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Intro -- Contents -- Preface -- Introduction -- Connections of Dance with Ancient Cultural and Spiritual Perceptions -- Western Cultural Influences on Early Forms of Ballet Dance -- Peak Performance: Spiritual Lived Experiences in Ballet -- Ballet Dance Spiritual Lived Experience Research -- 1. The Lived Experience during Dance Peak Performance Was 'Extraordinary' -- 2. Feelings of the Lived Experience Continued Post Performance -- 3. The Lived Experience Was Described as 'Spiritual' -- 4. Overall Expression of Love for Ballet -- Case Study of Li Cunxin (Mao's Last Dancer) -- Li Cunxin Life Story -- Peak Performance: Spiritual Lived Experiences in Ballet -- Conclusion -- Acknowledgment -- References -- Chapter 2 -- Gaga as Self Perception and Tuning Availability in Overlapping Cultures -- Abstract -- Introduction -- Tuning into Continuum: "Connect to the Feeling of Plenty of Time," "Listen to the Travelling Stuff Inside Your Body" -- Diving into Flesh: "Make It Full Body Experience" -- Touch of Flesh -- Delicacy and Vitality -- References -- Chapter 3 -- Promoting National Integration through Dance Education in Singapore Schools -- Abstract -- Introduction -- Developing Skills, Competencies, and Values for Responsible Citizenship through Dance -- Creativity, Problem Solving, Independence, and Critical Thinking -- Acquiring Values -- Management skills, Cohesiveness, Tolerance and Appreciation of Cultural Diversity -- Instilling National Identity -- Conclusion -- Appendix -- A Sample Lesson Plan -- Introduction -- Exploration -- Conclusion -- Teaching Points -- References -- Biographical Sketch -- Chapter 4 -- A Creative Psychotherapeutic Performance Approach to Medical Dance/Movement Therapy (DMT) in 21st Century Nigeria: Reflections -- Abstract

One of the most prevalent forms of dance training for young dancers in the United States, competitive dance has a significant role in the production of dance. This dissertation examines the multiple and various structures that construct this site of dance. Initially this project locates corporate competition dance within other familiar practices that characterize American culture while also considering the unique rules and regulations that frame dance within this context. In this project I call for an understanding of the distinct characteristics of the competition body that make it similar to but still unlike any other dancing body currently housed in the archive of dance studies. In addition, the role of this body in popular culture is explored through its presentation on the reality show So You Think You Can Dance . In particular, I examine how the competition body, in contrast to the hip hop dancer, becomes racially marked and how the marking of both bodies results in a presentation of dance as spectacle. The final chapter of this dissertation draws upon the theories established in the three preceding chapters as I argue for the position of competition as a technology that enables and sustains hegemonic structures of the State. Through the inclusion of political theory and an understanding of how bodies work in relation to State structures I establish competition dance as a site that recreates the United State's practice of white nation building. This project is a cultural analysis of competition dance within the United States and the American culture. Merging dance studies with cultural and media studies as well as political theory, I look at what is produced and reproduced at the site competition through the dancing body as well as the aesthetic and practice of competition. With a distinct focus on the systems that construct and contribute to competition dance I seek to place this dance practice in relation to the many others that have been well articulated by scholarship. In doing so, I hope to foreground competitive dance within the production of dance in the United States, and globally, in the 21st century.

This book is about dance and movement involving visually impaired and sighted participants, about social and cultural exclusion facilitated by touch based methods. Case studies and vignettes provide thick descriptions of the practice Contact Improvisation and reveal how lives change, how sociocultural inclusion is imperative. 35 b/w illus.

Intro -- Acknowledgements -- Contents -- Editors and Contributors -- List of Figures -- Introduction -- Section I: Critical and Historical Perspectives -- Section II: Practitioner Processes and Theories -- References -- Part I Critical and Historical Perspectives -- Revisiting Lunar Parables: Dublin Contemporary Dance Theatre and the Intangible Archive -- Introducing Lunar Parables -- Revisiting Lunar Parables and the Intangible Archive -- Conclusions -- References -- On Peregrine Collaborations-Cindy Cummings' Choreography of Triúr Ban: Woman, Disorientation, Displacement -- The State, Bodies and Dance -- Triúr Ban -- Spinning to (Dis)Place the Frame -- Framing Rupture -- Epilogue -- References -- Bodied Stories and Storied Bodies in Contemporary Irish Performance -- Moving and Meaning -- Irish Bull -- Irish Musical Irish Dance Murder Extravaganza -- Moving Institutional Stories -- Laundry: An Immersive Experiment -- The Blue Boy: Embodying a Ghost Story -- Conclusion: 'For what are we … if we're not our stories?' (Walsh 2007, 82) -- References -- Discomforting/Disarming Touch: Experiencing Affective Contradiction in Improvisatory Dance Performance -- Pub Improv -- Naked Presence -- Vulnerability and Affective Contradiction -- A Troubling Context: The Precarity of Womens' Bodily Autonomy in Ireland -- Improvisation and Living Within Contradiction -- References -- The Language of Affect in Choreographic Practice: Conversations on the Making of Embodied at the GPO -- Affect as Sense and Sensibility -- Embodied at the GPO -- Affective Encounters Between Dancing and Words -- Conversations About the Making of Embodied at the GPO -- Conclusion -- References -- Part II Practitioner Processes and Theories -- Dance Ecology as a Live Research Practice -- Forging a Path -- Stepping Stones -- Retracing Steps -- References

