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Books on the topic 'Dance event'

Author: Grafiati

Published: 10 March 2023

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1

John, Elliott. Song 'n' dance: The database/index for C/W dancers, dance instructors, choreographers, event directors, & DJ's. Albany, OR (P.O. Box 1778, Albany 97321-0494): Country Stage Productions, 1993.

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2

Tune up your turnout: A dancer's guide. Oberlin, Ohio: White Owl Pub., 2005.

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3

International Council for Traditional Music. Study Group on Ethnochoreology. Symposium. Sword dances and related calendrical dance events: Revival: reconstruction, revitalization : proceedings. Edited by Dunin Elsie Ivancich, Zebec Trvtko, Institut za etnologiju i folkloristiku (Zagreb, Croatia), and International Council for Traditional Music. Study Group on Ethnochoreology. Zagreb: ICTM Study Group on Ethnochoreology, 2001.

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4

Diversions: the National Dance Company of Wales., Scottish Ballet 2, and Dundee Rep Dance Company, eds. [Events guide]: Dance season '93. [Belfast]: Arts Council of Northern Ireland, 1993.

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5

Will you dance? Incline Village, NV: Wandering Feather Press, 2002.

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6

Transitions, Scottish Ballet 2, and Dundee Rep Dance Company, eds. [Events guide]: A season of Dance 1991. [Belfast]: Arts Council of Northern Ireland, 1991.

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7

Pittman, Anne. Dance a while: Handbook for folk, square, contra, and social dance. San Francisco: Pearson Education/Benjamin Cummings, 2008.

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8

S, Waller Marlys, and Dark Cathy L, eds. Dance a while: Handbook for folk, square, contra, and social dance. 9th ed. San Francisco, Calif: Benjamin Cummings, 2005.

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9

Protagonisti della danza del XX secolo: Poetiche ed eventi scenici. Roma: Carocci editore, 2014.

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10

Even more notes from the universe: Dancing life's dance. Hillsboro, Or: Beyond Words Pub., 2008.

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11

A dictionary of theatre anthropology: The secret art of the performer. 2nd ed. London: Routledge, 2006.

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12

Loutzake, Rena. O gamos o s choreutiko dro meno: E peripto se to n prosphygo n te s Anatolike s Ro mylias sto Mikro Monaste ri Makedonias = Marriage as a dance event : the case of the refugees from eastern Rumelia at Micro Monastiri Macedonia. [Greece?]: Ethnographika, 1985.

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13

Chamberlain, Diane. Pretending to Dance. London: Pan Macmillan, 2015.

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14

Berardi, Gigi M. Finding balance: Fitness and training for a lifetime in dance. Princeton, NJ: Princeton Book Co., 1991.

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15

Finding balance: Fitness, training, and health for a lifetime in dance. 2nd ed. New York: Routledge, 2005.

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16

Luis, Suwardi. Even elephants can dance: "transforming organizations through strategy and performance execution excellence (spex2)". Jakarta: Gramedia Pustaka Utama, 2011.

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17

Ramos, Daniel, and Melisa Torres. Dance Is the Secret Event. Dancing Water, 2022.

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18

Ramos, Daniel, and Melisa Torres. Dance is the Secret Event. Book Baby, 2017.

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19

Weekend Societies: Electronic Dance Music Festivals and Event-Cultures. Bloomsbury Publishing Plc, 2017.

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20

John, Graham St. Weekend Societies: Electronic Dance Music Festivals and Event-Cultures. Bloomsbury Publishing Plc, 2018.

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21

Practices of Relations in Task-Dance and the Event-score. Taylor & Francis Group, 2020.

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22

Pakes, Anna. Reenactment, Dance Identity, and Historical Fictions. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.2.

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Commentary on the recent trend toward performance “reenactment” suggests that there is something distinctive about how the phenomenon enables past dances to return. This raises ontological and identity questions that this chapter explores through three central cases: Fabian Barba’s (2009) A Mary Wigman Dance Evening, Philippe Decouflé’s (2012) Panorama, and the Kirov Ballet’s (1999) restaging of Marius Petipa’s The Sleeping Beauty. Do past dances reappear in reenactment, and, if so, how? Does the reenactment offer new tokens of a choreographic work type, or a redoing of a past performance event? Critically analyzing ideas central to the reenactment literature about the body-as-archive and affective history, the chapter argues for a conception of reenactment (alongside other models of dance reconstruction) as a form of historical fiction. As such, reenactment represents, rather than “re-instances,” past dances, hazarding and testing historical claims, by presenting thought experiments about how those dances might have been.

