followed by a listing of the movies they choreographed. A decade-by-decade history of dance on film and a filmography of choreographically important works in each decade are included.
Over the last twenty years the boundaries of dance have been radically redrawn. There has been an explosion of new activity within traditional forms like ballet, a stream of new dance languages invented by fresh generations of choreographers, and there is a growing appreciation in the West ofdance forms from the rest of the world. Fans today are likely to attend performances in classical ballet, Spanish flamenco, Indian Bharata Natyam, Japanese Butoh, jazz, modern and post-modern dance. In classical ballet they may see companies as varied as the New York City Ballet, Bolshoi, or ParisOpera. In modern dance they may see work that stems from the Graham or the Cunningham schools of movement; while in post-modern dance they may be watching choreographers who mix influences as varied as folk dance, T'ai Chi, Balanchine, and Mary Wigman, or who may be practitioners of Eurocrash,minimalism, contact improvisation or release.This new dictionary by two leading and authoritative writers on dance will provide the information necessary for dance fans to navigate the diverse modern dance scene. With an emphasis on performance the dance we see in theatres today - readers will find both fact and analysis on a wide range ofsubjects from dancers and choreographers to dance styles and technical terms.