The Routledge Companion to Dance Studies (Routledge Companions)

The __Routledge Companion to Dance Studies__ maps out the key features of dance studies as the field stands today, while pointing to potential future developments. It locates these features both historically—within dance in particular social and cultural contexts—and in relation to other academic influences that have impinged on dance studies as a discipline. The editors use a thematically based approach that emphasizes that dance scholarship does not stand alone as a single entity, but is inevitably linked to other related fields, debates, and concerns. Authors from across continents have contributed chapters based on theoretical, methodological, ethnographic, and practice-based case studies, bringing together a wealth of expertise and insight to offer a study that is in-depth and wide-ranging. Ideal for scholars and upper-level students of dance and performance studies, __The Routledge Companion to Dance Studies__ challenges the reader to expand their knowledge of this vibrant, exciting interdisciplinary field. Cover Title Page Copyright Page Table of Contents Illustrations Contributors Acknowledgments Introduction: Thematic structure, methodological frames, and analyses PART I: Dance and corporeality: Training and engagement 1: Dancing the space: Butoh and Body Weather as training for ecological consciousness 2: The dancing body, power and the transmission of collective memory in Apartheid South Africa 3: Different bodies: A poetic study of dance and people with Parkinson’s 4: Resourcing/searching dance technique and education: Developing a praxeological methodology 5: The expanding possibilities of dance science PART II: Dance and somatics 6: Performing the self: Dance, somatic practices, and Alexander Technique 7: Moving Kinship: Between choreography, performance, and the more-than-human 8: Moving as a Thought Process: The practice of choreography and stillness 9: Moving mind and body: Language and writings of Simone Forti PART III: Dance and analysis 10: Choreomusicology and dance studies: From beginning to end? 11: Choreosonic wearables: Creative collaborative practices 12: The anarchive of contemporary dance: Toward a topographic understanding of choreography 13: Cubism, futurism, and Leonide Massine’s choreography for Parade 14: Whatever happened to dance criticism? PART IV: Dance, society and culture 15: Black dance: Brooklyn 2017 16: Elroy Josephs and the hidden history of black British dance 17: A love song as a form of protest 18: Female dancers on the variety stage in mid-twentieth-century Britain 19: Selling and giving dance PART V: Dance and time 20: Traditional dance in urban settings: ‘Snapshots’ of Greek dance traditions in Athens 21: Black star, other fetishized: Carlos Acosta, ballet’s new cosmopolitanism, and desire in the age of institutional diversity 22: Digital preservation of dance, inclusion, and absence 23: Dance and copyright: As time moves on 24: Algorithmic choreographies: Women whirling dervishes and dance heritage on YouTube PART VI: Dance and scenography 25: Dressing dance–dancing dress: Lived experience of dress and its agency in the collaborative process 26: The scenography of choreographing the museum 27: Stacking the spine: Interdisciplinary reflections from BackStories 28: Longing for the subaltern: Subaltern historiography as choreographic tactic PART VII: Dance, space and place 29: The strangeness of dancing: From The Changing Room and Singularity 30: Everyday life and urban marvels: The curious aesthetics of x-times people chair 31: Dance, theater, and their post-medium condition 32: Re-imagining Laban: Tradition, extinction, invention. Re-staging as creative contemporary practice 33: “Dancing through the hard stuff”: Repetition, resilience, and female solidarity in the landscape—Rosemary Lee’s Passage for Par Index