Barbara Walczak and Una Kai
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780813032528
- eISBN:
- 9780813046310
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813032528.001.0001
- Subject:
- Music, Dance
Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance. This book provides a ...
More
Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance. This book provides a technical explanation of the stylistic approaches that he taught in New York City between 1940 and 1960, as recorded by two prominent dancers who studied with him at that time. It replicates moments in the studio with the influential teacher, describing his instructions and corrections for twenty-four classes. These lessons not only introduce Balanchine's methods for executing steps, but also discuss the organization and development of his classes, shedding light on the aesthetics of his unique and celebrated style of movement.Less
Widely regarded as the foremost choreographer of contemporary ballet, George Balanchine was, and continues to be, an institution and major inspiration in the world of dance. This book provides a technical explanation of the stylistic approaches that he taught in New York City between 1940 and 1960, as recorded by two prominent dancers who studied with him at that time. It replicates moments in the studio with the influential teacher, describing his instructions and corrections for twenty-four classes. These lessons not only introduce Balanchine's methods for executing steps, but also discuss the organization and development of his classes, shedding light on the aesthetics of his unique and celebrated style of movement.
Beth L. Glixon and Jonathan E. Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.003.0008
- Subject:
- Music, History, Western
This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who ...
More
This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who appeared in the first public opera in Venice, is the most famous Venetian dancer and choreographer of the 17th century. The papers of impresario Marco Faustini introduce the names of a number of previously unknown choreographers, namely Giovanni Battista Martini, Battista Artusi, Olivier Vigasio, and Agostino Ramaccini. Faustini paid the choreographer a set fee, and also provided shoes and costumes designed to complement the themes of the dances. Costumes were also provided for extras, who added pomp and splendor to various scenes in the opera. The Faustini papers also provide crucial data for the understanding of the orchestra: its size, makeup, and means of payment. The orchestra comprised stringed and various continuo instruments, and was led either by the composer of the opera, or by someone suggested by him.Less
This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who appeared in the first public opera in Venice, is the most famous Venetian dancer and choreographer of the 17th century. The papers of impresario Marco Faustini introduce the names of a number of previously unknown choreographers, namely Giovanni Battista Martini, Battista Artusi, Olivier Vigasio, and Agostino Ramaccini. Faustini paid the choreographer a set fee, and also provided shoes and costumes designed to complement the themes of the dances. Costumes were also provided for extras, who added pomp and splendor to various scenes in the opera. The Faustini papers also provide crucial data for the understanding of the orchestra: its size, makeup, and means of payment. The orchestra comprised stringed and various continuo instruments, and was led either by the composer of the opera, or by someone suggested by him.
Susanna Sloat
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034676
- eISBN:
- 9780813046303
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034676.001.0001
- Subject:
- Music, Dance
This book tells how Caribbean dance is shaped by cultures mixing Africa and Europe and sometimes Asia in a new world. Many authors are cultural leaders on the islands, while others live elsewhere, ...
More
This book tells how Caribbean dance is shaped by cultures mixing Africa and Europe and sometimes Asia in a new world. Many authors are cultural leaders on the islands, while others live elsewhere, but have spent years steeped in island cultures.? It starts with connective chapters, on calypso and wining for the Anglophone Caribbean, and on how the French and enslaved Africans spread dances throughout the Caribbean. Cuban chapters focus on the Haitian-influenced culture of Eastern Cuba, Arará and its connection to Africa, a memoir from the father of Cuban modern dance, Africanness, and a search for the roots of international ballroom rumba. It has a comprehensive look at the context and content of Jamaican folkloric dance, one on the inventors of Jamaican dancehall dance and the dances, and a Ghanian take on the Jamaican ritual tradition of Kumina. There are chapters on the Dominican misterios, the subculture of Dominican son, on dancing stars on Dominican television, and on contemporary Haitian choreographers. It includes the history of Puerto Rican experimental dancemakers, the quadrille and bele of Dominica, the personalities of St. Lucia seen through its dances, and also on dance in Barbados and how it has helped create a national identity, on the Big Drum of Carriacou, on the intertwined history of Trinidad and Tobago and its dance, and on the dance traditions of the Indians of Trinidad, from ritual Ramdilla to secular chutney.Less
This book tells how Caribbean dance is shaped by cultures mixing Africa and Europe and sometimes Asia in a new world. Many authors are cultural leaders on the islands, while others live elsewhere, but have spent years steeped in island cultures.? It starts with connective chapters, on calypso and wining for the Anglophone Caribbean, and on how the French and enslaved Africans spread dances throughout the Caribbean. Cuban chapters focus on the Haitian-influenced culture of Eastern Cuba, Arará and its connection to Africa, a memoir from the father of Cuban modern dance, Africanness, and a search for the roots of international ballroom rumba. It has a comprehensive look at the context and content of Jamaican folkloric dance, one on the inventors of Jamaican dancehall dance and the dances, and a Ghanian take on the Jamaican ritual tradition of Kumina. There are chapters on the Dominican misterios, the subculture of Dominican son, on dancing stars on Dominican television, and on contemporary Haitian choreographers. It includes the history of Puerto Rican experimental dancemakers, the quadrille and bele of Dominica, the personalities of St. Lucia seen through its dances, and also on dance in Barbados and how it has helped create a national identity, on the Big Drum of Carriacou, on the intertwined history of Trinidad and Tobago and its dance, and on the dance traditions of the Indians of Trinidad, from ritual Ramdilla to secular chutney.
