Relevant bibliographies by topics / SOLO DANCERS

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'SOLO DANCERS'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "SOLO DANCERS"

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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Determining Partnering Effects in the “Rise and Fall” Motion of Competitive Waltz by the Use of Statistical Parametric Mapping." Baltic Journal of Sport and Health Sciences 1, no. 120 (April 15, 2021): 4–12. http://dx.doi.org/10.33607/bjshs.v1i120.1047.

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Background. Competitive dance, also known as “DanceSport,” is a competitive style of ballroom dance. The waltz features a particular movement in which the dancer lifts and lowers his/her body while dancing. In ballroom dance terms, this movement is known as the “rise and fall.” The purpose of this research was to examine partnering effects in relation to the vertical component of dancers’ center of mass when performing the competitive waltz. Methods. This investigation was conducted through statistical parametric mapping of the movements of 13 national level competitive dance couples and a world champion couple as they danced both solo and in pairs. The Xsens MVN system was used to record their movements, using a capture rate of 240 Hz. Results. We consequently found that, in the pair condition, the vertical component of the center of mass was smaller for the male dancers and larger for the champion male dancer when compared to their respective solo conditions. However, for the female dancers and the champion female dancer, unlike the males, no significant partner effects were found. Conclusion. Therefore, in terms of partner effects, the “rise and fall.” motion was smaller for the male dancers and larger for the champion male dancer. Keywords: DanceSport, ballroom, kinematics, partnering, statistical parametric mapping.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (May 2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.

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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Pruiksma, Rose. "Of Dancing Girls and Sarabandes." Journal of Musicology 35, no. 2 (2018): 145–82. http://dx.doi.org/10.1525/jm.2018.35.2.145.

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The French sarabande is typically characterized as one of the most serious and noble baroque dances in the instrumental suite. New research synthesizing eyewitness accounts, literary sources, and musical analysis reveals the sarabande’s rich history as a theatrical dance regularly performed by female dancers in French court ballets. The groups of girls and solo young women who danced it between 1651 and 1669 invite us to reshape our narrative of the sarabande in France. Both literary references and the theatrical context reveal how the sarabande resonated with layers of culturally inscribed meanings at a time when danced and non-danced sarabandes coexisted side by side. The same individuals moved easily between dancing, watching danced sarabandes in ballets, and playing sarabandes on the keyboard or lute. Spectators and listeners likewise encountered and interpreted sarabandes in multiple settings; knowledge gained through dancing or accompanying dancing did not simply disappear from one performance context to the next. While such embodied knowledge is no longer common cultural currency, examining the historically embodied presence of the sarabande and its ties to female dancers permits a better understanding of its cultural resonances and its appeal in the seventeenth century and opens up a wider range of interpretations of this multi-faceted, multivalent dance type.
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Katrak, Ketu H. "Toward Defining Contemporary Indian Dance: A Global Form." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 129–39. http://dx.doi.org/10.1017/s2049125500000613.

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This essay explores innovations in contemporary Indian dance based in classical Indian dance, martial arts and Western dance vocabularies. Who is making change and how does change work? I delineate the parameters of contemporary Indian dance as a genre (since the 1980s) and distinguish it from Bollywood style “free” dance. I analyze the creative choreography of one prominent contemporary Indian dancer, Chennai (India) based Anita Ratnam. Ratnam's signature style, evoking the “feminine transcendental,” is rooted in Indian aesthetic along with a pan-Asian scope. Ratnam's over twenty-year dance career of solo, group, and collaborative work, along with pioneering artist, Astad Deboo, serve as role models for second-generation contemporary Indian dancers such as Los Angeles–based Post-Natyam Collective's movement explorations, among other dancers based in the diaspora.
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Somba, Robby. "KOREOGRAFI GARONTO’ EANAN: VISUALISASI KERBAU DALAM KEHIDUPAN MASYARAKAT TORAJA." Joged 13, no. 2 (January 8, 2020): 112–24. http://dx.doi.org/10.24821/joged.v13i2.3592.

