Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
756,290
result(s) for
"Dancing"
Sort by:
Learning Senegalese Sabar
Based on extensive ethnographic fieldwork in New York and Dakar, this book explores the Senegalese dance-rhythms Sabar from the research position of a dance student. It features a comparative analysis of the pedagogical techniques used in dance classes in New York and Dakar, which in turn shed light on different aesthetics and understandings of dance, as well as different ways of learning, in each context. Pointing to a loose network of teachers and students who travel between New York and Dakar around the practice of West African dance forms, the author discusses how this movement is maintained, what role the imagination plays in mobilizing participants and how the 'cultural flow' of the dances is 'punctuated' by national borders and socio-economic relationships. She explores the different meanings articulated around Sabar's transatlantic movement and examines how the dance floor provides the grounds for contested understandings, socio-economic relationships and broader discourses to be re-choreographed in each setting.
eBook
Today's tap dancing
\"Get to know the steps, performances, and dancers who added their signature style to tap dancing. From Fred Astaire to Savion Glover to Chloe Arnold, [this book] will have you stomping, shuffling, and doing the paradiddle across the dance floor\"-- Provided by publisher.
Book
A new genus of dance fly
Hybotidae fly species, also known as dance flies, in Cretaceous ambers have been described from Lebanon, France, Myanmar, Russia, and Canada. Here we describe Grimaldipeza coelica gen. et sp. n., and recognize another two un-named species, in Spanish amber from the middle Albian El Soplao and lower Cenomanian La Hoya outcrops. The fore tibial gland is present in the new genus, which is characteristic of the family Hybotidae. We compare Grimaldipeza coelica gen. et sp. n. with the holotypes of Trichinites cretaceus Hennig, 1970 and Ecommocydromia difficilis Schlüter, 1978, and clarify some morphological details present in the latter two species. Further taxonomic placement beyond family of the here described new genus was not possible and remains incertae sedis within Hybotidae until extant subfamilies are better defined. We provide new paleoecological data of the hybotids, together with paleogeographical and life paleoenvironmental notes. A table with the known Cretaceous Hybotidae is provided. Furthermore, the La Hoya amber-bearing outcrop is described in detail, filling the information gap for this deposit.
Journal Article
Ballet bullies
Marissa has always loved dancing, but lately, she feels clumsy and awkward when she dances, and she feels bigger and taller than the other girls. She doesn't even bother trying out for the Rose Fairy ballet, but someone else thinks Marissa has what it takes to play the part.
Book
Caribbean and Atlantic Diaspora Dance
In Caribbean and Atlantic Diaspora Dance: Igniting Citizenship, Yvonne Daniel provides a sweeping cultural and historical examination of Diaspora dance genres. Daniel investigates social dances brought to the islands by Europeans and Africans, including quadrilles and drum/dances as well as popular dances that followed, such as Carnival parading, Pan-Caribbean danzas, rumba, merengue, mambo, reggae, and zouk. She reviews sacred dance and closely documents combat dances, such as Martinican ladja, Trinidadian kalinda, and Cuban juego de manÃ. In drawing on scores of performers and consultants from the region as well as on her own professional dance experience and acumen, Daniel adeptly places Caribbean dance in the context of cultural and economic globalization, connecting local practices to transnational and global processes and emphasizing the important role of dance in critical regional tourism. Throughout, Daniel reveals impromptu and long-lasting Diaspora communities of participating dancers and musicians.
eBook
Tap dancing America : a cultural history
The first comprehensive, fully documented history of a uniquely American art form, exploring all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of such contemporary tap luminaries as Gregory Hines, Brenda Bufalino, Dianne Walker, and Savion Glover.
Book
Popular Dance and Music in Modern Egypt
This book is an exploration into the history, aesthetics, social reality, regulation, and transformation of dance and dance music in Egypt. It covers Oriental dance, known as belly dance or danse du ventre, regional or group-specific dances and rituals, sha‘bi (lower-class urban music and dance style), mulid (drawing on Sufi tradition and saints’ day festivals) and mahraganat (youth-created, primarily electronic music with lively rhythms and biting lyrics). The chapters discuss genres and sub-genres and their evolution, the demeanor of dancers, trends old and new, and social and political criticism that use the imagery of dance or a dancer. Also considered are the globalization of Egyptian dance, the replication or fantasies of raqs sharqi outside of Egypt, as well as the dance as a hobby, competitive dance form, and focus of international dance festivals.
eBook
Little Lola saves the show
\"While exploring, Lola the cat comes across a stage with a ballet performance about to begin. Lola puts on a costume and joins right in, dancing beautiful pirouettes, arabesques, and pas de chats (the step of the cat). When she accidentally stumbles and trips, however, it is up to Lola to save the show\"-- Provided by publisher.
Book
DOSSIER: Words and Rhythm, Sound and Text Moving Beyond Words: Awasa and Apinti in a Suriname Maroon Communicative Matrix
In the Suriname Maroon dance genre awasa, much of performers' expressive work can be described as having some kind of conversational aspect. While this idea finds broad resonance with other African Diasporan genres, awasa's use of rhythmic cues and phrases in the drummed language apinti, and the population's diminishing fluency in apinti, demonstrates the need for clarity and precision when discussing components of choreo-musical interaction. In this case, the shift from drummers and dancers being in a conversation to interacting in a way that resembles a conversation can signal the loss of deeply valued cultural knowledge. Here I argue that the subtleties of message and meaning in awasa can only be understood in light of particularities in language, syntax, and word play that contribute to a Maroon communicative matrix. First, I consider the ostensibly non-lexical gi futu section of awasa in relation to interactions in apinti language that precede it. Second, I argue that whereas awasa may seem peripheral to apinti drum language, it is also a vital training ground for the aspiring apinti drummer. Third, I discuss gi futu (\"give foot\") relative to other social gestures that are expressed as being given (for instance giving thanks or giving greeting). Finally, I demonstrate how choreo-rhythmic futu patterns are functionally similar to descriptive words known as ideophones. This multi-dimensional approach to processes of meaning-making serves as a corrective to descriptive shorthands through which conversation and interaction are assumed to be functional equivalents.
Journal Article