Wendy Oliver and Doug Risner (eds)
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813062662
- eISBN:
- 9780813051956
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062662.001.0001
- Subject:
- Society and Culture, Cultural Studies
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily ...
More
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily lives of dancers, choreographers, directors, educators, and students through surveys, interviews, analyses of data from institutional sources, and action research studies.
Dancers, dance artists, and dance scholars from the United States, Australia, and Canada discuss equity in three areas: concert dance, the studio, and higher education. The chapters provide evidence of bias, stereotyping, and other behaviors that are often invisible to those involved, as well as to audiences. The contributors answer incisive questions about the role of gender in various aspects of the field, including physical expression and body image, classroom experiences and pedagogy, and performance and funding opportunities.
The findings reveal how inequitable practices combined with societal pressures can create environments that hinder health, happiness, and success. At the same time, they highlight the individuals working to eliminate discrimination and open up new possibilities for expression and achievement in studios, choreography, performance venues, and institutions of higher education. The dance community can strive to eliminate discrimination, but first it must understand the status quo for gender in the dance world.Less
Driven by exacting methods and hard data, this volume reveals gender dynamics within the dance world in the twenty-first century. It provides concrete evidence about how gender impacts the daily lives of dancers, choreographers, directors, educators, and students through surveys, interviews, analyses of data from institutional sources, and action research studies.
Dancers, dance artists, and dance scholars from the United States, Australia, and Canada discuss equity in three areas: concert dance, the studio, and higher education. The chapters provide evidence of bias, stereotyping, and other behaviors that are often invisible to those involved, as well as to audiences. The contributors answer incisive questions about the role of gender in various aspects of the field, including physical expression and body image, classroom experiences and pedagogy, and performance and funding opportunities.
The findings reveal how inequitable practices combined with societal pressures can create environments that hinder health, happiness, and success. At the same time, they highlight the individuals working to eliminate discrimination and open up new possibilities for expression and achievement in studios, choreography, performance venues, and institutions of higher education. The dance community can strive to eliminate discrimination, but first it must understand the status quo for gender in the dance world.
Bob Borossm
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049298
- eISBN:
- 9780813050119
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049298.003.0015
- Subject:
- Music, Dance
As a teacher and choreographer for more than 30 years, Frank Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz ...
More
As a teacher and choreographer for more than 30 years, Frank Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz dance style he calls “VOP.” From the 1960s twist to 1990s hip-hop, Frank Hatchett has been the conduit from the street to the commercial stage. VOP is based in strong concert and ethnic dance techniques, and a dancer who becomes proficient in VOP understands technique and has attitude and flair. Hatchett’s VOP attitude found a home in NYC when he first began teaching at JoJo’s Dance Factory in 1980, and flourished in 1984 when he became co-owner of a new studio at that very same location – the legendary Broadway Dance Center. Hatchett spent subsequent years as a mainstay at Broadway Dance Center, leading daily classes in his legendary style.Less
As a teacher and choreographer for more than 30 years, Frank Hatchett has been a driving force in taking the latest steps and trends from street and social dance and translating them into a jazz dance style he calls “VOP.” From the 1960s twist to 1990s hip-hop, Frank Hatchett has been the conduit from the street to the commercial stage. VOP is based in strong concert and ethnic dance techniques, and a dancer who becomes proficient in VOP understands technique and has attitude and flair. Hatchett’s VOP attitude found a home in NYC when he first began teaching at JoJo’s Dance Factory in 1980, and flourished in 1984 when he became co-owner of a new studio at that very same location – the legendary Broadway Dance Center. Hatchett spent subsequent years as a mainstay at Broadway Dance Center, leading daily classes in his legendary style.