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Garonto’ Eanan adalah karya tari yang terinspirasi tentang hewan kerbau dalam kehidupan masyarakat Toraja, terkhusus dalam upacara pemakaman Rambu Solo’. Kerbau merupakan hewan yang sangat penting bagi masyarakat Toraja untuk menandai status sosial seseorang. Dalam upacara Rambu Solo’ kerbau wajib dikurbankan untuk memberikan penghormatan terakhir serta menjadi bekal kubur dan harta bagi orang yang meninggal. Tema tari Garonto’ Eanan adalah kekuatan dan kebersamaan. Koreografi ini disajikan dengan pola large group composition, ditarikan tujuh penari laki-laki sebagai presentasi hewan kerbau, dan 12 penari Ma’badong. Gerak yang disajikan berpijak pada gerak tari tradisional Toraja, dikembangkan sesuai dengan ketubuhan penata tari. Karya tari Garonto’Eanan menyajikan tiga bagian. Bagian pertama menghadirkan satu penari laki-laki sebagai pengantar karya yang menyajikan bentuk gerak tradisional Toraja serta bentuk simbolis dari hewan Kerbau. Bagian kedua menyajikan hasil eksplorasi gerak terhadap makna dan nilai Kerbau dalam masyarakat Toraja. Bagian ketiga sekaligus bagian akhir dalam karya ini, memvisualisasikan suasana Rambu Solo’ dan gambaran Kerbau saat tengah beradu, digarap dalam pola garap duet. Bagian ini juga menghadirkan penari Ma’badong. Musik pengiring koreografi ini disajikan dalam format musik live. Rias Busana yang digunakan dalam tari “Garonto’ Eanan” yakni rias karakter, sedangkan desain kostum, baju tanpa lengan dan celana pendek. Garonto’ Eanan is the title of traditional dance telling a story about buffalos in the Toraja community life, especially during the funeral ceremony Rambu Solo’. Buffalos are functioned to mark someone’s social status, making it as one of the most notable animals for the Toraja community. It is obligatory to make buffalos as one of the offerings for the ceremony Rambu Solo’. Buffalo offering aims to express the last admiration and tribute for the dead. The traditional dance Garonto’ Eanan recites power and togetherness as the themes. The choreography is performed by seven male dancers as the buffalo representation and twelve Ma’badong dancers by applying a large group composition pattern. Furthermore, the choreography was arranged by referring to the traditional dancing choreography of Toraja and developed according to the intention of choreographers. The traditional dance Garonto’ Eanan presents three segments. The first segment presents one male dancer performing the dance introduction. He presents traditional choreography of Toraja and portrays buffalos symbolically. The second segment presents the results of choreographic explorations in both meaning and values of buffalos for the Toraja community. The third or the last segment visualizes the atmosphere of Rambu Solo’ and illustrates fighting buffaloes performed by the dancers in pairs. The segment also presents Ma’badong dancers. Moreover, there is a live musical performance accompanying the dance performance. Meanwhile, the Garonto’ Eanan dancers apply the character makeup style; whereas for their costume, they wear a sleeveless shirt and short pants.
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Kattner, Elizabeth. "From Totenmal to Trend: Wigman, Holm, and Theatricality in Modern Dance." Dance Research Journal 50, no. 3 (December 2018): 20–37. http://dx.doi.org/10.1017/s0149767718000347.

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This article examines the development of theatricality in modern dance by comparing two dances: Mary Wigman's Totenmal (1930) and Hanya Holm's Trend (1937). By looking at the interplay between group and solo choreography, lighting design and themes, this paper will show how Holm combined the skills she learned codirecting Totenmal at the Dancers’ Congress in Munich to her work with American dance artists at the Bennington School of the Dance to create her first important work. It will examine why Trend was successful as a collaborative project, as well as show how it diverged ideologically from Wigman's work in the 1930s.
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Yoshida, Yasuyuki, Arunas Bizokas, Katusha Demidova, Shinichi Nakai, Rie Nakai, and Takuichi Nishimura. "Partnering Effects on Joint Motion Range and Step Length in the Competitive Waltz Dancers." Journal of Dance Medicine & Science 24, no. 4 (December 1, 2020): 168–74. http://dx.doi.org/10.12678/1089-313x.24.4.168.

