Presents two burning issues that the Deaf community have been wrestling with: the importance of promoting sign language over oralism, and the critical need to secure the right of Deaf people to direct their own lives. Explores the relationship between the process of thought and the formation of language. Reveals significant evidence about the nature of communication, spoken or not.
When major depressive disorder, seizures, and an eating disorder leads to hopelessness, lack of interest, loss of pleasure, and worse: alcohol abuse, self-mutilation, isolation, anxiety, panic attacks, physical illness, and suicidal feelings, seventeen-year-olds Mia Callan and Milo Chatham who only recently began dating find this brutal array of dangers overwhelming, and possibly even deadly. Bullying on and off social media, spiked drinks at first parties, stalking, and sexual assault are just some of the obstacles they have to face as burgeoning young adults. What happens when they try to get out of danger? Will it follow them anyway and wreak havoc upon their lives and those of their loved ones. Will they find the correct medications that will allow them to live normal lives full of success, satisfaction, and sobriety? Can a first true love win in the end?
Although much of the material in this manual is borrowed from the dance writings of Charles Durang, it remains an important source for the study of mid-nineteenth-century ballroom dance. Unlike other contemporary writers, Ferrero devotes more than eighty pages to the origins of dance and a history of European and Native American dance. The remaining part of the manual concerns ballroom etiquette and descriptions of numerous dances including the quadrille, waltz, polka, schottisch, varsovienne, polka mazurka, and galop. Ferrero gives directions for more than eighty figures of the cotillon, a group dance performed as a series of party games. Some of the figures include "The scarf," "The glass of wine," "The sea during a storm," "The four chairs," and "The rounds thwarted." The manual concludes with music for twenty-three dances.
Reprint of the original. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Wie beeinflussen Tanzbewegungen die musikalische Spielweise? Und umgekehrt: Welche Wirkung hat die musikalische Interpretation auf die Ausführung einer Choreografie? Wie stehen tänzerische und melodische Phrasierung zueinander? Derlei Fragen zum Verhältnis von Tanz und Musik ergeben sich sowohl bei der praktischen Ausführung als auch bei der Erforschung historischer ‹Tanzmusik›. Entsprechend vielseitig sind die Zugänge, mit denen dieser interdisziplinäre Band ‹Tanzmusik› vom Mittelalter bis zur Romantik untersucht, kontextualisiert und im Sinne historischer Musikpraxis erschließt. Im Mittelpunkt steht die Wechselbeziehung zwischen Klang und Bewegung in verschiedenen historischen Repertoires, Gattungen und Formen.
Another playful and winning story by the author of Pete the Cat: I Love My White Shoes! Hazel Nut wants her family to sing and dance along with her, but they are just too busy! Who can she call? Why... her super-hip, disco-dancing Grandma Nut! In the second book of the Nuts series, Eric Litwin's playful call-and-response rhymes and Scott Magoon's hilarious illustrations invite readers young and old to join in on the fun.
Discover the incredible world of social partner dancing. Complete beginners welcome. Learn in your living room or on an enormous dance floor. This is the second edition of a book previously called the Partner Dance Handbook. It teaches a “social” style of dancing common on dance floors around the world. This is different from the “formal” style seen in shows and on television. This social style is easier to learn for beginners, is arguably more musical and interpretative and can offer variations if you are already a formal dancer. Note that most other books and videos teach the formal style. The author’s experience is that at social dances this social style is far more common; obviously though this can vary from place to place. The author, Dr Duncan James, has taught thousands of people to dance in person at his classes and thousands more to dance via his YouTube channel. You can learn with Duncan for free on YouTube with his 44 free instructional videos. However, the videos and this book were created at the same time to work together; getting this book will give you a richer learning experience. Note that this book has no illustrations as it relies on the videos which are linked for free from the text. The particular benefit of this book is that it goes into much greater depth, appropriate for keener students. This book and the videos are designed to work even if you only have a small space available for dancing. How to Partner Dance Socially will guide you from complete beginner all the way to popular social dancer in the ballroom dances of foxtrot, quickstep and waltz and the latin dances of rumba, salsa and cha cha. A unique, practical approach means you will quickly learn to navigate a crowded dance floor, feel the music, improvise and enjoy dancing with your partner. A couple who have never danced before can realistically join a social dance (and not look out of place) after only an hour of practice with one of the complete beginner lessons. Advanced dancers can use some of the simple social moves as variations, work on the connection with their partner, learn to recycle moves between dances and discover ways to improvise to the music. If you are a teacher this book has detailed teaching advice and lesson plans. Remember this book is teaching a “social” style of dancing and not the “formal” style. The 44 companion videos can be watched on YouTube for free (via links in the text) or downloaded for free as a zip file (a link to this is also included in the text; the download is provided by the author and is limited by his internet host to a certain number of downloads every month). Buy How to Partner Dance Socially now to join in the fun on the dance floor!
Matthew Bourne and His Adventures in Dance is an intimate and in-depth conversation between the prize-winning pioneer of ballet and contemporary dance Matthew Bourne and the New York Times dance critic Alastair Macaulay. In 1987, a small, aspirant dance group with a striking name made its debut on the London fringe. In 1996, Adventures in Motion Pictures made history as the first modern dance company to open a production in London's West End. From this achievement, AMP sailed triumphantly to Broadway - winning three Tony Awards - guided by Artistic Director Matthew Bourne. Even before the inception of AMP, Bourne was fascinated by theatre, by characterization, and by the history of dance. In his early works - Spitfire, Town & Country and Deadly Serious - Bourne brought a novel approach to dance. And in his reworkings of the classics of the ballet canon - Nutcracker, Swan Lake, Cinderella - Bourne created witty, vivid, poignant productions that received great acclaim. In the first decade of the new millennium, the company name was changed to New Adventures, and Bourne's 'classics', as well as Bourne's new works - The Car Man, Play Without Words, Edward Scissorhands and Dorian Gray - achieved levels of box-office popularity that have seldom, if ever, been matched in dance. In addition, his choreography for various musicals - My Fair Lady, Mary Poppins and Oliver! - have run for years in the West End and on Broadway. The detail in which Bourne discusses his work with Alastair Macaulay is unprecedented. The two explore Bourne's upbringing, his training and influences, and his distinctive creative methods. Bourne's notebooks, his sources and his collaboration with dancers all form part of the discussion in this book.
Kinaesthesia and Visual Self-reflection in Contemporary Dance features interviews with UK-based professional-level contemporary, ballet, hip hop, and breaking dancers and cross-disciplinary explication of kinaesthesia and visual self-reflection discourses. Expanding on the concept of a ‘kinaesthetic mode of attention’ leads to discussion of some of the key values and practices which nurture and develop this mode in contemporary dance. Zooming in on entanglements with video self-images in dance practice provides further insights regarding kinaesthesia’s historicised polarisation with the visual. It thus provides opportunities to dwell on and reconsider reflections, opening up to a set of playful yet disruptive diffractions inherent in the process of becoming a contemporary dancer, particularly amongst an increasingly complex landscape of visual and theoretical technologies.
Dance can be a powerful means to create social harmony and enhance health. It is often overlooked as a way to make the world a better place. This book will give you insight into the depth of social partner dance and how it can improve well-being on physical, mental and social levels. The chapters shed light on the positive aspects of dance from the framework of urban kiz. It examines this dance from a philosophical and scientific point of view, making it the most comprehensive resource for dancers and a must-read for those interested in partner dance research.