Eric Salzman and Thomas Desi
- Published in print:
- 2008
- Published Online:
- January 2010
- ISBN:
- 9780195099362
- eISBN:
- 9780199864737
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195099362.003.0009
- Subject:
- Music, Opera
This chapter discusses the relatively recent appearance and developing role of the stage director and choreographer in opera and music theater; the increasing importance of image, light, design, and ...
More
This chapter discusses the relatively recent appearance and developing role of the stage director and choreographer in opera and music theater; the increasing importance of image, light, design, and color to the point where they are equal to music, text, and physical movement; and new technology as a performance strategy.Less
This chapter discusses the relatively recent appearance and developing role of the stage director and choreographer in opera and music theater; the increasing importance of image, light, design, and color to the point where they are equal to music, text, and physical movement; and new technology as a performance strategy.
Jamake Highwater
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780195112054
- eISBN:
- 9780199853083
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195112054.003.0004
- Subject:
- Music, Dance
The core of dancing and the neuromuscular activity of the human body combine to create one of the vehicles by which sentience becomes visible where emotional states express themselves in movements. ...
More
The core of dancing and the neuromuscular activity of the human body combine to create one of the vehicles by which sentience becomes visible where emotional states express themselves in movements. Expressiveness and something which is expressed are usually the main concerns of art. These did not exist until they were made implicit in ritual. The major issues of choreographers in the 1960s and 1970s is also discussed to illustrate the dramatic narrative of dance which put too much stress on the dance itself. This chapter also features different forms of dance, and the clear definition that provides what dance expresses. Gestures of drama inside every dance are presented as well which give expressivity and technique in ways somewhat similar to the activities described in dance.Less
The core of dancing and the neuromuscular activity of the human body combine to create one of the vehicles by which sentience becomes visible where emotional states express themselves in movements. Expressiveness and something which is expressed are usually the main concerns of art. These did not exist until they were made implicit in ritual. The major issues of choreographers in the 1960s and 1970s is also discussed to illustrate the dramatic narrative of dance which put too much stress on the dance itself. This chapter also features different forms of dance, and the clear definition that provides what dance expresses. Gestures of drama inside every dance are presented as well which give expressivity and technique in ways somewhat similar to the activities described in dance.
Thomas F. DeFrantz
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195301717
- eISBN:
- 9780199850648
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195301717.003.0010
- Subject:
- Music, Dance
This chapter examines developments in the career of Alvin Ailey during the 1970s. Ailey's choreographic output slowed considerably after the Ellington festival and he made no new dances for his ...
More
This chapter examines developments in the career of Alvin Ailey during the 1970s. Ailey's choreographic output slowed considerably after the Ellington festival and he made no new dances for his company or any other for two years. Despite this, Ailey' enterprise continued to expand and his Alvin Ailey Dance Theater continued to tour extensively and represent the US as an effective cultural ambassador on overseas tour including in Japan and the Philippines in 1977. A book celebrating the two-year accomplishments of his company, titled The Alvin Ailey American Dance Theater, was published with text by Joseph H. Mazo and photographs by Susan Cook.Less
This chapter examines developments in the career of Alvin Ailey during the 1970s. Ailey's choreographic output slowed considerably after the Ellington festival and he made no new dances for his company or any other for two years. Despite this, Ailey' enterprise continued to expand and his Alvin Ailey Dance Theater continued to tour extensively and represent the US as an effective cultural ambassador on overseas tour including in Japan and the Philippines in 1977. A book celebrating the two-year accomplishments of his company, titled The Alvin Ailey American Dance Theater, was published with text by Joseph H. Mazo and photographs by Susan Cook.
Cheryl Mrozowski
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049298
- eISBN:
- 9780813050119
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049298.003.0013
- Subject:
- Music, Dance
Bob Fosse was Broadway’s top director-choreographer in the 1960s and 70s. His signature style included a forward thrust of the hips, hunched shoulders, gloved hands, and turned-in feet. Fosse’s ...