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Competitive dance, also known as DanceSport, is one of the official sports of the World Games. The most salient characteristic of ballroom dance is the closed-hold position, during which the upper body segments of partner-dancers are linked. This study aimed to investigate partnering effects on joint motion ranges of the lower extremity and step lengths during the waltz in 13 national level competitive dance couples and a world champion couple. A Xsens MVN system was used to record movement at 240 Hz. Solo and pair conditions were examined. Compared with the highly skilled couples, the world champion couple demonstrated superior dance skills for generating the first step length in the pair condition of the waltz. This was particularly evident in the step length and joint motion range of the champion female dancer.
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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II." Dance Research 30, no. 1 (May 2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.

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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene – an architect of the American ballet with a sensitive ‘vernacular ear,’ a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
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Tomic-Vajagic, Tamara. "Hidden Narratives: Dancers' Conceptualisations of Noncharacter Roles in Leotard Ballets by George Balanchine and William Forsythe." Dance Research 34, no. 2 (November 2016): 170–201. http://dx.doi.org/10.3366/drs.2016.0158.

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The study of dancers' relationships with their noncharacter solo roles in leotard ballets by George Balanchine and William Forsythe reveals a dynamic cluster of flexible and multifaceted conceptualisations. Performers' process includes a range of abstract images, nonfictional and docufictional ideas, metaphoric allusions and storyboarding constructions. Drawing upon Michael Kirby's concept of non-matrixed performing (1987), as well as on ideas from dance aesthetics, narratology, theatre and film theories, noncharacter roles are understood as partly flexible, diverse performing frameworks that contain ambiguity but do not promote characterisation. The findings suggest that the dissolution of character traits in plotless choreography often serves as a catalyst for the performers' polyvalent expressions of their artistic identities, value systems and agency. Observation of performances, in conjunction with direct interviews with expert dancers from several international ballet companies, brings to light the links between the performer's ideas and the effects observable in the dance. Attention to the performers' approaches and aspects of the work which they wish to emphasise reveals less observed aspects of dance texts and illuminates the nature of the ballet dancer's qualitative contribution in non-narrative choreography.
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Lepecki, André. "The Body as Archive: Will to Re-Enact and the Afterlives of Dances." Dance Research Journal 42, no. 2 (2010): 28–48. http://dx.doi.org/10.1017/s0149767700001029.

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Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tracks in order to find the “object of their quest.” Indeed, contemporary dancers and choreographers in the United States and Europe have in recent years been actively engaged in creating re-enactments of sometimes well-known, sometimes obscure, dance works of the twentieth century. Examples abound: we can think of Fabian Barba's Schwingende Landschaft (2008), an evening-length piece where the Ecuadorian choreographer returns to Mary Wigman's seven solo pieces created in 1929 and performed during Wigman's first U.S. tour in 1930; of Elliot Mercer returning in 2009 and 2010 to several of Simone Forti's Construction Pieces (1961/62), performing them at Washington Square Park in New York City; or Anne Collod's 2008 return to Anna Halprin's Parades and Changes (1965), among many other examples.
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Dissertations / Theses on the topic "SOLO DANCERS"

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Aoun, Nathalie. "Identification des bases génétiques de la variation naturelle d’Arabidopsis thaliana à Ralstonia solanacearum dans le contexte de réchauffement climatique." Thesis, Toulouse 3, 2019. http://www.theses.fr/2019TOU30219.

