Dancer-choreographer-directors Fred Astaire, George Balanchine and Gene Kelly and their colleagues helped to develop a distinctively modern American film-dance style and recurring dance genres for the songs and stories of the American musical. Freely crossing stylistic and class boundaries, their dances were rooted in the diverse dance and music cultures of European immigrants and African-American migrants who mingled in jazz age America. The new technology of sound cinema let them choreograph and fuse camera movement, light, and color with dance and music. Preserved intact for the largest audiences in dance history, their works continue to influence dance and film around the world. This book centers them and their colleagues within the history of dance (where their work has been marginalized) as well as film tracing their development from Broadway to Hollywood (1924-58) and contextualizing them within the American history and culture of their era. This modern style, like the nation in which it developed, was pluralist and populist. It drew from aspects of the old world and new, "high" and "low", theatrical and social dance forms, creating new sites for dance from the living room to the street. A definitive ingredient was the freer more informal movement and behavior of their jazz-age generation, which fit with song lyrics that poeticized slangy American English. The Gershwins, Rodgers and Hart, and others wrote not only songs but extended dance-driven scores tailored to their choreography, giving a new prominence to the choreographer and dancer-actor. This book discuss how these choreographers collaborated with directors like Vincente Minnelli and Stanley Donen and cinematographers like Gregg Toland, musicians, dancers, designers and technicians to synergize music and moving image in new ways. Eventually, concepts and visual-musical devices derived from dance-making would give entire films the rhythmic flow and feeling of dance. Dancing Americans came to be seen around the world as archetypal embodiments of the free-spirited optimism and energy of America itself.
Author Deborah Graham was thirty-three years old, recently divorced and on the verge of paying someone to teach her to dance. She wanted every ounce of her being to feel truly beautiful. Graham admits she felt frivolous and foolish, but she took the first step to finding passion in her life. In Dance Me Beautiful, Graham narrates a simple and hopeful story of the life lessons she learned through ballroom dancing. This memoir follows her journey from her first dance lesson to tests, competitions and performances as she struggles to break free from her shame and self-doubt. Graham shares her memories of how she felt, what she learned from her instructor and how, step-by-step, she learned to dance herself beautiful. Engaging and compelling, Dance Me Beautiful serves to inspire others to take chances and fulfill their dreams and to help awaken their own inner creativity and beauty.
Surveying the state of American ballet in a 1913 issue of McClure's Magazine, author Willa Cather reported that few girls expressed any interest in taking ballet class and that those who did were hard-pressed to find anything other than dingy studios and imperious teachers. One hundred years later, ballet is everywhere. There are ballet companies large and small across the United States; ballet is commonly featured in film, television, literature, and on social media; professional ballet dancers are spokespeople for all kinds of products; nail polish companies market colors like "Ballet Slippers" and "Prima Ballerina;" and, most importantly, millions of American children have taken ballet class. Beginning with the arrival of Russian dancers like Anna Pavlova, who first toured the United States on the eve of World War I, Ballet Class: An American History explores the growth of ballet from an ancillary part of nineteenth-century musical theater, opera, and vaudeville to the quintessential extracurricular activity it is today, pursued by countless children nationwide and an integral part of twentieth-century American childhood across borders of gender, class, race, and sexuality. A social history, Ballet Class takes a new approach to the very popular subject of ballet and helps ground an art form often perceived to be elite in the experiences of regular, everyday people who spent time in barre-lined studios across the United States. Drawing on a wide variety of materials, including children's books, memoirs by professional dancers and choreographers, pedagogy manuals, and dance periodicals, in addition to archival collections and oral histories, this pathbreaking study provides a deeply-researched national perspective on the history and significance of recreational ballet class in the United States and its influence on many facets of children's lives, including gender norms, consumerism, body image, children's literature, extracurricular activities, and popular culture.