More
Bob Fosse was Broadway’s top director-choreographer in the 1960s and 70s. His signature style included a forward thrust of the hips, hunched shoulders, gloved hands, and turned-in feet. Fosse’s brilliance was apparent in his ability to move smoothly from a scene’s end to a dance number; he heightened the emotions at the end of the scene so the dancing and singing would not clash. Fosse was formally trained as a tap dancer, had no background in ballet or modern dance, and possessed a limited facility. He adjusted each dancer’s movements so they reflected his own dance strengths and limitations rather than those of the individual dancer. Some of his shows and movies include Sweet Charity, Cabaret, Liza with a Z, and Chicago. His work was highly acclaimed for its innovation; Cabaret won eight Academy Awards, and that same year he won a Tony for Best Choreographer on Broadway for Pippin, as well as an Emmy for Liza with a Z.Less
Bob Fosse was Broadway’s top director-choreographer in the 1960s and 70s. His signature style included a forward thrust of the hips, hunched shoulders, gloved hands, and turned-in feet. Fosse’s brilliance was apparent in his ability to move smoothly from a scene’s end to a dance number; he heightened the emotions at the end of the scene so the dancing and singing would not clash. Fosse was formally trained as a tap dancer, had no background in ballet or modern dance, and possessed a limited facility. He adjusted each dancer’s movements so they reflected his own dance strengths and limitations rather than those of the individual dancer. Some of his shows and movies include Sweet Charity, Cabaret, Liza with a Z, and Chicago. His work was highly acclaimed for its innovation; Cabaret won eight Academy Awards, and that same year he won a Tony for Best Choreographer on Broadway for Pippin, as well as an Emmy for Liza with a Z.
Brent Phillips
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147215
- eISBN:
- 9780813151502
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147215.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter begins with the successful appearances of dance team “Fox and Walters” at the Versailles nightclub. Walters meets rising choreographer Robert Alton and performs in the Theatre Guild’s ...
More
This chapter begins with the successful appearances of dance team “Fox and Walters” at the Versailles nightclub. Walters meets rising choreographer Robert Alton and performs in the Theatre Guild’s critically-panned Parade. Chapter 3 presents a detailed look at the production and reception of the Cole Porter musical Jubilee, where Walters partnered June Knight, introduced “Just One of Those Things,” and danced “Begin the Beguine.” Walters’ development as a dancer — under the tutelage of Albertina Rasch and Tony and Rene De Marco — is discussed. This chapter also explores his friendship with young Montgomery Clift.Less
This chapter begins with the successful appearances of dance team “Fox and Walters” at the Versailles nightclub. Walters meets rising choreographer Robert Alton and performs in the Theatre Guild’s critically-panned Parade. Chapter 3 presents a detailed look at the production and reception of the Cole Porter musical Jubilee, where Walters partnered June Knight, introduced “Just One of Those Things,” and danced “Begin the Beguine.” Walters’ development as a dancer — under the tutelage of Albertina Rasch and Tony and Rene De Marco — is discussed. This chapter also explores his friendship with young Montgomery Clift.
Melanie Kloetzel and Carolyn Pavlik (eds)
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813034003
- eISBN:
- 9780813039442
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034003.001.0001
- Subject:
- Society and Culture, Cultural Studies
In recent years, site-specific dance has grown in popularity. In the wake of groundbreaking work by choreographers who left traditional performance spaces for other venues, more and more performances ...
More
In recent years, site-specific dance has grown in popularity. In the wake of groundbreaking work by choreographers who left traditional performance spaces for other venues, more and more performances are cropping up, on skyscrapers, in alleyways, on trains, on the decks of aircraft carriers, and in myriad other unexpected locations worldwide. In this anthology of site-specific dance, the editors explore the work that choreographers create for non-traditional performance spaces and the thinking behind their creative choices. Combining interviews with and essays by practitioners of site dance, they look at the challenges and rewards of embracing alternative spaces. Examination of the work of artists such as Meredith Monk, Joanna Haigood, Stephan Koplowitz, Heidi Duckler, Ann Carlson, and Eiko Otake provides insights into why choreographers leave the theater to embrace the challenges of unconventional venues. The book also includes more than 80 photographs of site-specific performances, revealing how the arts, and movement in particular, can become part of and speak to our everyday lives.Less
In recent years, site-specific dance has grown in popularity. In the wake of groundbreaking work by choreographers who left traditional performance spaces for other venues, more and more performances are cropping up, on skyscrapers, in alleyways, on trains, on the decks of aircraft carriers, and in myriad other unexpected locations worldwide. In this anthology of site-specific dance, the editors explore the work that choreographers create for non-traditional performance spaces and the thinking behind their creative choices. Combining interviews with and essays by practitioners of site dance, they look at the challenges and rewards of embracing alternative spaces. Examination of the work of artists such as Meredith Monk, Joanna Haigood, Stephan Koplowitz, Heidi Duckler, Ann Carlson, and Eiko Otake provides insights into why choreographers leave the theater to embrace the challenges of unconventional venues. The book also includes more than 80 photographs of site-specific performances, revealing how the arts, and movement in particular, can become part of and speak to our everyday lives.