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Dans le contexte du réchauffement climatique, la température moyenne devrait augmenter de 1,5 à 4,8°C d'ici la fin du siècle et les évènements climatiques extrêmes devraient devenir plus fréquents. Ces changements affectent d’ores et déjà le développement des plantes et favorisent la migration géographique des agents pathogènes vers les pôles. Ainsi, les plantes sont confrontées à un risque accru d'épidémies et à l'émergence de nouvelles espèces d'agents pathogènes extrêmement agressifs. Des pertes de rendements sont prédites, menaçant ainsi potentiellement la sécurité alimentaire mondiale. De manière alarmante, une augmentation permanente de la température inhibe la plupart des principaux mécanismes de résistance connus chez les plantes. Cependant, les mécanismes moléculaires sous-jacents sont encore mal caractérisés. Dans mon projet de thèse, en exploitant la variation génétique naturelle d’Arabidopsis thaliana, j’ai cherché à identifier et à caractériser les bases génétiques des mécanismes de résistance restant efficaces à température élevée contre Ralstonia solanacearum, une des phytobactéries pathogènes les plus nocives causant le flétrissement bactérien. Pour découvrir les QTLs associés à une variation naturelle de la réponse à R. solanacearum sous un stress thermique, j'ai utilisé deux collections d’accessions d'A. thaliana géographiquement complémentaires et des approches de GWA mapping. Au sein de la collection mondiale, une seule accession est restée totalement résistante à la souche GMI1000 de R. solanacearum à température élevée. En utilisant une approche de type Bulk Segregating Analysis, nous avons démontré que cette résistance totale était contrôlée par une forme allélique spécifique de la paire d'immuno-récepteurs RPS4/RRS1. Au-delà de cette architecture génétique simple, l'analyse GWA a révélé une architecture polygénique sous-jacente à la progression des symptômes de la maladie. En adoptant une approche de génétique inverse, j'ai validé fonctionnellement deux gènes codant pour des protéines de type strictosidine synthase (SSL) impliqués dans la réponse de défense précoce à la bactérie. L’utilisation d’une collection française locale a révélé une architecture génétique de quantitative disease resistance (QDR) à R. solanacearum totalement différente de celle obtenue avec la collection mondiale. En particulier, un réseau génétique complexe de QTLs épistatique a été détecté. Parmi les QTLs détectés, j'ai validé fonctionnellement la cycline méiotique atypique SOLO DANCERS comme étant impliqué dans la QDR à R. solanacearum. En adoptant une approche interdisciplinaire entre la génétique quantitative et la biologie moléculaire, j’ai mis en évidence chez A. thaliana la diversité des fonctions moléculaires sous-jacentes à la variation naturelle de la résistance à R. solanacearum en présence d’un stress thermique, identifiant ainsi des gènes candidats susceptibles d’être utilisés chez les espèces cultivées pour conférer des résistances robustes aux agents pathogènes dans le contexte du réchauffement climatique
In the context of climate warming, global surface temperature is predicted to increase from 1.5 to 4.8°C by the end of the century and extreme climatic events are expected to become more frequent. These changes will affect plant development and favor the poleward geographic migration of pathogens. Thus, plants will be facing an increased risk of epidemics as well as the emergence of new highly aggressive pathogen species. As a consequence, crop yields losses are anticipated and food security is put at risk. Alarmingly, several studies showed that an increase of temperature inhibits most of the major known resistance mechanisms. However, the underlying molecular mechanisms are still poorly characterized. In my thesis project, by exploiting natural genetic variation in Arabidopsis thaliana, I aimed to identify and characterize the genetic bases of resistance mechanisms remaining efficient at elevated temperature to Ralstonia solanacearum, one of the most harmful pathogenic phytobacteria causing bacterial wilt. To uncover quantitative trait loci (QTLs) associated with natural variation of response to R. solanacearum under heat stress, I adopted genome wide association (GWA) approaches using two geographically complementary collections of accessions of A. thaliana. In the worldwide collection, a single accession was totally resistant to the R. solanacearum GMI1000 strain under heat stress. Using a bulk segregant analysis approach, we identified the genetic basis of this total resistance that turned out to be controlled by a specific allelic form of the RPS4/RRS1 immunoreceptor pair. Beyond this simple genetic architecture, GWA analysis revealed a polygenic architecture underlying disease symptom progression. By adopting a reverse genetic approach, I functionally validated two genes encoding strictosidine synthase-like proteins (SSL) involved in early plant defense response to R. solanacearum. Using a local French collection revealed a genetic architecture of quantitative disease resistance (QDR) to R. solanacearum that totally differs from the one obtained with the worldwide collection. In particular, a complex genetic network of interacting loci was detected under heat stress. Among the detected QTLs, I functionally validated the atypical meiotic cyclin SOLO DANCERS gene as involved in QDR to R. solanacearum. By adopting an interdisciplinary approach between quantitative genetics and molecular biology, I highlighted in A. thaliana the diversity of molecular functions underlying natural variation of resistance to R. solanacearum under stress, which may in turn provide candidate genes for crop resistance to pathogens in the context of climate warming
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Olson, Darin James. "Eckhard Kopetzki's Compositions for Marimba Competitions: An Examination and Comparison of Three Movements for a Solo Dancer and Night of Moon Dances." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1305845608.

