Book Description
To the hungry seeker of truth this book reveals a serious, biblically sound revelation of God's Purpose for creating dance, setting a high standard of holiness for the ministry of dance while promoting a much needed balance and order for dance in the Chu ... Read more

Customer Reviews (1)

Dance
This book is about the dance that God desires to restore back to the church.Dance is a powerful tool of ministry in worship, warfare, and celebration.

The dance that God longs to see restored is one of spirit and truth, not flesh and soul.God's word instructs us to praise His name in the dance.

There is a personal dance study journal in the back of the book. ... Read more

Book Description
This digital document is an article from The Register-Guard (Eugene, OR), published by The Register Guard on January 19, 2006. The length of the article is 729 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Troupe preserves the legacy of a modern dance pioneer.(Entertainment)
Publication: The Register-Guard (Eugene, OR) (Newspaper)
Date: January 19, 2006
Publisher: The Register Guard
Page: C1

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Book Description
odern FOR THE YOUTH OF AMERICA A Text for High School and College Teachers RUTH ANDERSON RADIR, M. A. Drawings by RAY GOUGH NEW YORK A. S. BARNES COMPANY 4 s - BARNES AND COMPANY, INCORPORATED zs w fy protected by copyright and nothing ke appears in it may be reprinted or reproduced in any manner, either wholly or in part 3 - for any use whatever, without special written permission of the copyright owner. This volume has been manufactured in accordance with the regulations of the War Production Board. PRINTED IN THE UNITED STATES OF AMERICA To Dr. Bertha Stuart Dyment BINDERY mT 1949 3J, f i3 INTRODUCTION DANCE, AS DISCUSSED IN THIS BOOK., is an art concerned with the communi cation of idea or feeling through the medium of movement. Modern dance is a term in current use applied to that kind of contemporary dance that organizes expressive movement in certain characteristic ways in a time-space structure. This manifestation of dance has developed in our democracy. As such, it represents, like other contemporary develop ments in the arts, the unique expression of an individual, or a group. The modern dancer, or the artist, uses his medium In a very individu alized way to give expression to those aspects of life which move him. He is likely to concern himself with the changing world which im pinges upon him in his daily life. He considers the sordid, the grim, the ugly, the humorous and the ridiculous aspects of life as worthy of ex pression as the nobler aspects of his world. He experiments freely with tone, color, clay or movement, and manipulates them according to no pattern, nor tradition, but in any way that he can devise, to reveal the essence of his experience. Since modern dance is thus a highly indi vidualized expression, since it Is experimental and since it takes for content phases of the passing scene, the modern dance of tomorrow will be something quite different from modern dance today. For ours is a world of rapid change. As society is restructured under the impact of far-reaching world events, dancers find new ideas which seem worthy of expression. But only so long as ours is a free country, or only so long as democracy, that makes possible freedom of expression, persists, will art remain individualized and experimental. Since in the freedom of democracy, dance may concern itself with socially significant ideas, it may, in turn, like the other arts, influence the direction of social change. Thus we see that there is a reciprocal relationship between the arts and the culture. The ballet dance of the previous tradition, like all art, was also a product of the culture. But, as a spectacular form of entertainment, arising from the demand of kings and courts for amusement, It had no INTRODUCTION dynamic interrelationship with the culture. It found subject matter, not in the problems of life, but in legend, fairy tale and fantasy. Such sub ject matter was pleasing to the court with its affectations and preten sions, as was the bird-like techniques of this form. Since performances were given on command, these techniques tended to become crystallized. The connoisseur who enlarges his ego by being able to make esoteric comment on virtuosity of performance, demands adherence to tradition. He is disconcerted if an artist makes radical departures from accepted style, because such change undermines his basis of criticism.. And, in any case, the aerial work of the ballet, its flight from earth and the curves of its arabesque were well-suited to this escapist form of ex jgression. How the modern manifestations of dance as an art differ from the artistic dance of the preceding tradition, may be seen by looking at an example of each. Pavlova, early in her career, danced the Dying Swan. Like all save two of the dances in her repertoire, the Swan was not of her own creation, but the work of a choreographer, in this case, Fokine. For an artist to perform a dance composed by another was, and is, in the ballet, customary practice... ... Read more

