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Autor: Grafiati
Data publikacji: 29 lipca 2024
Data aktualizacji: 31 lipca 2024

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1

Misra, Susheela. Some dancers of India. New Delhi: Harman Pub. House, 1992.

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2

Nevile, Pran. Nautch girls of India: Dancers, singers, playmates. Paris: Ravi Kumar Publisher, 1996.

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3

Rajiv, Chandran, red. So many journeys. New Delhi: Niyogi Offset, 2005.

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4

International Würzburg colloquium on India studies (3rd : 2005 : Würzburg, Germany), red. Between fame and shame: Performing women - women performers in India. Wiesbaden: Harrassowitz, 2011.

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5

Anawalt, Sasha. The Joffrey Ballet: Robert Joffrey and the making of an American dance company. New York: Scribner, 1996.

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6

Anawalt, Sasha. The Joffrey Ballet: Robert Joffrey and the making of an American dance company. Chicago: University of Chicago Press, 1997.

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7

Dāsa, Debaprasāda. Nr̥tyānusaraṇī. Kaṭaka: Prāci Sāhitya Pratishṭhāna, 2002.

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8

Sarkar, Munsi Urmimala, red. Engendering performance: Indian women performers in search of an identity. Thousand Oaks, Calif: SAGE Publications, 2010.

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9

Helpern, Alice J. The technique of Martha Graham. Dobbs Ferry, NY: Morgan & Morgan, 1994.

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10

Halpern, Alice J. The technique of Martha Graham. Pennington, N.J: Society of Dance History Scholars, at Princeton Periodicals, 1991.

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11

India). Natya Kala Conference Sri Krishna Gana Sabha (Chennai. Natya Kala Conference '97: The joy of dance. Chennai: The Academy, 1997.

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12

Sarada, S. Kalakshetra-Rukmini Devi: Reminiscences. Madras: Kala Mandir Trust, 1985.

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13

Bouvier, Joëlle. L' effraction du silence. Paris: Editions Plume, 1994.

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14

Lata, Singh. Raising the curtain: Recasting women performers in India. Hyderabad: Orient BlackSwan, 2017.

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15

Avinash, Pasricha, red. Indian classical dance: Tradition in transition. New Delhi: Roli Books, 2002.

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16

1936-, Brown Trisha, i Aperto Festival (2009 : Reggio Emilia, Italy), red. Trisha Brown: L'invenzione dello spazio : Reggio Emilia, 2009. Pistoia: Gli ori, 2010.

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17

Bhat, Sheetala. Performing self, performing gender: Reading the lives of women performers in colonial India. Manipal: Manipal University Press, 2017.

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18

Saporta, Karine. Mo rte forêt. Paris: Éditions Plume, 1994.

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19

Saporta, Karine. Morte forêt. Paris: Editions Plume, 1994.

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20

Alberto, Torres Manuel, red. De lo sagrado en el arte y el pensamiento mítico: El arte de interpretar la antigua tradición del rito al teatro. Bogotá: Viento Ediciones, 2007.

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21

Shiva onstage: Uday Shankar's company of Hindu dancers and musicians in Europe and the United States, 1931-38. Zürich: Lit, 2011.

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22

Conlon, Paula J. From Powwow to Stomp Dance. Redaktorzy Anthony Shay i Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.013.

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Oklahoma is home to 67 American Indian tribes, each of which has its own cultural heritage. The result is a wealth of parallel traditions, from powwows deriving from Plains warrior societies to stomp dances of Woodland tribes that were forcibly removed to Indian Territory (present Oklahoma) in the 19th century. Song and dance around the powwow drum contrast sharply with the stomp dance tradition, where all-night singing and dancing around a sacred fire, accompanied by the percussion of the female dancers wearing turtle or can rattles strapped around their lower legs, form the backbone of the Green Corn religion. This chapter will compare and contrast the powwow and the stomp dance in their historical cultural contexts as symbols of Native identity, and examine how these parallel dance traditions continue to reinforce a sense of ethnic pride for Native American communities in Oklahoma.
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23

Misra, Susheela. Some Dancers of India. Harman Publishing House,India, 1997.

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24

Rukmini Devi, dance drama. Chennai [India]: Kalakshetra Publications, 2003.

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25

Bat-Dor: Mahavah le-Zanet Ordman. D. Di-Nur, 1990.

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26

Dancing in the family: An uncoventional memoir of three women. New Delhi: HarperCollins Publishers, 2001.

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27

Dancing in the Family: An Unconventional Memoir of Three Women. Rupa, 2004.

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28

Anawalt, Sasha. The Joffrey Ballet: Robert Joffrey and the Making of an American Dance Company. University Of Chicago Press, 1998.

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29

Merce My Way. Baryshnikov Foundation, 2009.