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Crisp, Rosalind. "Solo work." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.150923/index.html.

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Marckx, Leslie Hirt. "French Baroque influences on Johann Sebastian Bach's Six suites for violoncello solo : with an emphasis on French court dance and Suite V /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11220.

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Groom, Natalie Elise. "Invocation and Spirit Dance: a Composition for Solo Clarinet by Frank Wiley." Kent State University Honors College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1367346586.

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Palamara, Jason Andrew. "Dysphonia, for solo violin, chamber ensemble and live electronics." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/1718.

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DYSPHONIA is a music and dance work, for violin soloist with a live chamber orchestra, including multiple laptops and a custom-built gesture detection system worn by a dancer. The piece was choreographed by Professor Charlotte Adams of the University of Iowa Dance Department and premiered at the Faculty Graduate Dance Concerts in February of 2015. This piece is inspired by ongoing research into computer programming, gesture and music-making, artificial intelligence (AI), and creative algorithms. While the actual algorithms I developed for use in this piece are far from sentient, it is my hope that this piece may bring about discussion and further interest in creative AI. In our initial discussions, choreographer Charlotte Adams and I discovered that we both have witnessed a large number of people buying into immersive technologies without questioning the total cost to their well being, without questioning whether the technology has a positive impact on their lives, and without an understanding regarding the complex changes being wrought in our society due to the mass adoption of such technologies. Thus we designed this piece around the technology itself, so that the union between the dancer and the prosthesis is brought about by the movement and action that takes place in the piece. The intent was to create a scene where the audience suddenly becomes aware that something new is happening, namely that the dancer’s glove has started to make noise and there is a new connection made between the music and the dance.
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Friedes, Deborah Eve. "From solo to group: individualism and collectivism in 1930s modern dance." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1328806554.

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Freire, Priscila Gambary. "Dança brasileira e dança negra para piano solo de Camargo Guarnieri : uma abordagem interpretativa." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285143.

