'Eurythmy is that very thing which dancers with a true idealism have been unconsciously seeking - that inner harmony and balance that was a natural condition of the Greeks, visible in their statues and carved figures, so that, even in a standing pose, movement seems to flow through them.' Eurythmy is an expressive art of movement in which specific gestures relate to the sounds and rhythms of speech, to the tones and rhythms of music and to soul experiences, such as joy and sorrow. In this succinct and accessible booklet, the authors present a clear introduction to this contemporary art form in the context of the impulse of dance today. What is eurythmy, and how does it relate to other arts of movement and dance? What is eurythmy's purpose, and why did Rudolf Steiner create it in the early twentieth century? These and many more questions are answered in this extended essay, supplemented by 35 sketches of eurythmy figures by Rudolf Steiner that illustrate gestures of movement, feeling and character.
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Sadler's Wells is the world's leading Dance House. Sadler's Wells has developed new audiences for dance, this powerful and emotive art, for performances shown within its theatre spaces and outside - in fact around the world. What makes Sadler's Wells different is its determination to nurture world class artists like Akram Khan, Sylvie Guillem, Wayne McGregor, Matthew Bourne, Jasmin Vardimon, the Ballet Boyz and Hofesh Shechter, using its unique vision, style and creativity to put together choreographers, dancers, lighting and stage designers, composers and other artists to make dance that is wildly exciting, new and different. Sadler's Wells Dance House looks at the making of some of the most iconic dance works of this century and into the mix of dancers, choreographers and creators Sadler's Wells has helped inspire. Including insightful analysis of this phenomenon by Sarah Crompton, arts editor in chief and dance critic for the Sunday Telegraph, and colour photographs of many of those works, Sadler's Wells Dance House gives a clear view both of the creative process of the Sadler's Wells artists and of the role this legendary theatre has played in remaking and reshaping dance for the 21st century.
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The advice offered in this book draws on numerous theories and research findings in psychology and behavioural science. However it is essentially a personal approach based on experience of working with dancers, student dancers and dance teachers in various contexts and locations over a number of years. Its main purpose is to offer a broad perspective on the psychological pressures that dancers and student dancers commonly face and provide some practical suggestions on how these pressures may best be managed. Although the vast majority of my experience has been in the context of classical ballet I hope that the advice given here will be relevant to dancers, teachers and student dancers in all professional disciplines.
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This book takes as its point of departure diverse conventions of and perspectives on practices and discourses in dance. The anthology is strongly motivated by the fact that space continues to be explored and debated within dance practices and studies as well as the human sciences more generally. Yet, there are still only few publications offering a contemporary view on how the relation between movement and space can be tied to the descriptions and analyses of actual movement practice. Already owing to its embodied nature, dance is essentially spatial. It forms, produces, and takes place in space. It is thus no coincidence that dance studies have increasingly begun to address the complex issue of movement and space. This anthology aims to link conceptual descriptions that concern space as process and in process to the undertakings of specific movement practices in dance. The articles in the anthology address how historical and geopolitical influences impact our understanding and practice of dance art. In them, the kinds of spaces and interrelationships, which different forms of dancing generate, are considered. Aspects of embodied space that dancing relies upon are likewise discussed. Through case examples, the articles take a closer look on how recent artistic practice in dance utilises given environments and constructs space.
Learn what modern dance really is, and how it differs from other forms of dance. Find out how it started; read about the early pioneers, such as Isadora Duncan, who thought that classical ballet was 'ugly'. Discover what the future holds, and how you could have a career as a dancer. Then read how the show must go on, no matter what, in the short story 'A Show for Ghana'. Glitz! Glamour! Drama! Delve into the fantastic world of the performing arts with this book from the Starstruck series. A non-fiction section is followed by a fiction story on the same topic. Filled with striking photographs and illustrations, this book is ideal for any child who has an interest in an aspect of the world behind the stage curtain.