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30

Dutt, Bishnupriya, i Urmimala Sarkar Munsi. Engendering Performance: Indian Women Performers in Search of an Identity. SAGE Publications India Pvt, Ltd., 2016.

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31

MORCOM, ANNA. Illicit Worlds of Indian Dance: Cultures of Exclusion. Oxford University Press, 2014.

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32

MORCOM, ANNA. Illicit Worlds of Indian Dance: Cultures of Exclusion. Oxford University Press, 2014.

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33

Illicit Worlds On Indian Dance Cultures Of Exclusion. C Hurst & Co Publishers Ltd, 2013.

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34

Thunder, Julie Pearson-Little. Native emergence theater, 1975-1985, and the enactment of Indian theatrical space by Red Earth Performing Arts Company, Daystar Dance Company and American Indian Theater Company of Oklahoma. 2006.

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35

Dancing with Merce Cunningham. University Press of Florida, 2019.

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36

Venkataraman, Leela, i Avinash Pasricha. Indian Classical Dance: Tradition in Transition. Roli Books, 2004.

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37

Indian Classical Dance: The Renaissance and Beyond. Niyogi Books, 2015.

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38

Beautiful Thing: Inside the Secret World of Bombay's Dance Bars. Canongate Books, 2011.

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39

Beautiful thing: Inside the secret world of Bombay's dance bars. New York: Black Cat, 2012.

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40

Beautiful Thing: Inside the Secret World of Bombay's Dance Bars. Grove/Atlantic, Incorporated, 2012.

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41

Beautiful Thing: Inside the Secret World of Bombays Dance Bars. Penguin Books, 2010.

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42

Beautiful Thing: Inside the Secret World of Bombay's Dance Bars. Canongate Books, 2012.

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43

Trisha Brown. Palermo: L'epos, 2007.

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44

Beyond the Perfect Stage. Damiani, 2016.

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45

Quin, Edel, Sonia Rafferty i Charlotte Tomlinson. Safe Dance Practice. Human Kinetics, 2015. http://dx.doi.org/10.5040/9781718212886.

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Every dancer of every age, ability, and style should be able to engage fully in the act of dancing and be encouraged to achieve their potential without risk of harm to the body or mind. Practical information on all aspects of safe practice that is not too simplistic or complex has not always been easy to find. Enter Safe Dance Practice, by Edel Quin, Sonia Rafferty, and Charlotte Tomlinson. With nearly 60 years of collective experience in the dance profession as creative artists, teachers, and researchers, the authors translate extensive research and evidence-based practice in order to present the principles of safe practice that are essential to any dance experience. Guidelines in Implementing Principles The authors offer evidence-based guidelines on implementing diverse principles in practice, informing and supporting dance practitioners in an ever-growing pool of styles and genres. These guidelines and principles are of use not only to dancers and dance educators but also to choreographers, rehearsal and company directors, and studio managers. The information is underpinned by research in dance science and applied with contextual delivery in mind, ensuring an engaging experience for those accessing the book. Bridging the Gap Between Science and Practice Safe Dance Practice bridges the gap between academic research and its application for dancers and educators in all levels and genres. It illuminates the principles of working safely in dance so as to support best practice and encourages all dance practitioners and leaders to better understand, communicate, and apply principles of safe dance practice.
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46

Chakravorty, Pallabi. This is How We Dance Now! Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199477760.001.0001.

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How is cosmopolitan modernity performed in a liberalizing India? From the spectacular celebrity culture of dance television reality shows and Bollywood films to dance-making in the movie and TV studios, dance halls, rehearsals, and auditions in obscure corners of Mumbai and Kolkata, this book explores the voices, aspirations, and dance practices of a new generation of dancers and choreographers. As the old system of dance pedagogy is broken down by the growth of media, migration, and a deepening democracy, the concept of ‘remix’ has replaced it. It explains, in a word, both the new practices of bodily knowledge transmission and the new aesthetics of Indian dance. This book situates Bollywood dance and dance reality shows at the centre of the changing visual culture in India, and illuminates new and original intersections of ideas from the fields of anthropology, dance studies, philosophy, media studies, gender studies, and postcolonial theory. It tells the story of the transformation of Indian dance by drawing from the deep wells of theories from these fields, but also from the vantage point of intimate ethnographic eyes.
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47

Kosstrin, Hannah. Modernist Forms in a Jewish State. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0006.

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Focusing on Sokolow’s work in Israel, this chapter highlights tensions between American Jewishness and Israeliness through critical response to her dances Dreams (1961), Opus ’63 (1963), Forms (1964), and Odes (1964). It introduces the term “sabra physicality” to describe the performative qualities of defiant vulnerability that dancers in Sokolow’s Israeli company Lyric Theatre introduced into her oeuvre. With financial support from the American Fund for Israeli Institutions (America–Israel Cultural Foundation), Sokolow was part of the North American influence building Israeli art and cultural institutions as postwar alliances formed between the United States and Israeli governments. This chapter further shows Sokolow’s role in disseminating American modern dance through the bodies of her students abroad, through her work with the Inbal Yemenite Dance Group (Inbal Dance Theater) and Lyric Theatre. In turn, the way those dancers performed Graham’s technique and Sokolow’s choreography changed American modernism.
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48

Wilmerding, M. Virginia, i Donna H. Krasnow, red. Dancer Wellness. Human Kinetics, 2017. http://dx.doi.org/10.5040/9781718212756.