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Orientador: Eduardo Antonio Conde Garcia Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-11T21:42:35Z (GMT). No. of bitstreams: 1 Freire_PriscilaGambary_M.pdf: 13475735 bytes, checksum: 3a2b1b8d995a20e74b7b711f07a84c46 (MD5) Previous issue date: 2007
Resumo: Camargo Guarnieri (01/02/1907 - 13/01/1993) é considerado um dos maiores compositores brasileiros. Ele escreveu muitas obras para orquestra, música de câmara, canto coletivo e instrumentos solistas. Para piano, instrumento que dominou com muita desenvoltura e habilidade, dedicou quase duzentas peças. Além da obra vocal, coral, orquestral e instrumental geral, a produção pianística de Camargo Guarnieri tem sido pesquisada com freqüência por estudiosos musicais no Brasil e no exterior. Contudo, pouco se tem produzido cientificamente acerca das Danças para piano solo concebidas pelo compositor entre 1928 e 1946. Por outro lado, tem-se a consciência de que trabalhos científicos direcionados à performance pianística são de grande importância e necessidade para o meio acadêmico e profissional musical. A intenção desta pesquisa está centrada na realização de uma abordagem interpretativa da Dança Brasileira e da Dança Negra, compostas por Camargo Guarnieri no período supracitado.
Abstract: Camargo Guarnieri (01/02/1907 - 13/01/1993) is one of the most important Brazilian composers. His large output includes music for orchestra, chamber music, solo voice, choir and solo instruments. Guarnieri was an accomplished pianist and wrote several pieces for piano. A significant amount of research has been conducted on Camargo Guarnieri's music both in Brazil and abroad. However, little has been written about the Danças, composed between 1928 and 1946. This paper aims to provide suggestions for interpretation based on the analysis of the compositional and musical resources used by the composer in Dança Brasileira and Dança Negra.
Mestrado
Praticas Interpretativas
Mestre em Música
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Gwinn, Meghan. "Josephine Baker & Me: Black Femme Identity in Performance." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1334.

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The paper explores the complicated intersection between Black womanhood and performance by considering Josephine Baker as a site to engage the concept of “performing identity.” It discuss both the development of burlesque and the history of Josephine Baker to provide a foundation for the investigation of her early-career movement and visual practices. Then, the paper explore these hallmarks through Sherril Dodds’ “critical components of neo-burlesque striptease” writ into her book, Dancing on the Canon: Embodiments of Value in Popular Dance. The second half of this document includes a script of CATHARSIS, a self-devised solo show created to process one’s personal journey towards self-recognition amidst the (de)stabilizing effects of adoption. The show broadly explores the dynamic relationship between visibility, movement, and healing as Megh negotiates what it means to take space and be vulnerable in an environment that seeks to minimize black femme expression. The script is followed by a reflection on the initial two performances.
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Flanigan, Sean Gerard. "From Deux Danses to Fluctuations: Compositional components and innovations in two solo trombone works of Jean-Michel Defaye." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Aug2006/flanigan%5Fsean%5Fgerard/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 28, 1999, Jan. 24, 2000, Jan. 29, 2001, and Apr. 10, 2006. Includes bibliographical references and discography (p. 66-70).
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Books on the topic "SOLO DANCERS"

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Seeger, Mike. Talking feet: Buck, flatfoot, and tap : solo Southern dance of the Appalachian, Piedmont, and Blue Ridge Mountain Regions. Berkeley, Calif: North Atlantic Books, 1992.

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Bartók, Béla. Roumanian folk dances: Piano solo. London: Boosey & Hawkes, 1993.

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Bartók, Béla. Dance suite: For piano solo. [U.S.A.]: Boosey & Hawkes, 1991.

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Lasky, Kathryn. The solo. New York: Macmillan, 1994.

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1955-, Déry Louise, Massoutre Guylaine, Pocreau Yann, Galerie de l'UQAM, and Fortier danse-création (Compagnie de danse), eds. Paul-André Fortier: Solo 30x30. [Montréal]: Fortier Danse-Création, 2011.

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Singer, Marilyn. Tallulah's solo. Boston: Clarion Books, 2012.

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Turetzky, Bertram. Meditation and dance: For solo contrabass (1988). Bryn Mawr, Pa: Elkan-Vogel, 1991.

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Parker, Monica. Benesh movement notation: Elementary solo syllabus : ballet application. London: Benesh Institute, 1996.

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Samuel, Adler. The road to Terpsichore: A suite of dances for piano solo. New York, NY: G. Schirmer, 1989.

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10

Ray, Ollie M. All the right moves: Classical, solo, and line dances for children. [Charleston, Ill.]: Siddall and Ray Research Foundation, 2002.

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Book chapters on the topic "SOLO DANCERS"

1

Goddard, Lynette. "Solo Voices: Performance Art, Dance and Poetry." In Staging Black Feminisms, 154–78. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230801448_8.