Karen Eliot
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780199347629
- eISBN:
- 9780199347643
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199347629.001.0001
- Subject:
- Music, Dance
Albion’s Dance was inspired by the author’s memory of her childhood ballet teacher who danced in Britain during World War Two. Dancers’ memoirs and the writings of dance critics are central resources ...
More
Albion’s Dance was inspired by the author’s memory of her childhood ballet teacher who danced in Britain during World War Two. Dancers’ memoirs and the writings of dance critics are central resources for this book that asks how ballet in Britain survived during the war and how the end of war resulted in a newly refined national ballet. Exploring the so-called ballet boom during World War Two, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress. The way ballet participated in propagandistic discourse and answered to a public mood of pragmatism and idealism are part of this story. Also considered are the distinct roles of dance critics, male and female dancers, producers, audiences, and choreographers. Each population contributed to the creation of a uniquely British ballet identity. After the war, British ballet emerged on the international stage demonstrating superb qualities of dramatic acuity, musicality, and sensitivity to the classic ballets.Less
Albion’s Dance was inspired by the author’s memory of her childhood ballet teacher who danced in Britain during World War Two. Dancers’ memoirs and the writings of dance critics are central resources for this book that asks how ballet in Britain survived during the war and how the end of war resulted in a newly refined national ballet. Exploring the so-called ballet boom during World War Two, the larger story of this book is one of how art and artists thrive during conflict, and how they respond pragmatically and creatively to privation and duress. The way ballet participated in propagandistic discourse and answered to a public mood of pragmatism and idealism are part of this story. Also considered are the distinct roles of dance critics, male and female dancers, producers, audiences, and choreographers. Each population contributed to the creation of a uniquely British ballet identity. After the war, British ballet emerged on the international stage demonstrating superb qualities of dramatic acuity, musicality, and sensitivity to the classic ballets.
Melanie Kloetzel and Carolyn Pavlik
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813034003
- eISBN:
- 9780813039442
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034003.003.0001
- Subject:
- Society and Culture, Cultural Studies
Site-specific dances have been practiced for more than 40 years, in various public places across the country. These dances are termed site-specific since they serve as the inspiration as well as the ...
More
Site-specific dances have been practiced for more than 40 years, in various public places across the country. These dances are termed site-specific since they serve as the inspiration as well as the setting for the dance. Compared to other dances that are usually made in a studio and would conventionally be performed on a theater stage, the movement, costuming, theme, spacing, music, and other such fundamental elements to the performance are shaped and informed by the use of alternative spaces. Although these types of dances have already existed for a relatively long period, little attention has been given either to the dances themselves or to those who created them. This book provides a forum for 16 well-known American site choreographers, and discusses their work. It also illustrates some of the important practical and theoretical information regarding this particular genre.Less
Site-specific dances have been practiced for more than 40 years, in various public places across the country. These dances are termed site-specific since they serve as the inspiration as well as the setting for the dance. Compared to other dances that are usually made in a studio and would conventionally be performed on a theater stage, the movement, costuming, theme, spacing, music, and other such fundamental elements to the performance are shaped and informed by the use of alternative spaces. Although these types of dances have already existed for a relatively long period, little attention has been given either to the dances themselves or to those who created them. This book provides a forum for 16 well-known American site choreographers, and discusses their work. It also illustrates some of the important practical and theoretical information regarding this particular genre.
