Whether in the private parlor, public hall, commercial "dance palace," or sleazy dive, dance has long been opposed by those who viewed it as immoral--more precisely as being a danger to the purity of those who practiced it, particularly women. In Adversaries of Dance, Ann Wagner presents a major study of opposition to dance over a period of four centuries in what is now the United States. Wagner bases her work on the thesis that the tradition of opposition to dance "derived from white, male, Protestant clergy and evangelists who argued from a narrow and selective interpretation of biblical passages," and that the opposition thrived when denominational dogma held greater power over people's lives and when women's social roles were strictly limited. Central to Wagner's work, which will be welcomed by scholars of both religion and dance, are issues of gender, race, and socioeconomic status. "There are no other works that even begin to approach this definitive accomplishment." --Amanda Porterfield, author of Female Piety in Puritan New England
Croce, dance critic for "The New Yorker" from 1973 to 1996, shares her most significant and provocative reviews that revealed the logic and history of ballet, modern dance, and their postmodern variants to a generation of theatergoers.
The first biography of the celebrated Broadway and Hollywood choreographer and director—a complex man of extraordinary genius and overwhelming demons. His work on such legendary shows as The King and I, West Side Story, Gypsy, Funny Girl, and Fiddler on the Roof made him one of the most influential and creative forces in the history of American theater. His collaborators, friends, and enemies were among the greatest celebrities of stage and screen, including Barbra Streisand, Bette Davis, Stephen Sondheim, Natalie Wood, Montgomery Clift, and Mary Martin. His brilliant contribution to the American Ballet Theater and the New York City Ballet established him as one of the century’s great choreographic masters of the form. But in 1998, Jerome Robbins died a haunted man. All of his life, he was tortured by private demons: his conflicted feelings about his bisexuality and his Judaism; his bitter relationship with his parents; his betrayals of others during the McCarthy hearings; and a demanding perfectionism that bordered on the sadistic. Now, this groundbreaking biography, based on hundreds of interviews with friends, family, and colleagues, provides the first complete portrait of the man and the artist—a harrowing, heartbreaking, and triumphant work as complicated and fascinating as the legend himself.
One of the country's most distinguished and critically acclaimed solo dancers and choreographers debunks the myth that dancers must retire from professional life as performers in their early forties. A performing artist since 1940, Daniel Nagrin initiated his own career as a solo performer in 1957 at the age of forty. With great wisdom and wit, this fiercely passionate veteran gives us an unusual and much-needed book that combines theory, personal philosophy, experience, and knowledge about dancers, dancing, teachers, mentors, and technique with practical information that ranges from nutrition, healers and treatments, sex, meditation, kneepads, and toe grips to the special problems and needs of dancers over fifty.
Satan in the Dance Hall explores the overwhelming popularity of social dancing and its close relationship to America's rapidly changing society in the 1920s. The book focuses on the fiercely contested debate over the morality of social dancing in New York City, led by moral reformers and religious leaders like Rev. John Roach Straton. Fed by the firm belief that dancing was the leading cause of immorality in New York, Straton and his followers succeeded in enacting municipal regulations on social dancing and moral conduct within the more than 750 public dance halls in New York City. Ralph G. Giordano conveys an easy to read and full picture of life in the Jazz Age, incorporating important events and personalities such as the Flu Epidemic, the Scopes Monkey Trial, Prohibition, Flappers, Gangsters, Texas Guinan, and Charles Lindbergh, while simultaneously describing how social dancing was a hugely prominent cultural phenomenon, one closely intertwined with nearly every aspect of American society fromthe Great War to the Great Depression. With a bibliography, an index, and over 35 photos, Satan in the Dance Hall presents an interdisciplinary study of social dancing in New York City throughout the decade.