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Pavis, Patrice. "A Seoul Song for Hong Sehee: On the Dance Solo A Song for You." In Performing Korea, 189–94. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-44491-2_11.

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Croft, Clare. "Never a Solo." In Dancers as Diplomats, 179–204. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780199958191.003.0006.

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Gianvittorio-Ungar, Laura. "Dancing the War Report in Aeschylus’ Seven against Thebes." In Experience, Narrative, and Criticism in Ancient Greece, 235–51. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848295.003.0012.

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This chapter reconsiders in its theatrical and narrative-related implications a testimony by Athenaeus (1,22 A), according to whom, at some point in Seven against Thebes, a dancer called Telestes danced the events so skilfully as to make them manifest. Departing from previous views on the subject, the chapter argues that, in Seven, the most suitable moment for Telestes’ dance to take place was not during the spoken lines of the Redepaare but during the lyric parodos, and that therefore Telestes did not perform a pantomime but in all likelihood a war dance. Accordingly, the parodos would consist of two interplaying dances. One was the solo war dance by Telestes, which made visible on stage the military manoeuvres of the Argives beyond the city walls. The other was the choral song and dance of the Theban maidens, who, while expressing the terror of the attacked, also described the siege with visual details and as a real-life experience. By assuming that the lyric parodos was accompanied by a war dance, we gain a new understanding not only of the chorus’ claims to see what is going on beyond the city walls, but also of the classical sources describing Seven as a drama which left the spectators with a craving for fighting.
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"Solo Dance." In Pina Bausch's Dance Theater, 240–77. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839450550-005.

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Snyder, Sherri. "Twelve." In Barbara La Marr. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813174259.003.0013.

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Escalating tensions between Barbara and Robert have severed their dance partnership and romance. As the chapter unfolds, Barbara finds comfort—and vengeance—in the arms of dancer Philip Ainsworth. The two marry and begin a dance partnership in San Francisco, their explosive relationship playing out in newspaper headlines. Philip initiates divorce proceedings, cites Robert as corespondent, and the headlines continue. Reunited with Robert as his dance partner and lover, Barbara prepares to return with him to New York. An unforeseen event, however, ends their partnership and romance forever. Barbara acquires an engagement as a solo dancer and strikes out on her own.
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Snyder, Sherri. "Nine." In Barbara La Marr. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813174259.003.0010.

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The chapter opens with an explanation of the pre–World War I dance craze that has seized the country and given rise to the appearance of ballroom dance teams, the nation’s latest brand of celebrity. Reatha’s departure for San Francisco, host to the 1915 Panama-Pacific International Exposition (San Francisco World’s Fair), to obtain dancing employment is then noted and complete documentation of her career as a professional dancer begins. Her love affair and dance partnership with Robert Carville, a professional dancer, are meticulously addressed; she changes her name to Barbara La Marr, develops as a dancer (both in her collaborative and solo efforts), and she and Robert procure high-end dancing engagements throughout San Francisco and at the fair. The chapter closes with Barbara and Robert, having achieved fame in San Francisco, being given the opportunity to try their luck on Broadway.
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"The Shogun’s Solo Dance:." In The Worship of Confucius in Japan, 228–51. Harvard University Asia Center, 2020. http://dx.doi.org/10.2307/j.ctvrs9027.16.

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"The Shogun’s Solo Dance." In The Worship of Confucius in Japan, 228–51. BRILL, 2020. http://dx.doi.org/10.1163/9781684175994_012.

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10

Ross, Janice. "The Solo That Isn't a Solo: Ann Carlson's Dances with Animals." In On Stage Alone, 55–71. University Press of Florida, 2012. http://dx.doi.org/10.5744/florida/9780813040257.003.0004.

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Conference papers on the topic "SOLO DANCERS"

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Desfiarni, Desfiarni. "The Tradition of Indang Tagak Dance in Nagari Lubuk Gadang Utara Solok Selatan: An Aesthetic Study." In Proceedings of the Seventh International Conference on Languages and Arts (ICLA 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icla-18.2019.17.

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