DOCSLIB.ORG

National Resource Centre for Historical Dance

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Resource Centre for Historical Dance NATIONAL RESOURCE CENTRE FOR HISTORICAL DANCE LIBRARY page Main categories: Dance 1 Dress 46 Music 80 Reference 100 Social history & manners (inc. theatre history) 102 [Revised April 2006 - added to 2008] DANCE: books (p. 1), journals & serials (p. 22) , lantern slides (p. 33), microfiche (p. 33), microfilm (p.33), miscellaneous papers (p. 34), offprints (p.35), photocopies of sources (p.41), photographs (p. 43), teaching aids and suggested reconstructions(p. 44), videos (p. 45) Books [290 items] A. Bibliographies and dictionaries 1 B. General history (including folk dance) 2 C. Ancient & medieval (to 1445) 8 D. Early Renaissance (1445-1535) 8 E. Late Renaissance (1535-1620) 11 F. Seventeenth century (1620-1700) 13 G. Eighteenth century (1700-1800) 15 H. Nineteenth century (1800-1900) 18 I. Twentieth century (1900-2000) 19 J. General technical (dance notation, education, health) 20 A. Bibliographies and dictionaries [8 items] BEAUMONT, Cyril W. A Bibliography of Dancing. New York & London: Benjamin Blom, Inc., reprinted 1963. (hb) [Belinda Quirey estate] A French-English Dictionary of Technical Dance Terms used in Classical Ballet (3rd, newly revised and enlarged, edition of original publication of 1931). London: C. W. Beaumont, 1939, reprinted 1944. (hb) [Gift of Victor Bignell] D’ALBERT, Charles. The Encyclopædia of Dancing (revised edition) [1st ed.. 1914-15; 2nd ed. 1920]. London: T. M. Middleton & Co. (publishers of ‘The Dancing Times’), n.d. (hb) [Gift of Victor Bignell] 1 DE HOOP, Loes, & PLIESTER, Freek. Handlist of the dance collection (handlists of manuscripts and early prints in the music library of the Haags Gemeentemuseum, vol. 1. The Hague: Haags Gemeentemuseum, 1982. ISBN: 90 6730 002 0 (pb). DESRAT, G. Dictionnaire de la danse [reduced facsimile of original printing of Paris, 1895]. Hildesheim & New York: Georg Olms, 1977. ISBN: 3 487 06327 1 (hb). [Gift of Victor Bignell] MAGRIEL, Paul David. A Bibliography of Dancing: a list of books and articles on the dance and related subjects. New York: H. W. Wilson Co., 1936; reprinted, Benjamin Blom, Inc., 1966. (hb) [Ex Reference Library, Greenwich. Gift of Victor Bignell] NEW YORK PUBLIC LIBRARY Performing Arts Desk Reference. New York: Macmillan for The New York Public Library, 1994. ISBN: 0 671 79912 6 (hb). SOTHEBY & CO Catalogue of Books, Drawings, Prints and Music relating to the Ballet and Dancing. London: Sotheby & Co., 1968. (pb) [Gift of Victor Bignell] B. General history (including folk dance) [98 items] ADSHEAD, Janet. (ed.) Dance – a multicultural perspective (Report of the Third Study of Dance Conference, University of Surrey, 5-9 April 1984). Guildford: University of Surrey, 1984. No ISBN given. (pb). [Belinda Quirey estate] ADSHEAD-LANSDALE, Janet, & LAYSON, June. (edd.) Dance History: an introduction [revised and updated ed. of Dance History: a methodology for study (London: Dance Books Ltd, 1983)]. London & New York: Routledge, 1994. ISBN: 0 415 09030 X (pb). ALFORD, Violet. Dances of France. III. The Pyrenees (Handbooks of European National Dances, 21, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1952. (hb) ANDERSON, Jack. Dance [1st paperback ed. of 1974 original from Europa Verlag]. New York: Newsweek Books, 1979. ISBN: 0 88225 277 1 (pb). An ANTIQUARY. The Dance: historic illustrations of dancing from 3300 B.C. to 1911 A.D. London: John Bale, Sons & Danielsson, Ltd, 1911. (hb) ARMSTRONG, Lucille. Dances of Portugal (Handbooks of European National Dances, 4, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1948. (hb) Dances of Spain. I. South, Centre and North-West (Handbooks of European National Dances, 12, published under the auspices of the Royal Academy of Dacing and the Ling Physical Education Association). London: Max Parrish & Company, 1950. (hb) Dances of Spain. II. North-East and East (Handbooks of European National Dances 16, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1950. (hb) BEAUMONT, Cyril W. A Short History of Ballet. London: C. W. Beaumont, 1933. (hb) [Gift of Victor Bignell] Ballet Design past and present. London: The Studio Ltd, 1946. (hb) 2 BECK-FRIIS, Regina, BLOMKVIST, Magnus, & NORDENFELT, Birgitta. Dansnöjen genom tiden. 