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Libri sul tema "Narrative in dance"

Autore: Grafiati

Pubblicato: 29 luglio 2024

Ultima modifica: 30 luglio 2024

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1

Pegg, Carole. Mongolian music, dance, & oral narrative: Performing diverse identities. Seattle: University of Washington Press, 2001.

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2

Gopalakrishnan, K. K. Kathakali, dance-theatre: A visual narrative of sacred Indian mime. New Delhi: Niyogi Books, 2016.

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3

Lapeyre, Chantal. Fictions nécessaires: Pour une danse baroque contemporaine. Pantin: Centre national de la danse, 2021.

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4

McLerran, Alice. The ghost dance. Toronto: Stoddart, 1995.

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5

McLerran, Alice. The ghost dance. New York: Clarion Books, 1995.

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6

Bernard, Arps, a cura di. Performance in Java and Bali: Studies of narrative, theatre, music, and dance. London: School of Oriental and African Studies, University of London, 1993.

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7

McLerran, Alice. The ghost dance. New York: Clarion Books, 1995.

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8

Foster, Susan Leigh. Choreography & narrative: Ballet's staging of story and desire. Bloomington: Indiana University Press, 1996.

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9

Wallace, Catherine Miles. Dance lessons: Moving to the rhythm of a crazy God. Harrisburg, PA: Morehouse Pub., 1999.

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10

Stevens, John. Words and music in the Middle Ages: Song, narrative, dance and drama, 1050-1350. Cambridge: Cambridge University Press, 1986.

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11

Hoshino, Takeyoshi. Kōshō bungei to minzoku geinō: Chosakushū = Folk-narrative and folk-dance : the complete works of Takeyoshi Hoshino. Tōkyō: Nihon Hyōronsha, 2017.

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12

Fujiwara, Shigeo. Yōmei Bunko-zō maie "Bugaku sangakuzu.": Hōryūji kyūzō kaiko = Mai-e [bugaku sangaku-zu] from the collection of Yōmei Bunko and a kaiko (Ch. kaigu) drum body formerly held by the Nara temple Hōryū-ji = Yangming wen ku cang wu hui "Wu le san le tu." Fa long si jiu cang kai gu. Kyōto-shi: Kabushiki Kaisha Shibunkaku Shuppan, 2016.

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13

Akinleye, Adesola, a cura di. Narratives in Black British Dance. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70314-5.

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14

Mathur, Nita. Cultural rhythms in emotions, narratives and dance. New Delhi: Munshiram Manoharlal Publishers, 2002.

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15

Corpus, Rina Angela P. Dance and other slippages: Critical narratives on women, dance, and art. Diliman, Quezon City: University of the Philippines Press, 2013.

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16

Altner, Helmut. Berlin dance of death. Staplehurst: Spellmount, 2002.

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17

artnoose. Ker-bloom!: Dance dance revolution or shake it like a polaroid picture. Oakland, CA: Artnoose, 2004.

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18

Sebastio, Leonardo. Strutture narrative e dinamiche culturali in Dante e nel "Fiore". Firenze: L.S. Olschki, 1990.

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19

Nicks, Rowan. The dance of life: The life and times of an antipodean surgeon. Melbourne, Australia: Royal Australasian College of Surgeons, 1996.

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20

Holl, F. H. Hitler('s)-Junge, nein, danke: Erinnerungen. Aachen: K. Fischer, 1991.

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21

Elia, Nada. Trances, dances, and vociferations: Agency and resistance in Africana women's narratives. New York: Garland Pub., 2001.

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22

Némirovsky, Irène. El Baile / the Dance (Narrativa / Narrative). Edhasa, 2006.

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23

Karsemeyer, Jacqueline. Moved by the spirit: A narrative inquiry. 2000.

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24

Baldwin, Phillip. Machine Stops: Tele-Present Dance, Narrative, and AI. Lulu Press, Inc., 2020.

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25

Mongolian Music, Dance, and Oral Narrative: Performing Diverse Identities. University of Washington Press, 2001.

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26

Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond. BRILL, 2021.

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27

Dancing Across the Page: Narrative and Embodied Ways of Knowing. Intellect, Limited, 2011.

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28

Dancing across the Page: Narrative and Embodied Ways of Knowing. Intellect Ltd, 2011.

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29

Performance and culture: Narrative, image and enactment in India. Newcastle upon Tyne: Cambridge Scholars, 2011.

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30

Buck, Ralph. Dance Pedagogy and Education in China: A Personal Narrative of Teaching in, about and Through Dance Education. Palgrave Macmillan, 2022.

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31

Navaho War Dance, a Brief Narrative of Its Meaning and Practice ... Creative Media Partners, LLC, 2021.

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32

Navaho War Dance, a Brief Narrative of Its Meaning and Practice ... Creative Media Partners, LLC, 2021.

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33

McLerran, Alice. Ghost Dance. Fitzhenry and Whiteside, 2018.

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34

Crosby, Jill Flanders, e JT Torres. Situated Narratives and Sacred Dance. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402060.001.0001.