This is the story of English Country Dance, from its 18th century roots in the English cities and countryside, to its transatlantic leap to the U.S. in the 20th century, told by not only a renowned historian but also a folk dancer, who has both immersed himself in the rich history of the folk tradition and rehearsed its steps. In City Folk, Daniel J. Walkowitz argues that the history of country and folk dancing in America is deeply intermeshed with that of political liberalism and the ‘old left.’ He situates folk dancing within surprisingly diverse contexts, from progressive era reform, and playground and school movements, to the changes in consumer culture, and the project of a modernizing, cosmopolitan middle class society. Tracing the spread of folk dancing, with particular emphases on English Country Dance, International Folk Dance, and Contra, Walkowitz connects the history of folk dance to social and international political influences in America. Through archival research, oral histories, and ethnography of dance communities, City Folk allows dancers and dancing bodies to speak. From the norms of the first half of the century, marked strongly by Anglo-Saxon traditions, to the Cold War nationalism of the post-war era, and finally on to the counterculture movements of the 1970s, City Folk injects the riveting history of folk dance in the middle of the story of modern America.
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. 1899 edition. Excerpt: ... CHAPTER V. RELIGIOUS, MYSTERIOUS, AND FANATICAL ELEMENTS IN DANCING. rpHERE are various Scriptural passages which tend to show that among the Jews dancing was always regarded as a becoming expression of religious fervour and joyful emotion. After a great victory over their enemies it was customary for the Israelitish women to welcome back their defenders with dances and songs of triumph. Of this we may find an example in the history of David, when, on his return from " the slaughter of the Philistine," the women came out from all the cities singing and dancing, "with tabrets, with joy, and with instruments of music," and aroused Saul's jealousy by comparing the thousands he had slain with the tens of thousands slain by David.* Another instance may be found in the tragic story of Jephtbah's * 1 Samuel xviii. daughter, who came dancing with gladness to meet her father after his subjection of the children of Ammon, little thinking, poor girl, that she was dancing to her death in consequence of the rash vow which Jephthah had made.* The dancing of Miriam and her maidens affer the passage of the Red Sea has been already referred to in connection with Egyptian dances; but the reader's attention may be called to an apocryphal passage from which we learn that after the victory of Judith over Holofernes the women of Israel assembled to meet her, "and made a dance among them for her," the words implying that it was arranged impromptu for the occasion. Then, we are told, they put a garland of olive upon Judith and her maid, and she herself "went before all the people in the dance, leading all the women," while the men followed in their armour, with garlands and songs.j Perhaps, however, the most familiar instance of dancing mentioned in the Old...
In this gracefully written, accessible and entertaining volume, John Semonche surveys censorship for reasons of sex from the nineteenth century up to the present. He covers the various forms of American media—books and periodicals, pictorial art, motion pictures, music and dance, and radio, television, and the Internet. The tale is varied and interesting, replete with a stock of colorful characters such as Anthony Comstock, Mae West, Theodore Dreiser, Marcel Duchamp, Opie and Anthony, Judy Blume, Jerry Falwell, Alfred Kinsey, Hugh Hefner, and the Guerilla Girls. Covering the history of censorship of sexual ideas and images is one way of telling the story of modern America, and Semonche tells that tale with insight and flair. Despite the varieties of censorship, running from self-censorship to government bans, a common story is told. Censorship, whether undertaken to ward off government regulation, to help preserve the social order, or to protect the weak and vulnerable, proceeds on the assumption that the censor knows best and that limiting the choices of media consumers is justified. At various times all of the following groups were perceived as needing protection from sexually explicit materials: children, women, the lower classes, and foreigners. As social and political conditions changed, however, the simple fact that someone was a woman or a day laborer did not support stereotyping that person as weak or impressionable. What would remain as the only acceptable rationale for censorship of sexual materials was the protection of children and unconsenting adults. For each mode of media, Semonche explains via abundant examples how and why censorship took place in America. Censoring Sex also traces the story of how the cultural territory contested by those advocating and opposing censorship has diminished over the course of the last two centuries. Yet, Semonche argues, the censorship of sexual materials that continues in the United States poses a challenge to the free speech that is part of the foundation upon which the nation is built. Indeed, in an era in which sexual images are pervasive and the need for reliable information about sex and sexuality is growing, he questions the remaining rationales for censorship and the justification for placing obscenity outside the protection of the U. S. Constitution.
From Native American dance rituals to dance in the digital age, American Dance " by critic and journalist Margaret Fuhrer " traces the richly complex evolution of dance throughout American history.
