Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture.
This book explores the lives and careers of Todd Bolender and Janet Reed, two unsung trailblazers who were pivotal to the development of ballet in America over the course of the twentieth century.
Ever since George Balanchine arrived on the American dance scene in 1933, his revolutionary, fleet-footed repertoire has been immortalized in the ballet canon.
This book illuminates how collaborations between dancers and painters shaped Mexico’s postrevolutionary cultural identity, tracing this relationship throughout nearly half a century of developments in Mexican dance from the 1920s to the 1960s.
Written records of Alonso's work are scarce, yet Toba Singer's quest to spotlight his seminal role in the development of the modern ballet canon yields key material: pre-blockade tapes from Lincoln Center, Spanish-language sources from the Museum of Dance in Havana, and interviews with the ballet master himself alongside a broad range of friends, relatives, and collaborators from throughout his long career, including his ex-wife, Alicia, a famous ballerina in her own right.
Written records of Alonso's work are scarce, yet Toba Singer's quest to spotlight his seminal role in the development of the modern ballet canon yields key material: pre-blockade tapes from Lincoln Center, Spanish-language sources from the Museum of Dance in Havana, and interviews with the ballet master himself alongside a broad range of friends, relatives, and collaborators from throughout his long career, including his ex-wife, Alicia, a famous ballerina in her own right.
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.
Satan in the Dance Hall explores the overwhelming popularity of social dancing and its close relationship to America's rapidly changing society in the 1920s.
The casting director for Chicago, Pippin, Becket, Gypsy, The Graduate, the Sound of Music and Jesus Christ Superstar tells you how you can find your dream role!
The great Russian choreographer Leonide Massine was the most important figure in modernist ballet in the 1930s, known for works such as Gaite Parisienne and The Three-Cornered Hat.
Fame, the hugely popular 1980 musical film inspired by New York's High School of the Performing Arts, was adapted as a weekly NBC television series in 1982.
Profiling 30 mask makers from around the world, this book explores the motivations and challenges of contemporary artists working to bring the traditional methods and conventions of mask making to an evolving global theatre.
Throughout its history, the United States has become a new home for thousands of immigrants, all of whom have brought their own traditions and expressions of ethnicity.
The waltz, perhaps the most beloved social dance of the 19th and early 20th centuries, once provoked outrage from religious leaders and other self-appointed arbiters of social morality.
Atlantic Canada has a rich tradition of storytelling and creativity that has extended to critical and audience praise for films from the region's four provinces.
Atlantic Canada has a rich tradition of storytelling and creativity that has extended to critical and audience praise for films from the region's four provinces.
For centuries before the 1789 revolution, ballet was a source of great cultural pride for France, but by the twentieth century the art form had deteriorated along with France's international standing.
For centuries before the 1789 revolution, ballet was a source of great cultural pride for France, but by the twentieth century the art form had deteriorated along with France's international standing.
Wark brings together a wide range of artists, including Lisa Steele, Martha Rosler, Lynda Benglis, Gillian Collyer, Margaret Dragu, and Sylvie Tourangeau, and provides detailed readings and viewings of individual pieces, many of which have not been studied in detail before.
Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear.
Diana Dimitrova studies the representation of gender and religion in Hindi drama from its beginnings in the second half of the nineteenth century until the 1960s - the period when urban proscenium Hindi theatre, which originated under Western influence, matured and thrived.