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23

Wikström, Josefine. Practices of Relations in Task-Dance and the Event-Score: A Critique of Performance. Taylor & Francis Group, 2020.

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24

Wikström, Josefine. Practices of Relations in Task-Dance and the Event-Score: A Critique of Performance. Taylor & Francis Group, 2022.

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25

Wikström, Josefine. Practices of Relations in Task-Dance and the Event-Score: A Critique of Performance. Taylor & Francis Group, 2020.

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26

Murphy, Clifford R., ed. Finding Community in the New England Country and Western Event. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038679.003.0005.

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This chapter examines how country and western musicians regularly navigate the frontier between self-expression and community expression, and such navigation is a defining characteristic of the folk medium of country and western music. In New England, this frontier occupies a space between a show and a dance—what is referred to as the country and western event, and which is a defining characteristic that distinguishes New England country and western from its other regional variations. At the country and western event, the performing group and the audience participate in negotiations between what the band wants to play and what the audience wants to hear. Today, the line between the show and the dance is thoroughly blurred, though some vestiges of the old formal style hang on in places like the Canadian-American Club of Watertown, Massachusetts.

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27

Thurner, Christina. Affect, Discourse, and Dance before 1900. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0002.

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This chapter analyzes aesthetic treatises that historicize claims that see dance as an art of expression that projects emotions in an immediate fashion. Such a mythical understanding often prevails up to today. It emphasizes that important aspects of a major event in the history of dance—ballet reform in the eighteenth century—were actually prescribed in aesthetic discourse before their implementation on stage. The chapter also provides crucial historical background to the renewed interest in expression in dance after 1900. It shows that, from the eighteenth century onwards, the discourse of dance for the most part ignored the parameters that allow us to perceive the interaction between dancers and audience as immediate, as the double movement of an emotional relationship in motion. This made perfect sense in the context of ballet reform, and the associated paradigm shift toward a sensualist aesthetic, but it has only limited application to later developments in the art of dance.

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28

Reader, Kacy. Best Dance Mom Ever Funny Family Mother's Day Gift Lined Journal Notebooks: Dance Mom, Perfect Notebooks for Work, Travel, College- Journal for Men and Women,Event,Home Budget. Independently Published, 2021.

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29

Canllaw i Hanfodion: Byd y ddawns. 3rd ed. CAA, 2011.

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30

Barba, Fabian. Quito-Brussels. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.30.

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This text is grounded in Barba’s lived experience as a dancer trained in Quito and Brussels. He begins by examining an instance in which a dance is said to look old-fashioned even though it has been recently created. When this judgment occurs across continental boundaries, Barba notes that from a Eurocentric and historicist perspective, working outside the parameters of the so-called centers for contemporary dance can be perceived as traveling back in time. This dismissal of a particular dance, or even of an entire dance tradition, as not really contemporary when identified from within the borders of European modernity is examined and questioned. To navigate through the varied hetero-temporalities enacted in and through different geo-cultural locations, the concepts of historicism (Dipesh Chakrabarty), denial of coevalness (Johannes Fabian), and temporal discrimination (Rolando Vázquez) are applied to this situation of dance and danced reenactment.

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31

Fadum, Morten E. Even Poets Dance. Mazuri Press, 1998.

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32

Bosse, Joanna. Joy, Flow, and Personal Transformation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0009.

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This chapter locates ballroom dance's transformative potential in the affective experience of synchronized performance, with particular emphasis on how it brings pleasure and feeling of well-being to the dancer. It examines the radical shift in awareness that occurs during the dance event itself, where feelings of joy and euphoria displace feelings of self-consciousness and worry over everyday life. It considers Mihaly Csikszentmihalyi's concept of optimal experience and flow in order to understand the events that can lead to such states of awareness as well as appreciate the appeal of ballroom dance as play. It also discusses the notion, advanced by Csikszentmihalyi and Stith Bennett, that play is grounded in the “concept of possibility” and is action that generates action, creating a unified experience flowing from one moment to the next. The chapter argues that flow and flow states generate feelings of positive personal transformation, of becoming beautiful.

