In recent years, a growth in dance and wellbeing scholarship has resulted in new ways of thinking that place the body, movement, and dance in a central place with renewed significance for wellbeing.
How to Land: Finding Ground in an Unstable World foregrounds the importance of embodiment as a means of surviving the disorientation of our twenty-first century world.
'In life, I want students to be alive and on stage I want them to be artists' Jacques LecoqJacques Lecoq was one of the most inspirational theatre teachers of our age.
The emergence of modern dance and the early history of cinema ran concurrent with the European avant-garde's development of pictorial abstraction in the first decades of the 20th century.
Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm.
George Balanchine's arrival in the United States in 1933, it is widely thought, changed the course of ballet history by creating a bold neoclassical style that is celebrated as the first American manifestation of the art form.
As stage and screen artists explore new means to enhance their craft, a new wave of interest in expressive movement and physical improvisation has developed.
When it was first published in Germany in 1995, Poetics of Dance was already seen as a path-breaking publication, the first to explore the relationships between the birth of modern dance, new developments in the visual arts, and the renewal of literature and drama in the form of avant-garde theatrical and movement productions of the early twentieth-century.
Renowned Korean American modern-dance choreographer Dana Tai Soon Burgess shares his deeply personal hyphenated world and how his multifaceted background drives his prolific art-making in Chino and the Dance of the Butterfly.
ROBERT REDFORD has played many Westerners on the big screen: a romantic outlaw in Butch Cassidy and the Sundance Kid (1969) with Paul Newman, a sheriff in Tell Them Willie Boy is Here (1968), a mountain man in Jeremiah Johnson (1972), a rodeo cowboy in The Electric Horseman (1979) with Jane Fonda, a Montana rancher in The Horse Whisperer (1998), which he also directed.
The authors objective is to capture these steps and unusual musical counts in written Dance Notes format, going to great lengths to break down the steps and insure the dancer has WEIGHT on the correct foot, etc, to accomplish a faithful execution of some tricky foot work complicated by some unusual musical dance counts.
The authors objective is to capture these steps and unusual musical counts in written Dance Notes format, going to great lengths to break down the steps and insure the dancer has WEIGHT on the correct foot, etc, to accomplish a faithful execution of some tricky foot work complicated by some unusual musical dance counts.