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Abstract (sommario):

Through a revolutionary ethnographic approach that foregrounds storytelling and performance as alternative means of knowledge, this book explores shared ritual traditions between the Anlo-Ewe people of West Africa and their descendants, the Arará of Cuba, who were brought to the island in the transatlantic slave trade. The volume draws on two decades of research in four communities: Dzodze, Ghana; Adjodogou, Togo; and Perico and Agramonte, Cuba. In the ceremonies, oral narratives, and daily lives of individuals at each fieldsite, the authors not only identify shared attributes in religious expression across continents but also reveal lasting emotional, spiritual, and personal impacts in the communities whose ancestors were ripped from their homeland and enslaved. The authors layer historiographic data, interviews, and fieldnotes with artistic modes such as true fiction, memoir, and choreographed narrative, challenging the conventional nature of scholarship with insights gained from sensorial experience. Including reflections on the making of an art installation based on this research project, the volume challenges readers to imagine the potential of approaching fieldwork as artists. The authors argue that creative methods can convey truths deeper than facts, pointing to new possibilities for collaboration between scientists and artists with relevance to any discipline.

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35

McLerran, Alice. The Ghost Dance. Tandem Library, 2001.

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36

Haile, Berard. The Navaho War Dance: A Brief Narrative Of Its Meaning And Practice. Kessinger Publishing, LLC, 2007.

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37

Haile, Berard. The Navaho War Dance: A Brief Narrative of Its Meaning and Practice. Native Child Dinétah, 2019.

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38

Arps, Bernard. Performance in Java and Bali: Studies of Narrative, Theatre, Music, and Dance. Taylor & Francis Group, 2005.

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39

Bernard, Arps. Performance in Java and Bali: Studies of Narrative, Theatre, Music and Dance. Taylor & Francis Group, 1993.

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40

McLerran, Alice. The Ghost Dance. Clarion Books, 2001.

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41

Choreography & Narrative: Ballet's Staging of Story and Desire. Indiana University Press, 1998.

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42

Foster, Susan Leigh. Choreography and Narrative: Ballet's Staging of Story and Desire. Indiana University Press, 1996.

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43

Words and music in the Middle Ages: Song, narrative, dance, and drama, 1050-1350. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.

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44

Guarino, Lindsay, Carlos R. A. Jones e Wendy Oliver, a cura di. Rooted Jazz Dance. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9780813069111.001.0001.

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Abstract (sommario):

An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. 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. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language.

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45

Borelli, Melissa Blanco, a cura di. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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Abstract (sommario):

This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific dances and their relation to power, access, and agency, as well as the role(s) of a specific film in the genealogy of Hollywood dance films. The book is divided into five sections that examine dance in films such asMoulin Rouge!, Dance Girl Dance, Dirty Dancing, and Save the Last Dance; the different aspects of commercial dance films in the context of identity politics, technology, commercialism, and the politics of moving bodies; how dance and its practice are constructed in films as a form of self-discovery and individual expression; the impact of music videos on popular dance and its dissemination; and how dance video games such as Dance Central influence concepts of choreography, embodiment, and dance pedagogy.

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46

Schlapbach, Karin. The Mimesis of Dance between Eloquence and Visual Art. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0003.

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This chapter shows that pantomime undermines the ostensible dichotomy of art and text by engaging in visual narration. It examines the perception of dance as a superior form of rhetoric, arguing that Lucian’s On Dancing cleverly deploys traditional ideals of rhetorical versatility (Proteus and the octopus) to show that the dancer embodies them more perfectly than the orator, because his skill is physical. The dancer’s body language is situated in the context of ancient theories of gesture and physiognomy as well as in the discourse on works of art (ekphrasis), from which the motif of silent speech and the use of notions such as ēthos and pathos are adopted. Finally, the chapter examines the possible role of Hellenistic sculptural groups emphasizing motion and narrative developments in preparing the path for pantomime’s empire-wide success.

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47

Fowler, Víctor. Some Dance Scenes From Cuban Cinema, 1959–2012. A cura di Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.023.

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Abstract (sommario):

This chapter traces dance in Cuban cinema from the onset of the Revolution to contemporary films. In so doing, the author attempts to set up a Cuban structure of feeling and how a corporeal form ofCubanidadmanifests through various filmic representations, whether narrative or documentary film. Might dance be an inherent aspect ofCubanidad? How does the Cuban filmic apparatus incorporate dance and all of its complexities into a narrative about Cuban fortitude? The films discussed include:Un día en el solar, Los del baile, Memorias del subdesarrollo, Son o no son,andHabana solo.

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48

Jones, Susan. Choreographic Re-embodiment between Text and Dance. A cura di Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.26.

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This chapter explores the aesthetics of the experimental modernist fiction of Joseph Conrad and Samuel Beckett to open up debates about reenactment of dance in the twentieth century. Using the theories of Gabriele Brandstetter and Paul Ricoeur to explore correspondences in dance and literary skepticism about narrative, the discussion shows how both writers interpolate their stories with fleeting passages of gesture or movement phrases that syncopate and undermine the teleological flow of narrative. This discussion suggests a choreographic re-embodiment between dance and text that focuses on communication beyond words. The similarity of Conrad and Beckett lies in their uses of gesture, but while Conrad’s movement phrases re-embody early twentieth-century expressivism, Beckett’s look back to early twentieth-century innovations in abstraction which examine the mechanical function of the body, rhythm in time and space. Beckett does not reference a mental (or emotional) state, whereas Conrad’s gestures are affective, identifying an emotional interiority.

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49

McLean, Adrienne L., e Adrienne McLean. Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema. Rutgers University Press, 2008.

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50

McLean, Adrienne L. Dying Swans and Madmen: Ballet, the Body, and Narrative Cinema. Rutgers University Press, 2008.

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