Book Description
Blurring the conventional distinction between modern dance and ballet, African American dance, gymnastics and dancing as popular entertainment, Alien Bodies looks at the way the dance of the 1920s and 1930s mediated the experience of modernity. Through an examination of work by key dancers and choreographers including Josephine Baker, Jean Borlin, George Balanchine, Katherine Dunham, Martha Graham, and Doris Humphrey, Alien Bodies shows that during the jazz age dance became a privileged site for defining the lived experiences of modernity and contributed to the creation of new desires and identities. ... Read more

Customer Reviews (2)

Take a big juicy bite out of Alien Bodies
Ramsey Burt incorporates so much in this book that it can be overwhelming but I suggest grabbing onto what you think is the good stuff and delve into it. He combines the historical, anthropological and political happenings of the 1920s and 30s with dance so well that it's hard to image thinking of any of them as separate, in any part. I would suggest this book to any student of the dance that has had some 20th century dance history background,so that you can concentrate on the theory and discourse presented in the book.

potentially useful introduction to dance/modernism studies
The value of Burt's book lies in its wide-ranging scope: taking the issue of how early modern dance and the experience(s) of modernity articulated each other in early 20th century Europe and America, Burt focuses uponpressing questions of sexuality, identity, class, consumer culture, and soforth. Chapters on Josephine Baker and "primitivist" discoursesof the body, as well as rationalism, mass production and the chorus lineare engaging, if also open to debate.In this sense, the volume provides agood introduction to the "new critical studies" of dance, anapproach which is informed by recent developments in cultural studies.However, the book is also marred by a number of factual errors (example:Burt incorrectly claims that "In 1922, [...] Le Corbusier andJeanneret exhibited designs for La Ville Contemporaine"--unaware thatJeanneret and Le Corbusier are in fact the same person, and thatthe teamconsisted of Le Corbusier and Ozenfant) as well as editorial gaffes: namesare mispelled, articles cited incorrectly.These mistakes are not simplyslips or failures tocatch typos, but rather reflect the book's mainweakness, which is that it at once too wide-ranging and almost exclusivelydependent upon secondary sources, which suggests to me that Burt'sexpertise does not lie in historical research, but rather in broadsynthesis. As such, the book provides a useful introduction to a number ofdifferent phenomena in early modern dance, and offers some ways ofapproaching dance through the lens of critical studies of culture, but itsarguments remain open to challenge and revision. ... Read more

Book Description
This textbook is written to provide a basic approach to learning modern dance. In order for the students to have a total picture of the topic, the areas of technique, improvisation and composition are described in detail as well as the physical aspects of dance movement. ... Read more

Book Description
This digital document is an article from The Weekly Standard, published by Thomson Gale on February 13, 2006. The length of the article is 1351 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Pointes of View; From the classics to the avant-garde in modern dance.(Legacies Of Twentieth-century Dance)(Book review)
Author: Judith Gelernter
Publication: The Weekly Standard (Magazine/Journal)
Date: February 13, 2006
Publisher: Thomson Gale
Volume: 11Issue: 21Page: NA

Article Type: Book review

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Product Description
7 piano pieces for teenage level pianist. ... Read more

Book Description
Valued for their sensual and social intensity, Greek dance-events are often also problematical for participants, giving rise to struggles over position, prestige, and reputation. Here Jane Cowan explores how the politics of gender is articulated through the body at these culturally central yet until now ethnographically neglected celebrations in a class-divided northern Greek town. Portraying the dance-event as both a highly-structured and dynamic social arena, she approaches the human body not only as a sign to be deciphered but as a site of experience and an agent of practice.

