A renewed interest in nature, the ancient Greeks, and the freedom of the body was to transform dance and physical culture in the early twentieth century. The book discusses the creative individuals and developments in science and other art forms that shaped the evolution of modern dance in its international context.

From its beginnings as an alternative and dissident form of dance training in the 1960s, Somatics emerged at the end of the twentieth century as one of the most popular and widespread regimens used to educate dancers. It is now found in dance curricula worldwide, helping to shape the look and sensibilities of both dancers and choreographers and thereby influencing much of the dance we see onstage worldwide. One of the first books to examine Somatics in detail and to analyse how and what it teaches in the dance studio, The Natural Body in Somatics Dance Training considers how dancers discover and assimilate new ways of moving and also larger cultural values associated with those movements. The book traces the history of Somatics, and it also details how Somatics developed in different locales, engaging with local politics and dance histories so as to develop a distinctive pedagogy that nonetheless shared fundamental concepts with other national and regional contexts. In so doing it shows how dance training can inculcate an embodied politics by guiding and shaping the experience of bodily sensation, constructing forms of reflexive evaluation of bodily action, and summoning bodies into relationship with one another. Throughout, the author focuses on the concept of the natural body and the importance of a natural way of moving as central to the claims that Somatics makes concerning its efficacy and legitimacy.

Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.

The Routledge Companion to Dance Studies maps out the key features of dance studies as the field stands today, while pointing to potential future developments. It locates these features both historically—within dance in particular social and cultural contexts—and in relation to other academic influences that have impinged on dance studies as a discipline. The editors use a thematically based approach that emphasizes that dance scholarship does not stand alone as a single entity, but is inevitably linked to other related fields, debates, and concerns. Authors from across continents have contributed chapters based on theoretical, methodological, ethnographic, and practice-based case studies, bringing together a wealth of expertise and insight to offer a study that is in-depth and wide-ranging. Ideal for scholars and upper-level students of dance and performance studies, The Routledge Companion to Dance Studies challenges the reader to expand their knowledge of this vibrant, exciting interdisciplinary field.

This book is about K-pop dance and the evolution and presence of its dance fandom on social media. Based on five years of ethnographic fieldwork, interviews, choreography, and participation-observation with 40 amateur and professional K-pop dancers in New York, California, and Seoul, the book traces the evolution of K-pop dance from the 1980s to the 2020s and explains its distinctive feature called ‘gestural point choreography’ – front-driven, two-dimensional, decorative and charming movements of the upper body and face – as an example of what the author theorizes as ‘social media dance.’ It also explores K-pop cover dance as a form of intercultural performance, suggesting that, by imitating and idolizing K-pop dance, fans are eventually ‘fandoming’ themselves and their bodies. Presenting an ethnographic study of K-pop dance and its fandom, this book will be a valuable resource for students and scholars of Media Studies, Korean Studies, Performance Studies, and Dance.

Originally published in 1963 and authored by the then Editor of the Dancing Times, this was a pioneer work discussing not only the origins and development of many social dance forms from early times, but also relating these forms to their environment. As well as its role in social history, the book analyses the role of dance as a prime creative power in Renaissance spectacles which depicted and celebrated diplomatic, military and regal occasions. After a wide-ranging introductory chapter on the origins of dancing, the book takes the reader through the centuries, discussing in turn the Basse Danse and the Moresco of the Middle Ages, the Pavane, Galliard and Courante of the 16th Century, the Minuet of the 17th & 18th, the Allemande, the Waltz and the Polka as well as Jazz, the Cha Cha Cha, the Jive and Twist.

The need to ‘rethink’ and question the nature of dance history has not diminished since the first edition of Rethinking Dance History. This revised second edition addresses the needs of an ever-evolving field, with new contributions considering the role of digital media in dance practice; the expansion of performance philosophy; and the increasing importance of practice-as-research. A two-part structure divides the book’s contributions into: • Why Dance History? – the ideas, issues and key conversations that underpin any study of the history of theatrical dance. • Researching and Writing – discussions of the methodologies and approaches behind any successful research in this area. Everyone involved with dance creates and carries with them a history, and this volume explores the ways in which these histories might be used in performance-making – from memories which establish identity to re-invention or preservation through shared and personal heritages. Considering the potential significance of studying dance history for scholars, philosophers, choreographers, dancers and students alike, Rethinking Dance History is an essential starting point for anyone intrigued by the rich history and many directions of dance.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

Human Kinetics’ Interactive Dance Series includes Beginning Tap Dance, Beginning Ballet, Beginning Modern Dance, and now Beginning Jazz Dance and Beginning Musical Theatre Dance. These titles are the traditional dance courses taught through dance, physical education, and fine arts departments for general education students, dance majors, and minors. Using the steps to success model and adaptations from the Outdoor Adventure series, these beginning dance titles contain components from these previous series. Beginning Jazz Dance is the perfect resource for helping students gain a strong foundation of beginning jazz dance techniques. Written by jazz dance choreographer and professor James Robey, this text • prepares students to have a successful experience in a beginning jazz dance technique course; • includes 80 photos accompanied by descriptions that visually present the beginning jazz dance technique and dance concepts that will reinforce and extend classroom learning; and • introduces students to the history, artists, significant works, styles, and aesthetics of the genre so they understand dance as a performing art. In addition, Beginning Jazz Dance comes with a web resource that includes 55 photos and 125 video clips of basic jazz dance technique. Students can access these photos and videos at any time for their study or practice, and instructors and students alike will benefit from the wealth of resources on the website, including assignments, worksheets, glossary terms with and without definitions, interactive chapter quizzes, and web links to help students develop their basic knowledge and skills. (The web resource is included with all new print books and some ebooks. For ebook formats that don’t provide access, the web resource is available separately.) Through the text, students learn these aspects of jazz dance: • The core concepts of jazz dance, the value of studying jazz dance, and class expectations • The structure of a jazz dance class, the roles of everyone in the studio, and how to be physically and mentally prepared for class • Tips on injury prevention, nutrition guidelines, and basic anatomy and kinesiology as applied to movement in jazz dance • Basic body alignment and positions in jazz dance • Jazz walks, kicks, turns, leaps, and floor work Beginning Jazz Dance provides students with the context, background information, and basic instruction they need in order to understand the genre and appreciate jazz dance as a performing art. This text, with its companion web resource, is ideal for dance majors, dance minors, and general education students enrolled in beginning jazz dance technique courses. It is also suitable for students in performing arts and magnet schools and high school dance programs.

An engaging overview of dance from the Medieval era through the Baroque