By Jo Butterworth

A concise advent to the research of dance starting from the sensible elements similar to procedure and choreography to extra theoretical issues reminiscent of aesthetic appreciation and where of dance in numerous cultures. This ebook solutions questions such as:

  • Exactly how will we outline dance?
  • What different types of humans dance and what sort of education is critical?
  • How are dances made?
  • What can we find out about dance background?

Featuring a word list, chronology of dance heritage and record of worthwhile web content, this booklet is the right start line for somebody attracted to the research of dance.

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Dance Studies: The Basics

A concise creation to the research of dance starting from the sensible elements akin to process and choreography to extra theoretical issues equivalent to aesthetic appreciation and where of dance in several cultures. This booklet solutions questions equivalent to: precisely how will we outline dance? What different types of humans dance and what sort of education is important?

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Extra resources for Dance Studies: The Basics

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Php. Cunningham’s first solo dance concert as choreographer was a shared programme with John Cage in 1944. He began to choreograph and work with his own dancers after working for several years (1939–1945) with Graham (see Chapter 3 below). He aimed for a modernism that was not anti-­ballet, as was so much of modern dance. He desired to combine what he saw as the pronounced use of legs in ballet techniques with the strong emphasis on the spine and upper body that he had experienced in modern dance methods TRAINING FOR DANCE (Grescovitch in Bremser, 1999: 73).

He aimed for a modernism that was not anti-­ballet, as was so much of modern dance. He desired to combine what he saw as the pronounced use of legs in ballet techniques with the strong emphasis on the spine and upper body that he had experienced in modern dance methods TRAINING FOR DANCE (Grescovitch in Bremser, 1999: 73). He devised a new method of training the body which included standing exercises which stress five different positions of the back: upright, curve, arch, twist and tilt. This was based on the conviction that there should be a strong connection between the spine and legs, particularly the lower spine, so that when a dancer bends over, there is no sense of ‘letting go’ in order to counterbalance; rather, the legs are freed by the control of the spine.

Dance-­ makers and choreographers have been inspired by particular pieces of music, by paintings or sculptures, by phenomena such as land­ scape or water, by political ideas such as national identity or gender issues, or by a sense of self within a particular experience: being in love, walking on a beach or climbing a mountain. Any of these ideas, and thousands more, could provide an impulse. This initial starting point may become a stimulus for the dance, but many other decisions also have to made, for example: What kind of dance style will be used?

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