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33

Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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34

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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35

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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36

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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37

Prickett, Stacey, and Helen Thomas. Routledge Companion to Dance Studies. Taylor & Francis Group, 2019.

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38

Dance Life Dance Life Guest Books. Guest Book: Ballet Guest Book - Purple Ballerina Silhouette Moon Sign in and Memory Book for Dance Event, Birthday Party, Baby Shower, Party or Event with Space for Messages and Lines for Name and Address - Square Size 8. 25 X 8. 25. Independently Published, 2019.

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39

Lynn, Amanda, and Nataliia Tymoshenko. Even Dinosaurs Can Dance. Brighter Mind Books, 2022.

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40

Even Our Shadows Dance. Mini Mocho Press, 2003.

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41

[Events guide]: Dance season 1992. [Belfast]: Arts Council of Northern Ireland, 1992.

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42

Schrag, Brian, and Kathleen J. Van Buren. Analyze Genres and Events. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.003.0005.

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Step 4, the bulk of the Guide, comprises three parts: Part A, “Describe the Event and Its Genre(s) as a Whole”; Part B, “Explore the Event’s Genre(s) through Artistic Domain Categories”; and Part C, “Relate the Event’s Genre(s) to Its Broader Cultural Context.” Part A teaches readers how to collect information about an event and its genres. It advises readers to explore an event by looking through seven “lenses”: space, materials, participant organization, shape of an event through time, performance features, content, and underlying symbolic systems. Part B applies the seven lenses to exposing which—if any—elements of the following five artistic domain categories occur in the event: music, dance, drama, oral verbal arts, and visual arts. These arts are addressed in turn, so that readers can jump to the sections that relate most closely to their work. Part C helps readers to connect artistry in an event with broader cultural contexts. Numerous research questions, suggested activities, and practical examples are provided throughout Step 4.

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43

Nachbar, Martin. Tracing Sense/Reading Sensation. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.22.

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Dance archives, like other archives, store documents of past events. They are particular in that the documents they store document dances or choreographies, which are also stored in the memories of the dance artists involved. This chapter examines the relations between documents of dances and bodily movement memories by tracing the processes of two dance pieces that dealt with these issues in very different ways. The first is the author’s reconstruction of Dore Hoyer’s dance cycle Affectos Humanos, for which a dance archive provided film and other documents of this cycle. The second piece is a duet the author made with his father, in which he experienced the reality of movement patterns and habitual postures that get stored in one body and passed on to the next through imitation. The dance archive is a particularly productive place to explore und understand the relations between document, body, and movement.

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44

Cleo's Slow Dance. PublishAmerica, 2004.

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45

e, A. v. v. He Even Made The Leaves Dance. AuthorHouse, 2007.

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46

Phillips, Miriam. Spectacles of Ethnicities. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.030.

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Performing arts festivals featuring artists representing distinct world dance traditions have proliferated in American cities since the 1980s. Often arranged in a potpourri format, these performances demonstrate a city’s multicultural make-up and proclaim dance to show unity between diverse populations. However, what happens when these dances each with distinct production and performance standards get placed with other dances onto a stage dominated by Western theatrical aesthetics? How do culturally specific production values become skewed and how do power relations play out when people outside the cultures represented produce the performances? Using one of America’s more prominent festivals, The San Francisco Ethnic Dance Festival as a case study, this chapter explores issues around the politics of representation and highlights some misconceptions about diversity that are presumed in these types of multicultural spectacles. The chapter also considers possible methods to create more culturally appropriate world dance events.

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47

Beyond Words: Instructor's Manual. 3rd ed. Routledge, 1988.

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48

The Physical Theatres Reader. Routledge, 2007.

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49

The Physical Theatres Reader. Routledge, 2007.

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50

Franko, Mark, and Alessandra Nicifero. Choreographing Discourses: A Mark Franko Reader. Taylor & Francis Group, 2018.

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