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Dancers who want to get the most out of their experience in dance—whether in college, high school, a dance studio, or a dance company—can now take charge of their wellness. Dancer Wellness will help them learn and apply important wellness concepts as presented through the in-depth research conducted by the International Association for Dance Medicine & Science (IADMS) and their experts from around the world. Four Primary Areas Dancer Wellness covers four primary topics: 1. Foundations of dancer wellness, which explores the dancer's physical environment, the science behind training, and conditioning 2. Mental components of dancer wellness, which investigates the psychological aspects that influence a dancer's training—imagery, somatic practices, and the ways that rest, fatigue, and burnout affect learning, technique, and injury risk and recovery 3. Physical aspects of dancer wellness, which examines dancer nutrition and wellness, including the challenges in maintaining good nutrition, addressing body composition issues, bone health, injury prevention, and first aid 4. Assessments for dancer wellness, which offers guidance in goal setting, screenings, assessing abilities, and designing a personal wellness plan Each chapter offers learning objectives at the beginning and review questions at the end to help readers recall what they have learned. Sidebars within each chapter focus on self-awareness, empowerment, goal setting, and diversity in dance. “Dancer Wellness meets the needs of dancers in any setting,” says Virginia Wilmerding, one of the book's editors from IADMS. “Our authors are leaders in the field, and they thoroughly investigate their areas of specialization. Through that investigation we have provided theoretical concepts and practical information and applications that dancers can use to enhance their health and wellness as part of their dance practice.” This text offers foundational information to create a comprehensive view of dancer wellness. “Wellness defines the state of being healthy in both mind and body through conscious and intentional choices and efforts,” says coeditor Donna Krasnow. “Anyone interested in the health and wellness of dancers can benefit from this book, regardless of previous training or level of expertise. This book covers each aspect of dancer wellness, whether environmental, physical, or psychological.”
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49

Scolieri, Paul A. Ted Shawn. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199331062.001.0001.

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This book is the first critical biography of Ted Shawn (1891–1972), the self-proclaimed “Father of American Dance.” Based on extensive archival research, it offers an in-depth examination of Shawn’s pioneering role in the formation of Denishawn (the first American modern dance company and school), Ted Shawn and His Men Dancers (the first all-male dance company), and Jacob’s Pillow (the internationally renowned dance festival and school located in the Berkshire Hills of Massachusetts). For many years and with great frustration, Shawn attempted to tell the story of his life’s work in terms of its social and artistic value, but struggled, owing to the fact that he was homosexual, something known only within his inner circle of friends. Though Shawn remained closeted, he scrupulously archived his journals, correspondence, programs, photographs, and motion pictures of his dances, anticipating that the full significance of his life, writing, and dances would reveal itself in time. By exploring these materials alongside Shawn’s relationship with contemporary thinkers who were leading a radical movement to depathologize homosexuality, such as the British eugenicist Havelock Ellis, writer Lucien Price, and sexologist Alfred C. Kinsey, this book tells the untold story of how Shawn’s homosexuality informed his extensive body of writings and choreography and, by extension, the history of dance in America.
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50

Kosstrin, Hannah. Honest Bodies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.001.0001.

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Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow argues that Sokolow’s choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s to the 1960s in the United States, Mexico, and Israel. Integrating archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow’s choreography for social change alongside her teaching of Martha Graham’s technique. Tracing dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies including the Negro Cultural Committee, the New York State Committee for the Communist Party, Nuevo Grupo Mexicano de Clásicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow’s work among developments in ethnic definitions, diaspora, and nationalism in the United States, Mexico, and Israel. Critical reception documented Sokolow’s career from a leading proletarian choreographer to one of modernist alienation, and reflected the assimilation of her generation of Jews, children of Eastern European immigrants, from the marginalized working class to the American middle-class mainstream. Equally affected by the Holocaust and the Second Red Scare, Sokolow’s choreography evidences her political–aesthetic statements that resonate as clearly in today’s political climate as they did then. Sokolow’s kinesthetic imprints circulated American corporeality through modern dance training, as her students in New York, Mexico City, and Tel Aviv fit their bodies into Graham’s codified shapes. Honest Bodies details how cultural ideologies circulate internationally through choreography and dancers’ physicalities and how American modernism influenced and was influenced by this circulation’s physical residue.
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