Mary Jo Lodge
- Published in print:
- 2013
- Published Online:
- April 2014
- ISBN:
- 9780199997152
- eISBN:
- 9780199348572
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199997152.003.0005
- Subject:
- Music, Popular, Dance
Musicals’ liminal moments are challenges because they exist at moments of change in the show when, for instance, a song is introduced or a dance concludes. This chapter examines transitional moments ...
More
Musicals’ liminal moments are challenges because they exist at moments of change in the show when, for instance, a song is introduced or a dance concludes. This chapter examines transitional moments and liminality in the musical, particularly related to dance, the physical gesture of the musical. Next, it examines the multiple modes of communication used in a musical, including dance, and the way in which the hierarchy among them is determined. Also, it explores the role and function of dance in the musical, as well as the liminal, transitional moments in musicals that involve dance, specifically the dance break and the dream ballet. Finally, this chapter examines the ways in which some shows have successfully navigated the introduction and/or integration of dance in order to theorize about how other musicals might achieve this.Less
Musicals’ liminal moments are challenges because they exist at moments of change in the show when, for instance, a song is introduced or a dance concludes. This chapter examines transitional moments and liminality in the musical, particularly related to dance, the physical gesture of the musical. Next, it examines the multiple modes of communication used in a musical, including dance, and the way in which the hierarchy among them is determined. Also, it explores the role and function of dance in the musical, as well as the liminal, transitional moments in musicals that involve dance, specifically the dance break and the dream ballet. Finally, this chapter examines the ways in which some shows have successfully navigated the introduction and/or integration of dance in order to theorize about how other musicals might achieve this.
Lindsay Guarino and Wendy Oliver (eds)
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049298
- eISBN:
- 9780813050119
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049298.001.0001
- Subject:
- Music, Dance
This multi-author textbook provides an in-depth look at the rich and varied history of jazz dance, from its African roots in early American society until today. The book is divided into six main ...
More
This multi-author textbook provides an in-depth look at the rich and varied history of jazz dance, from its African roots in early American society until today. The book is divided into six main parts, each addressing a different aspect of jazz dance. The opening section explores the nature of jazz dance from the perspective of four different authors, and is capped by descriptions of the many different styles of jazz dance. The second section focuses on jazz dance history, giving an expansive overview beginning with African dance, through the jazz era of the 1920s-40s, the immense diversification of the late 20th century, and up to the present. The third part looks at master teachers and choreographers who shaped the way jazz dance was codified and performed from 1930-1980. The fourth section discusses dance genres which are closely related to jazz dance, including tap dance, musical theater dance, African-American concert dance, hip-hop dance, and dance in pop culture. Education and training is the focus of the fifth part, including an examination of jazz dance in colleges and universities, as well as private dance studios. Lastly, the sixth section looks at current topics in the jazz dance world including race, jazz dance in France, England, and Japan, and jazz dance aesthetics. The sum of these many parts is both a broader and deeper understanding of a uniquely American dance form, with its African roots and multiple permutations that have evolved as it has mixed with other dance forms and styles.Less
This multi-author textbook provides an in-depth look at the rich and varied history of jazz dance, from its African roots in early American society until today. The book is divided into six main parts, each addressing a different aspect of jazz dance. The opening section explores the nature of jazz dance from the perspective of four different authors, and is capped by descriptions of the many different styles of jazz dance. The second section focuses on jazz dance history, giving an expansive overview beginning with African dance, through the jazz era of the 1920s-40s, the immense diversification of the late 20th century, and up to the present. The third part looks at master teachers and choreographers who shaped the way jazz dance was codified and performed from 1930-1980. The fourth section discusses dance genres which are closely related to jazz dance, including tap dance, musical theater dance, African-American concert dance, hip-hop dance, and dance in pop culture. Education and training is the focus of the fifth part, including an examination of jazz dance in colleges and universities, as well as private dance studios. Lastly, the sixth section looks at current topics in the jazz dance world including race, jazz dance in France, England, and Japan, and jazz dance aesthetics. The sum of these many parts is both a broader and deeper understanding of a uniquely American dance form, with its African roots and multiple permutations that have evolved as it has mixed with other dance forms and styles.
Deborah Friedes Galili
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199939985
- eISBN:
- 9780199333134
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199939985.003.0005
- Subject:
- Music, Dance
“Reframing the Recent Past: Issues of Reconstruction in Israeli Contemporary Dance” treats the recent past in a survey of Israeli contemporary dance, framing the study within an examination of that ...
