Pilipino Cultural Nights at American campuses have been a rite of passage for youth culture and a source of local community pride since the 1980s. Through performances—and parodies of them—these celebrations of national identity through music, dance, and theatrical narratives reemphasize what it means to be Filipino American. In The Day the Dancers Stayed, scholar and performer Theodore Gonzalves uses interviews and participant observer techniques to consider the relationship between the invention of performance repertoire and the development of diasporic identification. Gonzalves traces a genealogy of performance repertoire from the 1930s to the present. Culture nights serve several functions: as exercises in nostalgia, celebrations of rigid community entertainment, and occasionally forums for political intervention. Taking up more recent parodies of Pilipino Cultural Nights, Gonzalves discusses how the rebellious spirit that enlivened the original seditious performances has been stifled.
“Who am I? I’m a man; an American, a father, a teacher, but most of all, I am a person who knows how the arts can change lives, because they transformed mine. I was a dancer.” In this rich, expansive, spirited memoir, Jacques d’Amboise, one of America’s most celebrated classical dancers, and former principal dancer with the New York City Ballet for more than three decades, tells the extraordinary story of his life in dance, and of America’s most renowned and admired dance companies. He writes of his classical studies beginning at the age of eight at The School of American Ballet. At twelve he was asked to perform with Ballet Society; three years later he joined the New York City Ballet and made his European debut at London’s Covent Garden. As George Balanchine’s protégé, d’Amboise had more works choreographed on him by “the supreme Ballet Master” than any other dancer, among them Tchaikovsky Pas de Deux; Episodes; A Midsummer’s Night’s Dream; Jewels; Raymonda Variations. He writes of his boyhood—born Joseph Ahearn—in Dedham, Massachusetts; his mother (“the Boss”) moving the family to New York City’s Washington Heights; dragging her son and daughter to ballet class (paying the teacher $7.50 from hats she made and sold on street corners, and with chickens she cooked stuffed with chestnuts); his mother changing the family name from Ahearn to her maiden name, d’Amboise (“It’s aristocratic. It has the ‘d’ apostrophe. It sounds better for the ballet, and it’s a better name”). We see him. a neighborhood tough, in Catholic schools being taught by the nuns; on the streets, fighting with neighborhood gangs, and taking ten classes a week at the School of American Ballet . . . being taught professional class by Balanchine and by other teachers of great legend: Anatole Oboukhoff, premier danseur of the Maryinsky; and Pierre Vladimiroff, Pavlova’s partner. D’Amboise writes about Balanchine’s succession of ballerina muses who inspired him to near-obsessive passion and led him to create extraordinary ballets, dancers with whom d’Amboise partnered—Maria Tallchief; Tanaquil LeClercq, a stick-skinny teenager who blossomed into an exquisite, witty, sophisticated “angel” with her “long limbs and dramatic, mysterious elegance . . .”; the iridescent Allegra Kent; Melissa Hayden; Suzanne Farrell, who Balanchine called his “alabaster princess,” her every fiber, every movement imbued with passion and energy; Kay Mazzo; Kyra Nichols (“She’s perfect,” Balanchine said. “Uncomplicated—like fresh water”); and Karin von Aroldingen, to whom Balanchine left most of his ballets. D’Amboise writes about dancing with and courting one of the company’s members, who became his wife for fifty-three years, and the four children they had . . . On going to Hollywood to make Seven Brides for Seven Brothers and being offered a long-term contract at MGM (“If you’re not careful,” Balanchine warned, “you will have sold your soul for seven years”) . . . On Jerome Robbins (“Jerry could be charming and complimentary, and then, five minutes later, attack, and crush your spirit—all to see how it would influence the dance movements”). D’Amboise writes of the moment when he realizes his dancing career is over and he begins a new life and new dream teaching children all over the world about the arts through the magic of dance. A riveting, magical book, as transformative as dancing itself.
This anthology is a collection of some sixty-six short stories written in English by Filipino authors within the forty years following the introduction of English in the Philippines.
"Maria P. P. Root′s new edited volume on Filipino American makes an outstanding contribution in terms of exploring the socio-economic integration and the transformation of ethnic identities among one of the largest, fastest growing, but least studied Asian American groups in the United States - Filipinos. . . . One unique area covered by this book is its thoughtful reflection on the impacts of colonization on Filipino literature and the articulation of Filipino identities . . . . The book provides an unusual breadth of information on Filipino lives in the U.S.A. . . . I found this book very valuable as an introductory text in an undergraduate curriculum on Asian American studies, and in racial and ethnic studies. The power of the book lies in its ability to render problematic the stereotypes of Asian Americans, and to question the preconceived categories of race, culture, and ethnicity. The book′s discussion and reflection on identities is provocative and accessible to students." --Journal of Ethnic and Migration Studies "Maria P. P. Root succeeds where many ethnic-specific anthologies fail: focusing on the issue of a people′s identity while avoiding boxing them in. . . . What is refreshing about this volume is not only the variety of perspectives, but the different styles. . . . Root and the contributors succeed in living up to the hope stated in the book′s introduction, ′′that these pages will offer challenging questions, some refreshing analysis, and new paradigms for interpreting the Filipino American experience.′′ --Pacific Reader Typically, when Asian Americans are discussed in the media, the reference is to people of Chinese or Japanese descent. However, the largest Asian American ethnic group is Filipino-a group about which little is known or written, even though Filipinos have a long-standing history with the United States through colonization that effects how this group is viewed and views themselves. Aimed at rectifying this information dearth, this volume presents the first interdisciplinary analysis of who Filipinos are and what it means to be a Filipino American. With contributions from historians, social workers, community leaders, ethnic studies scholars, sociologists, educators, health care workers, political scientists, and psychologists, this book addresses such issues as ethnic identity, the impact of different colonizations on ethnic identity, personal and family relationships, mental health, race, and racism. In addition, the sociopolitical context is examined in each social-issues chapter to make the volume more useful as a foundational tool for hypothesis generation, empirical research, policy analysis and planning, and literature review. This book offers readers a rich and varied portrait of our largest Asian American ethnic group.
Industry expert Colton puts dancers on the fast track to getting booked solid in Hollywood. With a Foreword by celebrity choreographer Brian Friedman and stories of more than 60 working dancers and 50 top choreographers, this text is the best how-to book on becoming a professional working dancer.
Padma Venkatraman’s inspiring story of a young girl’s struggle to regain her passion and find a new peace is told lyrically through verse that captures the beauty and mystery of India and the ancient bharatanatyam dance form. This is a stunning novel about spiritual awakening, the power of art, and above all, the courage and resilience of the human spirit. Veda, a classical dance prodigy in India, lives and breathes dance—so when an accident leaves her a below-knee amputee, her dreams are shattered. For a girl who’s grown used to receiving applause for her dance prowess and flexibility, adjusting to a prosthetic leg is painful and humbling. But Veda refuses to let her disability rob her of her dreams, and she starts all over again, taking beginner classes with the youngest dancers. Then Veda meets Govinda, a young man who approaches dance as a spiritual pursuit. As their relationship deepens, Veda reconnects with the world around her, and begins to discover who she is and what dance truly means to her.