1. Västeuropeiska danser från medeltid och renässans. Stockholm: Akademilitteratur, 1980. ISBN: 91 7410 058 0 (hb). BELL, Elizabeth Turner. Fifty Figure and Character Dances for Schools. London: George G. Harrap & Co. Ltd, 1921. (hb) BLAND, Alexander. A History of Ballet and Dance in the Western World. London: Barrie & Jenkins Ltd., 1976. ISBN: 0 214 20283 6 (hb). [Belinda Quirey estate] Also: second copy (reprinted 1978). BÖHME, Franz M. Geschichte des Tanzes in Deutschland, 2 vols.[4th facsimile reprint of original Leipzig printing of 1886]. Hildesheim: Georg Olms, 1996. ISBN: 3 487 01487 4 (hb). BREUER, Katharina. Dances of Austria (Handbooks of European National Dances, 1 (2nd ed.), published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1950. (hb) BUCKMAN, Peter. Let’s Dance: social, ballroom and folk dancing. London: Paddington Press Ltd, 1978. ISBN: 0 7092 0046 3 (hb). [Gift of Victor Bignell] Also paperback edition, London: Penguin Books Ltd, 1978. ISBN: 0 14 00.5325 5. [Belinda Quirey estate] BUDAY, George. Dances of Hungary (Handbooks of European National Dances, 11, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1950. (hb) CHARBONNEL, Raoul. La Danse: comment on dansait, comment on danse. Paris: Garnier Frères Éditeurs, n.d. [before 1820]. (hb) [Presented to Cecil Sharp Library, June 1953]. [Belinda Quirey estate] CLARKE, Mary, & CRISP, Clement. Ballet in Art: from the Renaissance to the Present. London: Ash & Grant Ltd, 1978. ISBN: 0 904069 16 8 (hb). The History of Dance. London: Orbis Publishing, 1982. ISBN: 0 85613 270 5 (hb). [Belinda Quirey estate] COHEN, Selma Jeanne. (ed.) Dance as a Theatre Art: source readings in dance history from 1581 to the present [reprint of American edition of Harper & Row, Publishers, Inc., New York, 1974]. London: Dance Books Ltd, 1977. ISBN: 0 903102 31 5 (pb). CROSFIELD, Domini. Dances of Greece (Handbooks of European National Dances, 3, 2nd ed., published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1950. (hb) CUTTING, John. History and the Morris Dance: a look at morris dancing from its earliest days until 1850. Alton, Hants: Dance Books, 2005. ISBN: 1 85273 108 7 (pb). DAVIES, Sir John. The Poetical Works of Sir John Davies … London: T. Davies, 1773 (leather bound). [Gift of Victor Bignell] DICKINS, Guillermina. Dances of Mexico (Traditional Dances of Latin America, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish, n.d. [1953?] (hb). EUROPEAN ASSOCIATION OF DANCE HISTORIANS. Dance History: the teaching and learning of dance history (proceedings of a conference held at the Royal Opera House, London, 3-5 November 2000). ISBN: 0 9534942 1 7 (comb-bound). 3 FORREST, John. Morris and Matachin: a study in comparative choreography (CECTAL Publications, no. 4). London: The English Folk Dance and Song Society / Sheffield: The Centre for English Cultural Tradition and Language, 1984. No ISBN given (pb). The History of Morris Dancing, 1458-1750 (Studies in Early English Drama, 5). Cambridge: James Clarke & Co Ltd / Toronto: University of Toronto Press, 1999. ISBN: 0 227 67944 X (pb). FRANKS, A. H. Social Dance: a short history. London: Routledge & Kegan Paul, 1963. (hb). [Belinda Quirey estate]. FYFE, Agnes. Dances of Germany (Handbooks of European National Dances, 19, published under the auspicres of the Royal Academy of Dancing and the Ling Physical education Association). London: Max Parrish & Company, 1951. (hb) GALANTI, Bianca M. Dances of Italy (Handbooks of European National Dances, 14, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1950. (hb) GRINDEA, Miron & Carola. Dances of Rumania (Handbooks of European National Dances, 23, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1952. (hb) GROVE, Mrs Lilly, FRGS, et al. Dancing (The Badminton Library of Sports and Pastimes) [limited edition on large paper, no. 117 out of 250]. London: Longmans, Green & Co., 1895. (leather spine and corners, armorial bearings stamped on front) [Gift of Victor Bignell] Also cheap reissue of original edition of 1895. London: Longmans, Green, and Co, 1907. (hb) GWYNN WILLIAMS, W. S. Welsh National Music and Dance (Curwen Edition 8335). London: J. Curwen & Sons Ltd, [1933?]. (hb). HEIKEL, Yngvar, & COLLAN, Anni. Dances of Finland (Handbooks of European National Dances, 2, published under the auspices of the Royal Academy of Dancing and the Ling Physical Education Association). London: Max Parrish & Company, 1948. (hb) HORST, Louis. Pre-Classic Dance Forms. Originally published New York: The Dance Observer, 1937; republished New York: Dance Horizons, Incorporated, 1968 (reprinted 1979). SBN: 87127 021
