This book presents an analysis of how the grassroots movement of Guangchang Wu or ‘square dance’ in China has become a national phenomenon. Through oral narratives offering rich descriptions of lived encounters, the experiences of those involved in leading, organizing, teaching and learning Guangchang Wu are revealed. Through these narratives, this book serves to understand the leadership practices occurring and how this dance practice is deeply rooted in the complexities of China’s rapid economic development, acceleration of urbanisation, and the desire for a healthier and more communal lifestyle.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

'...full credit to Thomas and Macmillan for embarking on such a worthwhile venture - Dance Research I have already found the Thomas edition of enormous value in teaching both undergraduates and postgraduates, from the perspectives of dance anthropology, ethnography and theatre dance analysis - Theresa Buckland, Department of Dance Studies, University of Surrey This unique collection of papers, written specially for this volume, explores the aspects of the ways in which dance and gender intersect in a variety of cultural contexts, from social and disco dance to performance dance, to the Hollywood musical and dances from different cultures. The contributors come from a broad range of disciplines, such as cultural studies, anthropology, sociology, dance studies, film studies, and journalism. They bring to the book a wide body of ideas and approaches, including feminism, psychoanalysis, ethnography and subcultural theory. List of Plates - Preface to the 1995 Reprint - Notes on the Contributors - Introduction - PART 1: CULTURAL STUDIES - Dance, Gender and Culture; T.Polhumus - Dancing in the Dark: Rationalism and the Neglect of Social Dance; A.Ward - Ballet, Gender and Cultural Power; C.J.Novack - 'I Seem to Find the Happiness I Seek': Heterosexuality and Dance in the Musical; R.Dyer - PART 2: ETHNOGRAPHY - An-Other Voice: Young Women Dancing and Talking; H.Thomas - Gender Interchangeability among the Tiwi; A.Grau - 'Saturday Night Fever': An Ethnography of Disco Dancing; D.Walsh - Classical Indian Dance and Women's Status; J.L.Hanna - PART 3: THEORY/CRITICISM - Dance, Feminism and the Critique of the Visual; R.Copeland - 'You put your left foot in, then you shake it all about ...': Excursions and Incursions into Feminism and Bausch's Tanztheater; A.Sanchez-Colberg - 'She might pirouette on a daisy and it would not bend': Images of Femininity and Dance Appreciation; L-A.Sayers - Still Dancing Downwards and Talking Back; Z.Oyortey - The Anxiety of Dance Performance; V.Rimmer - Index

This book presents a powerful view of the history of dance, contrasting its role in Western civilization with its significance in other cultures. Highwater--a renowned critic, author, and lecturer on art, theater, music, and dance--links the history of dance to cultural forces as diverse asKarl Marx and Elvis Presley. Beginning with the original, ritualistic, and primal forms of dance, he traces its decline into empty ceremonial forms while all along insisting that dance is a fundamental life impulse made visible in motion--a spontaneous transformation of experience into metaphoricmeaning. Considering the historical and creative context from which dance emerged, Highwater goes on to point out the specific contributions and cultural influences of such 20th-century dance giants as Isadora Duncan, Twyla Tharp, Robert Wilson, George Balanchine, Martha Graham, Alwin Nikolais,Erick Hawkins, Jose Limon, Merce Cunningham, Meredith Monk, and Garth Fagan. Also examined are many newer artists, such as Bebe Miller and the Urban Bush Women.

8/18/06 This book had to be addressed as one of fiction because of the real torment created by one vicious evil plotting scorned female controlled by Satans own mind. The story is true, however all the names have been changed to protect the innocent, the publisher, and the Author. Three years of dedication and very hard work gathering information to present to the reader, starting from July 2003. False police reports made and found to be unfounded by the department, many case numbers that John Q public has access to. One female in a very big city that wanted to control all the dance arenas, and would stop at nothing short of murder to gain prominence among a few filthy underhanded worthless club owners. The main character Katherine was scorned by two ex lovers and wanted revenge to the point of absolute destruction to both of these educated and very striking men. An Emotional dance was performed by her to bring forth the Midnight Hour meant for complete ruin of these beautiful men. This book has exposed the underbelly of some unscrupulous dance studio renters that prey on innocent widows and other caring people that have had a loss of a loved one. These poor people are cheated out of large sums of money and given false hope in return, because of their need to feel wanted and accepted by others, they are hurting so bad and simply want to be loved once again. One very arrogant down town club renter, because they rent the space, has such a love of himself, that he truly believes he is the King of Los Vegas, how pathetic, small man syndrome comes to mind with this little person.

Reproduction of the original.

This book explores indigenous dances and social relationships surrounding the dance activities among Yupik on St. Lawrence Island and Iñupiat in Utqiaġvik, Northern Alaska. Yupik and Iñupiat proudly distinguish their indigenous styles of dance, locally called ‘Eskimo dance’, from Western styles of dance, such as ballroom, disco or ballet. Based on two years of intensive fieldwork and 18 years of experience living in Alaska, Ikuta sets out to understand how Yupik and Iñupiaq dances are at the centre of social relationships with the environment, among humans, between humans and animals, and between Native and the Euro-American societies. It also examines how the nature and structure of dance are connected to cultural politics, wrought by political, economic and historical events.

'A compelling 'whatdunnit'' The Times 'Waller's book should interest both historians and scientists, while the general reader will enjoy his colourful depictions of medieval life.' BBC Focus Magazine This is the true story of a wild dancing epidemic that brought death and fear to a 16th-century city, and the terrifying supernatural beliefs from which it arose. In July 1518 a terrifying and mysterious plague struck the medieval city of Strasbourg. Hundreds of men and women danced wildly, day after day, in the punishing summer heat. They did not want to dance, but could not stop. Throughout August and early September more and more were seized by the same terrible compulsion. By the time the epidemic subsided, heat and exhaustion had claimed an unfold number of lives, leaving thousands bewildered and bereaved, and an enduring enigma for future generations. Drawing on fresh evidence, John Waller's account of the bizarre events of 1518 explains why Strasbourg's dancing plague took place. In doing so it leads us into a largely vanished world, evoking the sights, sounds, aromas, diseases and hardships, the fervent supernaturalism, and the desperate hedonism of the late medieval world. At the same time, the extraordinary story this book tells offers rich insights into how people behave when driven beyond the limits of endurance. Above all, A Time to Dance, a Time to Die: The Extraordinary Story of the Dancing Plague of 1518 is an exploration into the strangest capabilities of the human mind and the extremes to which fear and irrationality can lead us.

Drid Williams explores dance and dance-related subjects ranging from Aboriginal and African dances to the Royal Ballet, and makes a compelling case for moving beyond the Western view of the dance as mere entertainment.