In examining ideokinesis and its application to the teaching and practice of dancing, Drid Williams introduces readers to the work of Dr. Lulu Sweigard (1895-1974), a pioneer of ideokinetic principles. Drawing on her experiences during private instructional sessions with Sweigard over a two-year span, Williams discusses methods using imagery for improving body posture and alignment for ease of movement. Central to Williams's own teaching methods is the application of Sweigard's principles and general anatomical instruction, including how she used visual imagery to help prevent bodily injuries and increasing body awareness relative to movement. Williams also emphasizes the differences between kinesthetic (internal) and mirror (external) imagery and shares reactions from professional dancers who were taught using ideokinesis. Williams's account of teaching and practicing ideokinesis is supplemented with essays by Sweigard, William James, and Jean-Georges Noverre on dancing, posture, and habits. Teaching Dancing with Ideokinetic Principles offers an important historical perspective and valuable insights from years of teaching experience into how ideokinesis can shape a larger philosophy of the dance.
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars. International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
Shell Shock Cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the the devastating effects of the nation's defeat. In this exciting new book, Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted. Kaes uses the term "shell shock"--coined during World War I to describe soldiers suffering from nervous breakdowns--as a metaphor for the psychological wounds that found expression in Weimar cinema. Directors like Robert Wiene, F. W. Murnau, and Fritz Lang portrayed paranoia, panic, and fear of invasion in films peopled with serial killers, mad scientists, and troubled young men. Combining original close textual analysis with extensive archival research, Kaes shows how this post-traumatic cinema of shell shock transformed extreme psychological states into visual expression; how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting; and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today. A compelling contribution to the cultural history of trauma, Shell Shock Cinema exposes how German film gave expression to the loss and acute grief that lay behind Weimar's sleek facade.
Steven McRae - Dancer in the Fast Lane gives a close up look at the ballet and dance world's newest, flame-haired star. Born and raised in the world of Australia's high octane, drag racing circuit, Steven effortlessly moves between the sophistication of his interpretations of the greatest ballet roles as a Principal of The Royal Ballet to full throttle blasts of tap. Once again photographer Andrej Uspenski has used his exclusive vantage point as a First Artist with The Royal Ballet to give us glimpses of a dancer becoming a true dance supernova. This book features over 70 photographs of McRae at work.
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AMKCU 14 years +14 years +
With over 2,600 entries, the second edition of The Oxford Dictionary of Dance is a unique single volume reference on all aspects of dance performance written by two leading dance writers, Debra Craine and Judith Mackrell. The work covers all aspects of the diverse dance world from classical ballet to modern, from flamenco to hip-hop, from tap to South Asian dance forms and includes detailed entries on technical terms, steps, styles, works and countries, in addition to many biographies of dancers, choreographers, and companies. During the last thirty years the boundaries of dance have been radically redrawn. There has been an explosion of new activity within traditional forms like ballet, a stream of new dance languages invented by fresh generations of choreographers, and there is a growing appreciation of cultural dance forms from around the world. Fans today are likely to attend performances as varied as Spanish flamenco, Indian bharata natyam, Japanese butoh, classical ballet, and post-modern dance. With an emphasis on performance - the dance we see in our theatres today - readers will find both fact and analysis on a wide range of subjects, from styles of dance and the history of dance companies and their productions, to dancers, choreographers, and technical terms. With 150 new entries, this new edition charts developments that have occurred over the last ten years, including the rise of new digital technology in the creation and staging of dance and the move to the mainstream of formerly fringe genres such as hip-hop, as well as the arrival of a new generation of dancers and choreographers to the scene.
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Rudolf Steiner initiated a new art of movement, which can be characterised as speech and music made visible. This concise but informative guide to eurythmy includes a brief survey of dance, from its origin in the ancient mysteries to its contemporary forms, placing Steiner's ideas in their historical context. It then goes on to explore the three main strands of eurythmy: as stage performance, in education, and in therapy, giving insightful examples of each. The book has been revised and updated, and includes new colour photographs of performance and educational eurythmy.