Load more

Recommended publications
  • Cultural Dance and Health: a Review of the Literature
    Feature Article Cultural Dance and Health: A Review of the Literature Anna E. Olvera ABSTRACT Physical activity has many physical and mental health outcomes. However, physical inactivity continues to be com- mon. Dance, specifically cultural dance, is a type of physical activity that may appeal to some who are not otherwise active and may be a form of activity that is more acceptable than others in certain cultures. The purpose of this paper is to summarize literature describing the health benefits of cultural dance. Several databases were searched to identify articles published within the last 15 years, describing physical and mental health outcomes of cultural dance or inter- ventions that incorporated cultural dance. In the seven articles reviewed there is evidence to support the use of cultural dance for preventing excessive weight gain and cardiac risk, reducing stress, and increasing life satisfaction. Cultural dance is a practical form of physical activity to promote physical and mental health among subgroups of populations that often have lower amounts of participation in physical activity. There is a need for additional research to isolate how and in what ways cultural dance can be offered to promote physical activity. Practitioners should consider non- traditional forms of physical activity, offered in partnership with community organizations. BACKGROUND income. One survey conducted between ditional physical activities and gym classes.7 Physical activity is important to a healthy 1999 and 2002 found significant differ- Women in minority groups, specifically lifestyle. With health problems such as dia- ences in BMI between African-American African-American and Mexican American betes1 and obesity2 reaching epidemic pro- and Caucasian girls (p < 0.001) with rates women, tend to have higher levels of leisure portions, there is a need for programs that of 20.4% and 19.0%, respectively).
    [Show full text]
  • Stage Dance A
    NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education.
    [Show full text]
  • Conference Program
    CORPS de Ballet International 11th Annual Teacher Conference July 22-26, 2009 Hosted by The School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Valse-Fantaisie, by George Balanchine ©The George Balanchine Trust. Dancer: Tess Bernard From DanceTCU Spring Concert: Effortless (April 2008) Photography: Marty Sohl Photograph 11th Annual Teacher Conference July 22-26, 2009 Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Hosted by: The School for Classical & Contemporary Dance at TCU Conference Guest Presenters Kim Abel Master Teacher Jennifer Jackson Lecturer, University of Surrey Choreography teacher – Royal Ballet School Upper Division Raymond Lukens Artistic Associate, ABT/ NYU Masters Program Jacqueline Kennedy Onassis School at ABT Faculty Ben Stevenson, O.B.E. Artistic Director, Texas Ballet Theater Choreographer, Master Teacher Lifetime Achievement Award (LAA) to Sandra Noll Hammond Artist, Author, Pedagogue, Scholar Other Presenters: Distinguished Members of CORPS de Ballet International Sandra Allen, Brigham Young University David Curwen, Western Michigan University Molly Faulkner, Ph.D., Palomar College Sharon Garber, Western Michigan University Christine Knoblauch-O’Neal, Washington University St. Louis Mishele Mennett, DeSales University Sandra Noll Hammond, University of Hawaii (retired) Anuschka Roes, Canada’s National Ballet School Conference Partners: Texas Christian University School for Classical & Contemporary Dance at TCU, Ellen Shelton, Director TCU College of Fine Arts, Dr. Scott Sullivan, Dean Fort Worth Convention and Visitors Bureau The Dance Council The Dance Shop Texas Ballet Theater School, Kathy Warakomsky, Principal American Repertory Ensemble, David Justin, Artistic Director July 23, 2009 Dear CORPS de Ballet members, guests and friends, It is a great thrill to welcome each of you to the 11th Annual CORPS de Ballet International Teacher Conference at Texas Christian University.
