This new collection of essays surveys the history of dance in an innovative and wide-ranging fashion. Editors Dils and Albright address the current dearth of comprehensive teaching material in the dance history field through the creation of a multifaceted, non-linear, yet well-structured and comprehensive survey of select moments in the development of both American and World dance. This book is illustrated with over 50 photographs, and would make an ideal text for undergraduate classes in dance ethnography, criticism or appreciation, as well as dance history—particularly those with a cross-cultural, contemporary, or an American focus. The reader is organized into four thematic sections which allow for varied and individualized course use: Thinking about Dance History: Theories and Practices, World Dance Traditions, America Dancing, and Contemporary Dance: Global Contexts. The editors have structured the readings with the understanding that contemporary theory has thoroughly questioned the discursive construction of history and the resultant canonization of certain dances, texts and points of view. The historical readings are presented in a way that encourages thoughtful analysis and allows the opportunity for critical engagement with the text. Ebook Edition Note: Ebook edition note: Five essays have been redacted, including “The Belly Dance: Ancient Ritual to Cabaret Performance,” by Shawna Helland; “Epitome of Korean Folk Dance”, by Lee Kyong-Hee; “Juba and American Minstrelsy,” by Marian Hannah Winter; “The Natural Body,” by Ann Daly; and “Butoh: ‘Twenty Years Ago We Were Crazy, Dirty, and Mad’,”by Bonnie Sue Stein. Eleven of the 41 illustrations in the book have also been redacted.

Tracing the development of tap dancing from ancient India to the Broadway stage in 1903, when the word "Tap" was first used in publicity to describe this new American style of dance, this text separates the cultural, societal and historical events that influenced the development of Tap dancing. Section One covers primary influences such as Irish step dancing, English clog dancing and African dancing. Section Two covers theatrical influences (early theatrical developments, "Daddy" Rice, the Virginia Minstrels) and Section Three covers various other influences (Native American, German and Shaker). Also included are accounts of the people present at tap's inception and how various styles of dance were mixed to create a new art form.

This title examines Western dance's original European roots, the ways and styles in which it has expanded and changed, and how it has grown into such an integral part of Western culture. Special features include a timeline, Art Spotlights, infographics, and fact bubbles. Aligned to Common Core Standards and correlated to state standards. Essential Library is an imprint of Abdo Publishing, a division of ABDO.

Excerpt from A History of Dancing Of late years there has been a tendency, not only on the stage, but also in the ball-rooms, to wander from the polished graces of our ancestors, and to introduce, in the former, certain styles of dancing that are far from graceful, such as cake-walks, high-kicking, and other extravagant forms which can only debase the art; and in the latter, a wild and irresponsible romping, which has made such expres sions as Kitchen Lancers a bye-word. In this book I have endeavoured to show from what beautiful origins many of our dances have sprung, and how the great dancers of the past were wont to associate with their dances the poetry and noble thoughts that were the theme round which their skill revolved. In tracing the history of the subject I have found an almost entirely new field to work upon, for with the exception of two books, one by a Frenchman. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1906 edition. Excerpt: ... Chapter X. A SHORT HISTORY OF THE WORLD'S DANCERS. "When you do dance I wish you A wave o' th1 sea, that you might ever do Nothing but that." "Winters Tale," Act iv. 8. HISTORY of dancing necessarily involves an account, however small, of those men and women who by their individual genius and skill have assisted in the making of that history. For as the life history of each great dancer of the world was unrolled, so too did the history of dancing itself advance, for each of the dancers brought their tribute in the shape of some fresh movement, some hitherto unknown step, or some new invention for the general good of the art, and with each name is thus associated a page in the history of dancing. Pylades and Bathyllos, the great Roman dancers, Scaliger the scholar and antiquarian, even Henry VIII. and, Anne, wife of James I., have all helped in their several ways; while musicians, directors of ceremonies, and balletmasters innumerable, have also added their quota to the general store; but it is only when we come to the later periods, the times when dancing began to be regarded more seriously, to be regarded as a distinct and not unimportant art, that the real makers of its history came u pon the scene. To France, as is only right, belongs the earliest of the notable dancers, Noverre, who was born in Paris in 1727. He made his debut at Fontainebleau, at the Royal Theatre, in 1743, when only sixteen years old, and within a year had become famous. In 1755 he came over to London at the special invitation of Garrick, and remained in England for two years, dancing in most of the important operas produced during that period. After leaving London he lived for some time in Lyons, holding a post as Director of Ballets, and while there he published...