Biographical note: Gabriele Brandstetter is Professor of Theatre and Dance Studies at the Freie Universität Berlin, Germany, and Director of the Institute for Movement Research. Her research fields are theory of re-presentation, concepts of body and movement in writing, visuals and performance and research on dance and theatricality. Gabriele Klein is Professor of Sociology of Movement and Dance and Director of Performance Studies at the University of Hamburg, Germany. Her research fields are social and political theory of dance, choreography and performance, body and gender politics, urban and transnational dance cultures.

Folk dances often reflect the socio-cultural influences prevailing in different periods and nations; each dance produces a meaning, a story with the help of music, costumes and dance moves. However, dances have no borders; they have been transmitted from generation to generation, along different countries, mainly due to movements of people carrying and disseminating their civilization. Studying the contextual correlation of dances along neighboring countries, unveils the evolution of this unique intangible heritage in time, and helps in understanding potential cultural similarities. In this work we present a method for contextually motion analysis that organizes dance data semantically, to form the first digital dance ethnography. Firstly, we break dance motion sequences into some narrow temporal overlapping feature descriptors, named motion and style words, and then cluster them in a high-dimensional features space to define motifs. The distribution of those motion and style motifs creates motion and style signatures, in the content of a bag-of-motifs representation, that implies for a succinct but descriptive portrayal of motions sequences. Signatures are time-scale and temporal-order invariant, capable of exploiting the contextual correlation between dances, and distinguishing fine-grained difference between semantically similar motions. We then use quartet-based analysis to organize dance data into a categorization tree, while inferred information from dance metadata descriptions are then used to set parent-child relationships. We illustrate a number of different organization trees, and portray the evolution of dances over time. The efficiency of our method is also demonstrated in retrieving contextually similar dances from a database. ; This work has received funding from the European Union's Horizon 2020 Research and Innovation Programme under Grant Agreement No 739578 and the Government of the Republic of Cyprus through the Directorate General for European Programmes, Coordination and Development.

The Irish economic boom, commonly known as the Celtic Tiger, provides an interesting and unique opportunity to explore the relationship between the profound shifts in the organization of working life and in the production and consumption of culture. In this paper, we confine our inquiry into the relationship with one aspect of popular culture, namely dance, focusing on the phenomenon of Riverdance which emerged contemporaneously with the Celtic Tiger. We argue that both are deeply immersed in larger organizing discourses, historical narratives about national identity and civilizing attempts to control the body. We identify three distinct `moments' in the development of Irish dance, which we label as pre-national, `Traditional' Ireland; national, `Modern', Parochial Ireland and global, `Post-modern' Ireland. This provides a narrative through which we explore the transformation of working relations in Ireland during the 19th and 20th centuries.

Building on the work of Pierre Bourdieu and Maurice Merleau-Ponty we seek to open up traditional categories of thought surrounding the relation `body-organization' and elicit a thought experiment: What happens if we move the body from the periphery to the centre? We pass the interlocking theoretical concepts of object-body/subject-body and habitus through the theoretically constructed empirical case of `carnival dance' in order to re-evaluate such key organizational concepts as knowledge and learning. In doing so, we connect with an emerging body of literature on `sensible knowledge'; knowledge that is produced and preserved within bodily practices. The investigation of habitual appropriation in carnival dance also allows us to make links between repetition and experimentation, and reflect on the mechanism through which the principles of social organization, whilst internalized and experienced as natural, are embodied so that humans are capable of spontaneously generating an infinite array of appropriate actions. This perspective on social and organizational life, where change and permanence are intricately interwoven, contrasts sharply with the dominant view in organization studies which juxtaposes change/ creativity and stability.