    [Show full text]
  • Changing Perspectives Through Somatically Informed Dance Praxis Reflections of One to One Dance and Parkinson’S Practice As Home Performance
    DOCTORAL THESIS Changing perspectives through somatically informed dance praxis reflections of one to one dance and Parkinson’s practice as home performance Brierley, Melanie Award date: 2021 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 1 Changing perspectives through somatically informed dance praxis: Reflections of one to one Dance and Parkinson’s practice as ‘Home Performance’. By Melanie Brierley: MA, RSME/T, BA, PGCE. A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2020 2 The research for this project was submitted for ethics consideration under the reference DAN 13/008 in the Department of Dance and was approved under the procedures of the University of Roehampton Ethics Committee on 22/07/13. 3 Acknowledgements I would especially like to thank my Director of Studies, Professor Emilyn Claid, and my PhD Supervisor Dr Sara Houston for their advice during the research and writing of my thesis.
    [Show full text]
  • Archived Press Release the Frick Collection
    ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 Victorian Fairy Painting OPENING AT THE FRICK COLLECTION, BRINGS NEW YORK AUDIENCES AN UNEXPECTED OPPORTUNITY TO EXPERIENCE THIS CRITICALLY ACCLAIMED EXHIBITION October 14, 1998 through January 17, 1999 Attracting record crowds in British and American venues, the exhibition Victorian Fairy Painting comes to The Frick Collection, extending its tour and offering New York audiences an unexpected opportunity to view this unique presentation. Victorian Fairy Painting, on view October 14, 1998 through January 17, 1999, represents the first comprehensive exhibition ever devoted to this distinctly British genre, which was critically and commercially popular from the early nineteenth century through the beginning of World War I. The paintings, works on paper, and objects, approximately thirty four in number, have been selected by Edgar Munhall, Curator of The Frick Collection, from the original, larger touring exhibition, which was organized by the University of Iowa Museum of Art and the Royal Academy of Arts, London. Fairy painting brought together many opposing elements in the collective psyche and artistic sensibility of its time: rich subject-matter, an escape from the grim elements of an industrial society, an indulgence of new attitudes towards sex, a passion for the unknown, and a denial of the exactitude of photography. Drawing on literary inspiration from Shakespeare’s A Midsummer Night’s Dream to Sir Walter Scott’s Minstrelsy of the Scottish Border, as well as the theater, the dance, and music, fairy painters exercised their magic with the precision of the Pre-Raphaelites, aided too by experiments with drugs and spiritualism.
    [Show full text]
  • An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways.
    [Show full text]
  • The Character I Am Going to Analyse Is Oberon, the King of the Fairies and the Elves from the Play by Shakespeare: Midsummer Night‘S Dream Written Around 1590
    The character I am going to analyse is Oberon, the King of the Fairies and the Elves from the play by Shakespeare: Midsummer night‘s dream written around 1590. The word Fairy comes from the Latin Fata derived from Fatum that means —destiny“. W hen we talk about an Elve or a Fairy we must imagine a very beautiful living being, they live in the forest, they know about music and arts in general and they are related with spring, light and white magic. They always play with love and because that lovers are connected with them and with the smell of the flowers. W e can see all this on the play by Shakespeare, when Oberon uses Cupid‘s flower to make the lovers to fall in love, we can also read some Fairies‘ songs: act three, scene one. But I am going to centre the idea only on Oberon, I want to demonstrate that this magic world is also corrupted by ambition and envy, and this can have repercussions on the real world and to make problems to humans, I mean, Oberon has envy of Titania, because she has a child with supernatural power and he wants it, this feeling provokes his ambition and because that he plays with Cupid‘s flower, to get his proposal of having that his wife but not him. The first time we see Oberon is on act two scene one, he appears in the forest and goes to talk with his friend and servant Puck, at the same time his wife Titania appears by the other side.