Using recent scholarship in ethnography and popular culture, Miller throws light on both what these series present and what is missing, how various long-standing issues are raised and framed differently over time, and what new issues appear. She looks at narrative arc, characterization, dialogue, and theme as well as how inflections of familiar genres like family adventure, soap opera, situation comedy, and legal drama shape both the series and viewers' expectations. Miller discusses Radisson, Forest Rangers and other children's series in the 1960s and early 1970s, as well as Beachcombers, Spirit Bay, The Rez, and North of 60 - series whose complex characters created rewarding relationships while dealing with issues ranging from addiction to unemployment to the aftermath of the residential school system.
This frank and authoritative biography explores the life and often controversial work of W.P. Kinsella, the author who penned iconic lines such as “If you build it, he will come.” Kinsella’s work was thrust into the limelight when, in the spring of 1989, his novel Shoeless Joe was turned into the international blockbuster Field of Dreams. With the success of Shoeless Joe, Kinsella’s other works began to gain more attention as well, including a popular series of short stories narrated by a young Cree, Silas Ermineskin. Although many readers praised the stories for their humour and biting social commentary, Kinsella’s success reignited criticism of his appropriation of Indigenous voices for his own benefit, and of what some claimed was overt racism. For Kinsella, this censure was mitigated by the commercial success of the Silas Ermineskin stories. After scraping by as a taxi driver and restaurant owner, and later as a writing instructor, Kinsella took great satisfaction in being able to make a living from writing alone. Achievement in his professional life was tempered by chaos in his personal life, including health problems, failed marriages and a tumultuous romantic relationship with writer Evelyn Lau that resulted in a highly public libel lawsuit. When long-term kidney issues resurfaced causing acute pain, Kinsella made his final arrangements. Never one to shy away from controversy, he made it clear to his agent that his decision to end his life by physician-assisted suicide must be mentioned in the press release following his death. Though friends and family would remember him as stubborn, complicated, curmudgeonly, honest, loyal and a host of other adjectives, Kinsella answered, “I’m a story teller [and] my greatest satisfaction comes from leaving [while] making people laugh and also leaving them with a tear in the corner of their eye.” Having been granted full access to Kinsella’s personal diaries, correspondence and unpublished notes, and with hours of personal interviews with Kinsella, his friends and his family, biographer William Steele offers insight into Kinsella’s personal life while balancing it with the critical analysis and commentary his fiction has inspired.
From the critique of ‘the medical model’ of disability undertaken during the early and mid-1990s, a ‘social model’ emerged, particularly in the caring professions and those trying to shape policy and practice for people with disability. In education and schooling, it was a period of cementing inclusive practices and the ‘integration’ and inclusion of disability into ‘mainstream’. What was lacking in the debates around the social model, however, were the challenges to abledness that were being grappled with in the routine and pragmatics of self-care by people with disabilities, their families, carers and caseworkers. Outside the academy, new forms of activity and new questions were circulating. Challenges to abledness flourished in the arts and constituted the lived experience of many disability activists. Disability Matters engages with the cultural politics of the body, exploring this fascinating and dynamic topic through the arts, teaching, research and varied encounters with ‘disability’ ranging from the very personal to the professional. Chapters in this collection are drawn from scholars responding in various registers and contexts to questions of disability, pedagogy, affect, sensation and education. Questions of embodiment, affect and disability are woven throughout these contributions, and the diverse ways in which these concepts appear emphasize both the utility of these ideas and the timeliness of their application. This book was originally published as a special issue of Discourse: Studies in the Cultural Politics of Education.
While storytelling is a great favorite of preschoolers, many elementary age children are more drawn to crafts and other activities. StoryCraft is an award-winning library program that combines storytelling with crafts in an exciting and engaging activity for children in first through third grades. Each one-hour program includes storytelling, a craft, movement, activities, music, and discussion. This collection of StoryCraft programs presents 50 fun and educational theme-based sessions. Each includes suggestions for promotion, music, crafts, activities, and stories. The sessions also include bibliographies to help direct young readers toward additional reading, as well as diagrams, detailed instructions, and supply lists for the crafts. The themes range from a Jungle Safari to Math Mayhem to a Western Roundup, all encouraging children to enjoy reading in a variety of ways. Each session has plenty of suggestions, so that the program can be customized. Helpful Hints for implementing the program can help any librarian, volunteer, or parent turn a ho-hum storytime into a dazzling StoryCraft time.