More
“Reframing the Recent Past: Issues of Reconstruction in Israeli Contemporary Dance” treats the recent past in a survey of Israeli contemporary dance, framing the study within an examination of that country's own complex relationship to its dance identity and history. Re-mixing and re-framing, rather than dance reconstruction, are found to be the strategies most suited to contemporary Israeli dance at this point in its relatively recent history as a nation. As choreographers, including the internationally known Ohad Naharin of Batsheva Dance Company, make choices about how and what to reconstruct, a dance community is challenged to confront its identity and to define its relationship to its past.Less
“Reframing the Recent Past: Issues of Reconstruction in Israeli Contemporary Dance” treats the recent past in a survey of Israeli contemporary dance, framing the study within an examination of that country's own complex relationship to its dance identity and history. Re-mixing and re-framing, rather than dance reconstruction, are found to be the strategies most suited to contemporary Israeli dance at this point in its relatively recent history as a nation. As choreographers, including the internationally known Ohad Naharin of Batsheva Dance Company, make choices about how and what to reconstruct, a dance community is challenged to confront its identity and to define its relationship to its past.
Melanie Bales
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199939985
- eISBN:
- 9780199333134
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199939985.003.0010
- Subject:
- Music, Dance
“Touchstones of Tradition and Innovation: Pas de Deux by Petipa, Balanchine and Forsythe” closely juxtaposes three duets from different centuries and styles, though each is located within the ballet ...
More
“Touchstones of Tradition and Innovation: Pas de Deux by Petipa, Balanchine and Forsythe” closely juxtaposes three duets from different centuries and styles, though each is located within the ballet idiom. A comparative analysis forces inquiries into the codes and values of the balletic form itself, with a consideration of those values as they emerge through the steps and choreographic structures of the dances, the identities of the choreographers and the sociopolitical climate surrounding the creation of each work. The three examples are signposts by which to see the effects of time upon a classical tradition, and they demonstrate how both individual artists and collective choices have shaped that tradition.Less
“Touchstones of Tradition and Innovation: Pas de Deux by Petipa, Balanchine and Forsythe” closely juxtaposes three duets from different centuries and styles, though each is located within the ballet idiom. A comparative analysis forces inquiries into the codes and values of the balletic form itself, with a consideration of those values as they emerge through the steps and choreographic structures of the dances, the identities of the choreographers and the sociopolitical climate surrounding the creation of each work. The three examples are signposts by which to see the effects of time upon a classical tradition, and they demonstrate how both individual artists and collective choices have shaped that tradition.
Janice Ross
- Published in print:
- 2015
- Published Online:
- May 2015
- ISBN:
- 9780300207637
- eISBN:
- 9780300210644
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300207637.003.0008
- Subject:
- Music, Dance
This chapter traces the establishment of a ballet company by Yakobson. This company was the first individual, single-choreographer ballet company to exist in the USSR since the 1920s. The focus was ...
More
This chapter traces the establishment of a ballet company by Yakobson. This company was the first individual, single-choreographer ballet company to exist in the USSR since the 1920s. The focus was on self-definition, on individual experience, and a reworking of dance language to inspire new meanings. The platform for the company's work was the Soviets' inaugural single-choreographer-led ballet troupe. The company was based on Balanchine in the United States. This new company spread the lead roles among all ranks of dancers depending on their abilities and talents. Every dancer was considered a soloist. Through Yakobson's choreography, dance and culture became inseparable.Less
This chapter traces the establishment of a ballet company by Yakobson. This company was the first individual, single-choreographer ballet company to exist in the USSR since the 1920s. The focus was on self-definition, on individual experience, and a reworking of dance language to inspire new meanings. The platform for the company's work was the Soviets' inaugural single-choreographer-led ballet troupe. The company was based on Balanchine in the United States. This new company spread the lead roles among all ranks of dancers depending on their abilities and talents. Every dancer was considered a soloist. Through Yakobson's choreography, dance and culture became inseparable.
Brent Phillips
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147215
- eISBN:
- 9780813151502
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147215.001.0001
- Subject:
- Film, Television and Radio, Film
During his lifetime, Charles “Chuck” Walters enjoyed a reputation as one of the foremost director-choreographers of Hollywood motion pictures. From his earliest directorial triumphs, Good News, ...