    [Show full text]
  • A Midsummer Night's Dream
    EXPLORING IMAGINATION IN DARK TIMES Eight Painted Masks inspired by Shakespeare’s A Midsummer Night’s Dream SUMMER SOLSTICE I feel growing excitement as summer solstice - June 21 - approaches and my mind turns to nature and fantasy, and especially a play written by William Shakespeare, A Midsummer Night’s Dream. The play, which premiered on January 1, 1605, is set in midsummer in Athens. Shakespeare lived all his life in the shadow of the bubonic plague, writing prolifically during outbreaks and quarantine lockdowns in London and Stratford-on-Avon. MAKING MASKS OF IMAGINARY FAIRIES My project – painting odd alien paper masks - explores my need for vicarious pleasure in imagination. I am making masks of imaginary fairies from Shakespeare’s play A Midsummer Night’s Dream. These are freakish but cathartic. I begin with Titania’s fairy assistants, Peaseblossom, Cobweb, Mustardseed, and Moth, flowers and creatures from the garden or field, tiny and magical in imagination; in reality, complex, interconnected and amazing. COMPLETING EIGHT FAIRIES After the four fairies are complete, I am still thinking about the fairy characters. First, I make Fairy. Then I make contrasting King Oberon and Queen Titania to express their fraught relationship and the extreme dichotomies of jealous rage and peaceful gratitude. I complete the set with Puck, who enlivens the plot with his maddening pranks. The Stratford Festival’s 2021 paired down “pandemic” version of the play uses 8 actors to perform all the many human and fairy characters. PEASEBLOSSOM My imagination identifies with these fantastical creatures – my name Oonagh is that of an Irish fairy goddess and it is fun to imagine what a fairy’s life might be as compared to my life as a lawyer.
    [Show full text]
  • Download Reviews
    Book Reviews Ian Payne, The Almain in Britain, c.1549– c.1675: a dance manual from manuscript sources. Ashgate, Aldershot, 2003. ISBN 0-85967-965-9. xxi+268 pp, £42.50. This book is in essence an extended study of the ‘Old Measures in particular (1993) and he is prepared to accept Measures’ and of the seven manuscript sources in which they Ward’s conjecture that the Old Measures constituted a stand- are described. Payne focuses especially on the English Almain, ard beginners’ course in the dancing schools. From this it for which these manuscripts afford the only information, but seems to follow that, as far as Payne is concerned, no one went neglects none of the associated dances, whether they are to a dancing school and made notes of what he was taught formally part of the Old Measures or not. He provides unless he was already at the Inns of Court or was a child with reconstructions of most of the dances described, using a aspirations to do so. In truth, as Ward has cogently argued, for deliberately plain style, and makes informed comments about most of the manuscripts in which the Old Measures are the available music. The whole corpus is presented in the recorded, any connection with the Inns of Court is either context of his personal view of the development of social tenuous or non-existent. dance in Britain in the sixteenth and seventeenth centuries. Unfortunately, the author is not equally well equipped for Dating of the manuscripts every part of his task, with the result that the book inevitably When the contents of a commonplace book do not form a invites comparison with the Curate’s Egg.