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Raised in a desperately poor village during the height of China's Cultural Revolution, Li Cunxin's childhood revolved around the commune, his family and Chairman Mao's Little Red Book. Until, that is, Madame Mao's cultural delegates came in search of young peasants to study ballet at the academy in Beijing and he was thrust into a completely unfamiliar world. When a trip to Texas as part of a rare cultural exchange opened his eyes to life and love beyond China's borders, he defected to the United States in an extraordinary and dramatic tale of Cold War intrigue. Told in his own distinctive voice, this is Li's inspirational story of how he came to be Mao's last dancer, and one of the world's greatest ballet dancers.
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To millions of people around the world Norman Wisdom in his cloth cap and ill-fitting suit is the living embodiment of the little man battling against the forces of authority and pomposity. His career in comedy, making people laugh for over six decades, has been the fulfilment of what Charlie Chaplin predicted - that Norman Wisdom would be the man to take his mantle. Still working as hard in his late eighties, Sir Norman - he was knighted by the Queen in 2001, in an hilarious episode described in this book - has become a cult hero to today's young, cutting edge comedians.
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In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe. In 1996, "Adventures in Motion Pictures" made history as the first modern dance company to open a production in London's West End. From this achievement, AMP sailed triumphantly to Broadway - winning three Tony Awards - guided by Artistic Director Matthew Bourne. Even before the inception of AMP, Bourne was fascinated by theatre, by characterization, and by the history of dance. In his early works - "Spitfire", "Town & Country" and "Deadly Serious" - Bourne brought a novel approach to dance. And in his reworkings of the classics of the ballet canon - "Nutcracker", "Swan Lake", "Cinderella" - Bourne created witty, vivid, poignant productions that received great acclaim. In the first decade of the new millennium, the company name was changed to New Adventures, and Bourne's 'classics', as well as Bourne's new works - "The Car Man", "Play Without Words", "Edward Scissorhands" and "Dorian Gray" - achieved levels of box-office popularity that have seldom, if ever, been matched in dance. In addition, his choreography for various musicals - "My Fair Lady", "Mary Poppins" and "Oliver!" - have run for years in the West End and on Broadway. The detail in which Bourne discusses his work with Alastair Macaulay is unprecedented. The two explore Bourne's upbringing, his training and influences, and his distinctive creative methods. Bourne's notebooks, his sources and his collaboration with dancers all from part of the discussion in this book.
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"Dynamic Alignment Through Imagery, Second Edition", shows how to use imagery, touch and movement exercises to improve co-ordination and alignment. These exercises also help relieve tension, enhance the health of the spine and back and prevent back injury. This expanded new edition contains more than 600 imagery exercises along with nearly 500 illustrations to help visualize the exercises and use them in various contexts. "Dynamic Alignment Through Imagery" enables readers to experience the biomechanical and anatomical principles that are crucial to dancers, other performing artists, yoga and Pilates teachers and practitioners and athletes. The techniques and exercises presented in the book act as a guide to improving posture and will have a positive affect on thoughts and attitude about oneself and others. You can discover flexibility and increase the power to move.
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ADWFC 4 years +4 years +
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The Little Ballerina Dancing Book is written by the creator of Usborne's That's Not My Teddy/Fairy series and comes with a lovely music CD featuring well-known ballet tunes from Swan Lake, the Sleeping Beauty and the Nutcracker. The book shows simple steps to accompany each piece of music and has been produced in conjunction with the Central School of Ballet.
ADWYS 6 years +6 years +
Perfect your port de bras, pas de deux and learn how to dance adagio and allegro. Find out the best way to look after your ballet shoes and make sure your make up is just right for your first night on stage. Contains everything you need to know to become a ballet dancer, from the best ballet dancer in the business, Darcey Bussell.