More
During his lifetime, Charles “Chuck” Walters enjoyed a reputation as one of the foremost director-choreographers of Hollywood motion pictures. From his earliest directorial triumphs, Good News, Easter Parade, and The Barkleys of Broadway, to his victorious Lili, High Society, and The Unsinkable Molly Brown, musicals directed by Walters seamlessly fuse movement, storytelling, and song. He was one of Broadway’s most prominent dancers in the 1930s, creating featured roles in Rodgers and Hart’s I Married an Angel and Cole Porter’s Jubilee and Du Barry Was a Lady. He supplied choreography for entertainment on Broadway (Let’s Face It, St. Louis Woman) and at Metro-Goldwyn-Mayer studios in Hollywood (Meet Me in St. Louis, Girl Crazy). Especially renowned for the manner in which he showcased his stars, Walters skilfully guided Fred Astaire, Gene Kelly, Frank Sinatra, Debbie Reynolds, Doris Day, Cary Grant, Shirley MacLaine, Lucille Ball, Esther Williams, Grace Kelly, and Joan Crawford. He enjoyed a unique rapport with Judy Garland, creating some of her most indelible stage and screen performances. Personally, Walters was one of the few “uncloseted” gay film directors to excel in studio-era Hollywood, living openly with his partner, a top industry talent agent. This detailed study is long overdue. Charles Walters: The Director Who Made Hollywood Dance corrects both the historical oversight and reassesses the career of this Academy Award nominated film director, whose boyhood dream of dance led to a firmly — and now finally — acknowledged position as a major contributor to American popular culture.Less
During his lifetime, Charles “Chuck” Walters enjoyed a reputation as one of the foremost director-choreographers of Hollywood motion pictures. From his earliest directorial triumphs, Good News, Easter Parade, and The Barkleys of Broadway, to his victorious Lili, High Society, and The Unsinkable Molly Brown, musicals directed by Walters seamlessly fuse movement, storytelling, and song. He was one of Broadway’s most prominent dancers in the 1930s, creating featured roles in Rodgers and Hart’s I Married an Angel and Cole Porter’s Jubilee and Du Barry Was a Lady. He supplied choreography for entertainment on Broadway (Let’s Face It, St. Louis Woman) and at Metro-Goldwyn-Mayer studios in Hollywood (Meet Me in St. Louis, Girl Crazy). Especially renowned for the manner in which he showcased his stars, Walters skilfully guided Fred Astaire, Gene Kelly, Frank Sinatra, Debbie Reynolds, Doris Day, Cary Grant, Shirley MacLaine, Lucille Ball, Esther Williams, Grace Kelly, and Joan Crawford. He enjoyed a unique rapport with Judy Garland, creating some of her most indelible stage and screen performances. Personally, Walters was one of the few “uncloseted” gay film directors to excel in studio-era Hollywood, living openly with his partner, a top industry talent agent. This detailed study is long overdue. Charles Walters: The Director Who Made Hollywood Dance corrects both the historical oversight and reassesses the career of this Academy Award nominated film director, whose boyhood dream of dance led to a firmly — and now finally — acknowledged position as a major contributor to American popular culture.
Tim Carter
- Published in print:
- 2007
- Published Online:
- October 2013
- ISBN:
- 9780300106190
- eISBN:
- 9780300134872
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300106190.001.0001
- Subject:
- Music, Popular
Oklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and is today performed more frequently than any other Rodgers and Hammerstein musical. This book offers a fully ...
More
Oklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and is today performed more frequently than any other Rodgers and Hammerstein musical. This book offers a fully documented history of the making of this celebrated American musical, drawing on research from rare theater archives, manuscripts, journalism, and other sources to record every step in its development. It is filled with details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show's choreographer, and the drafts and revisions that ultimately gave the musical its final shape. The author shows the lofty aspirations of both the creators and producers, and the mythmaking that surrounded Oklahoma! from its very inception, demonstrating just what made it part of its times.Less
Oklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and is today performed more frequently than any other Rodgers and Hammerstein musical. This book offers a fully documented history of the making of this celebrated American musical, drawing on research from rare theater archives, manuscripts, journalism, and other sources to record every step in its development. It is filled with details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show's choreographer, and the drafts and revisions that ultimately gave the musical its final shape. The author shows the lofty aspirations of both the creators and producers, and the mythmaking that surrounded Oklahoma! from its very inception, demonstrating just what made it part of its times.