    [Show full text]
  • The Evolution of Dance
    1 2 3 The Evolution of Dance 4 5 6 Kevin Laland1, Clive Wilkins2 & Nicky Clayton2 7 8 9 1. School of Biology, University of St Andrews, UK 10 2. Department of Psychology, University of Cambridge, UK 11 12 13 Draft 1.4, Sept 10 2015 14 15 Main text: 2465 words 16 Abstract: 141 words 17 Box 1: Animal Dancers: 458 words 18 19 For submission as an Essay to Current Biology. 20 21 22 23 1 24 Abstract. Evidence from multiple sources reveals a surprising link between 25 imitation and dance. As in the classical correspondence problem central to 26 imitation research, dance requires mapping across sensory modalities, and the 27 integration of visual and auditory inputs with motor outputs. Recent research in 28 comparative psychology supports this association, in that entrainment to a 29 musical beat is only observed in animals capable of vocal and motor imitation. 30 Dance possesses representational properties reliant on the dancers' ability to 31 imitate particular people, animals or events, as well as the audience's ability to 32 recognize these correspondences. Imitation also plays a central role in learning 33 to dance, and the acquisition of the long sequences of choreographed movements 34 are dependent on social learning. These, and other, lines of evidence suggest that 35 dancing may only be possible for humans because its performance exploits 36 existing neural circuitry employed in imitation. 37 38 39 2 40 Dance is observed in all human societies. People readily move their bodies to 41 rhythm or music, frequently coordinating their motion with others.
    [Show full text]
  • Bridging the Gap: Exploring Indian Classical Dances As a Source of Dance/Movement Therapy, a Literature Review
    Lesley University DigitalCommons@Lesley Graduate School of Arts and Social Sciences Expressive Therapies Capstone Theses (GSASS) Spring 5-16-2020 Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Ruta Pai Lesley University, [email protected] Follow this and additional works at: https://digitalcommons.lesley.edu/expressive_theses Part of the Art Education Commons, Counseling Commons, Counseling Psychology Commons, Dance Commons, Dramatic Literature, Criticism and Theory Commons, Other Arts and Humanities Commons, Other Languages, Societies, and Cultures Commons, and the Performance Studies Commons Recommended Citation Pai, Ruta, "Bridging The Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review." (2020). Expressive Therapies Capstone Theses. 234. https://digitalcommons.lesley.edu/expressive_theses/234 This Thesis is brought to you for free and open access by the Graduate School of Arts and Social Sciences (GSASS) at DigitalCommons@Lesley. It has been accepted for inclusion in Expressive Therapies Capstone Theses by an authorized administrator of DigitalCommons@Lesley. For more information, please contact [email protected], [email protected]. BRIDGING THE GAP 1 Bridging the Gap: Exploring Indian Classical Dances as a source of Dance/Movement Therapy, A Literature Review. Capstone Thesis Lesley University August 5, 2019 Ruta Pai Dance/Movement Therapy Meg Chang, EdD, BC-DMT, LCAT BRIDGING THE GAP 2 ABSTRACT Indian Classical Dances are a mirror of the traditional culture in India and therefore the people in India find it easy to connect with them. These dances involve a combination of body movements, gestures and facial expressions to portray certain emotions and feelings.
    [Show full text]
  • Dance Intervention for Adolescent Girls
    Dance Intervention for Adolescent Girls Dedication To all adolescent girls Örebro Studies in Medicine 144 ANNA DUBERG Dance Intervention for Adolescent Girls with Internalizing Problems Effects and Experience Cover picture: Claes Lybeck © Anna Duberg, 2016 Title: Dance Intervention for Adolescent Girls with Internalizing Problems Effects and Experiences Publisher: Örebro University 2016 www.oru.se/publikationer-avhandlingar Print: Örebro University, Repro 04/2016 ISSN 1652-4063 ISBN 978-91-7529-140-6 Abstract Anna Duberg (2016) Dance Intervention for Adolescent Girls with Internalizing Problems. Effects and Experiences. Örebro Studies in Medical Science 144. Globally, psychological health problems are currently among the most serious public health challenges. Adolescent girls suffer from internalizing problems, such as somatic symptoms and mental health problems, at higher rates than in decades. By age 15, over 50 % of all girls experience multiple health complaints more than once a week and one in five girls reports fair or poor health. The overall aim of this study was to investigate the effects of and experiences with an after-school dance intervention for adolescent girls with internalizing problems. The intervention comprised dance that focused on resources twice weekly for 8 months. Specifically, this thesis aimed to: I) investigate the effects on self-rated health (SRH), adherence and over-all experience; II) evaluate the effects on somatic symptoms, emotional distress and use of medication; III) explore the experiences of those participating in the intervention; and IV) assess the cost-effectiveness. A total of 112 girls aged 13 to 18 years were included in a randomized con- trolled trial. The dance intervention group comprised 59 girls, and the control group 53.
    [Show full text]