In describing the multiple ideologies of person, gender, and community that townspeople embody and explore as they dance, Cowan presents three different settings: the traditional wedding procession, the "Europeanized" formal evening dance of local civic associations, and the private party. She examines the practices of eating, drinking, talking, gifting, and dancing, and the verbal discourse through which celebrants make sense of each other's actions. Paying particular attention to points of tension and moments of misunderstanding, she analyzes in what ways these social situations pose different problems for men and women. ... Read more

Customer Reviews (1)

She and her dancers were gods as well as acrobats
Martha Graham did not want to call her dances representative of a particular technique. There should be "no school of movements" she said. But her dances have a signature, a collection of characteristics that distinguishes them from those of other choreographers. And her signature is the finest of the cursive writing of movement. Graham never scribbled: the swirls that her dances executed are Heraclitean kinetic proof of her exemplary penmanship. And for Graham, gravity is not to be defied but to be exploited: falls to the floor are not prohibited, but encouraged.

The ensemble of opinion, the "witnesses to the technique" by those who knew her, danced under her direction, or worked with her is expressed superbly in this book. There is a wide variation in these opinions, but universal agreement on the unique and superb quality of the dances of Martha Graham. Whether one calls it contraction and release, starkness of movement, twists in the torso, movement packed into the instant of action, great body swings, or spiraling around the spine, it is clear that the Graham technique requires discipline as well as the creation of things new. The dancer must depart from the patterns of the past as well as master them. The dancer must indulge herself in what is old and be refreshed in the excitement of originality.

It is remarkable but not at all surprising that Martha Graham lived as long as she did. Dancing extends life. All human cultures have some sort of dance. There are no exceptions. The philosopher Friedrich Nietzsche could not believe in a god who did not dance. If he had seen the dances of Martha Graham, he no doubt would have imputed deity status to her and her dancers. ... Read more

Book Description
The language of tap dancing is as rich and varied as that of any art, and different choreographers, teachers and performers often use totally different terms for exactly the same step. The various names of all steps and clear descriptions of them are collected for the first time in this reference work. The emphasis is on all variations of a name, from universally recognized terms to simple "pet" names that individual performers and choreographers have created, with extensive cross-references provided. Each of the steps is fully described, with appropriate counts, explanations and history. Many antique and unusual steps such as the Patting Juba, the Quack and the Swanee Shuffle are included. ... Read more

Customer Reviews (7)

A fantastic breakdown of more tap steps than I ever dreamed existed!....
I found out about this book from a choreographer friend of mine - we were in a musical together, and she referred to this book for an easy time-step variation that the whole cast could do.I got a look at it, and knew I had to have a copy!If you have taken any tap, or worked along with a video, this is an excellent supplement!It's been a lot of fun figuring out assorted steps :)

The Tap Dance Dictionary, by Mark Knowles
EXCELLENT!I'm just beginning to tap again after 35 years of sitting on my biscuits, and this book is bringing to life all the dormant steps my feet are aching to percuss, but that my brain forgot.The steps are clearly defined and named, and it's easy to follow.The added history adds interest, as well.THANK YOU for this book!
bacongirl

disappointed
I never received the tap dance dictionary and I am still trying to track it down. I am very upset about this.

Thank You

Very thorough!
This book is a great asset for all tappers. It is filled with almost every version of every step known to tappers. I can sit for hours flipping through this book and trying new things. I also find the historicalinformation very interesting. As a dance teacher, this book is a must-have.I am sure it will continue to serve me well all throughout my career.

One of the few tap dictionaries left with clear definitions.
There aren't many TAP dictionaries out there, and out of the few I know of, this one is an asset to have by my side in my dance studio.It has clear definitions and explanations on how to perform the steps.It's got atouch of history for the curious, and has become a trusty companion.Ilike that it contains different terminology from places all around.Adefinite five star book! ... Read more

Book Description
The Routledge Dance Studies Reader represents the range and diversity of writings on dance from the 1980s and 1990s, providing contemporary perspectives on ballet, modern dance, postmodern 'movement performance' jazz, South Asian dance and Black dance.

In an enlightening introduction, Alexandra Carter traces the development of dance studies internationally and surveys current debates about the methods and methodologies appropriate to the study of dance. Each section begins with an editorial preface, and features contributions by choreographers, performers, critics and scholars of dance and related disciplinary fields. The sections cover choreography, performance, writing criticism, the place of dance in history and society and analysis of specific dance works. An invaluable introduction to the key dance texts, The Routledge Dance Studies Reader is for anyone interested in enhancing their experience of dance. ... Read more