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The mystery of the body in motion. The surprise of seeing what seems impossible. And the pure, joyful optimism of it all. "Dancers Among Us" presents one thrilling photograph after another of dancers leaping, spinning, lifting, kicking - but in the midst of daily life: on the beach, at a construction site, in a library, a restaurant, a park. With each image the reader feels buoyed up, eager to see the next bit of magic. Photographer Jordan Matter started his Dancers Among Us Project by asking a member of the Paul Taylor Dance Company to dance for him in a place where dance is unexpected. So, dressed in a commuter's suit and tie, the dancer flew across a Times Square subway platform. And in that image Matter found what he'd been searching for: a way to express the feeling of being fully alive in the moment, unself-conscious, present. Organized around themes of work, play, love, exploration, dreaming, and more, "Dancers Among Us" celebrates life in a way that's fresh, surprising, original, universal. There's no photo-shopping here, no trampolines, no gimmicks, no tricks. Just a photographer, his vision, and the serendipity of what happens when the shutter clicks.
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A must for any fan of the storytelling genius that is Neil Gaiman, author of the acclaimed novel AMERICAN GODS and the highly anticipated new novel for adults, THE OCEAN AT THE END OF THE LANE. In May 2012, Neil Gaiman delivered the commencement address at Philadelphia's University of the Arts, in which he shared his thoughts about creativity, bravery, and strength. He encouraged the fledgling painters, musicians, writers, and dreamers to break rules and think outside the box. Most of all, he urged them to make good art. The book MAKE GOOD ART, designed by renowned graphic artist Chip Kidd, contains the full text of Gaiman's inspiring speech. Praise for Neil Gaiman: 'A very fine and imaginative writer' The Sunday Times 'Exhilarating and terrifying' Independent 'Urbane and sophisticated' Time Out 'A jaw-droppingly good, scary epic positively drenched in metaphors and symbols...As Gaiman is to literature, so Antoni Gaudi was to architecture' Midweek 'Neil Gaiman is a very good writer indeed' Daily Telegraph
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This is the story of Northern Soul is one of practically total immersion, dedication and devotion, where the plain concept of the 'night out' was elevated to sacramental dimensions. Where devotees pushed their bodies, their finances and sometimes their minds to brutal and unforgiving extremes. For those who went through that involvement every test of faith or endurance was worth bearing. - From Northern Soul: An Illustrated History. "It was a drugs scene, it was a clothes scene. It was about dancing. It came out of this thing. It was about pills that made you go fast. To go fast to make the scene happen". (Chris Brick). In the late 1960s, a form of dance music took a feverish hold on the UK, finding its heart in the north of England. The music of 1960s-70s black American soul singers combined with distinctive dance styles and plenty of amphetamines to create what became known as Northern Soul - a scene based around all night, alcohol-free club nights, arranged by the fans themselves - setting the blueprint for future club culture. Northern Soul tapped into a yearning for individual expression in northern teenagers, and exploded into a cultural phenomenon that influenced a generation of DJs, songwriters and designers for decades to come. Acclaimed photographer and director Elaine Constantine has brought the movement to life in her film Northern Soul - and that film was the starting point for this book, Northern Soul: An Illustrated History. However, what started out as a project largely comprising of Constantine's stunning on-set photography, featuring her young, talented cast and highly authentic production, has turned into a unique illustrated history of Northern Soul. In its final form, the beautiful new photography holds the book together thematically, but its real depth lies in the material from the 1960s, 1970s and 1980s that Elaine and Gareth have researched and pulled together. Of course, no book can claim to represent everything about a culture. But Northern Soul: An Illustrated History concentrates on individuals' personal stories from that heady era, as well as being crammed full of truly atmospheric contemporaneous photography - not from press photographers, but from the kids themselves. Be it snaps of soul fans in car parks, hitching a lift or mucking around in photo booths, the combination of real people plus real (and often very dramatic) stories - not to mention the complete absence of label scans and DJ's top tens - means that the book stands out as a very different proposition from anything yet published on Northern Soul. We would like to think that above all, this book attempts to give you a feel for what it was really like to be there at the time.
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