|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 |
Sharing the Dance: Contact Improvisation and American Culture
University of Wisconsin Press, 1990 Cloth: 978-0-299-12440-3 | eISBN: 978-0-299-12443-4 | Paper: 978-0-299-12444-1 Library of Congress Classification GV1781.2.N68 1990 Dewey Decimal Classification 792.8
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
In Sharing the Dance, Cynthia Novack considers the development of contact improvisation within its web of historical, social, and cultural contexts. This book examines the ways contact improvisers (and their surrounding communities) encode sexuality, spontaneity, and gender roles, as well as concepts of the self and society in their dancing. While focusing on the changing practice of contact improvisation through two decades of social transformation, Novack’s work incorporates the history of rock dancing and disco, the modern and experimental dance movements of Merce Cunningham, Anna Halprin, and Judson Church, among others, and a variety of other physical activities, such as martial arts, aerobics, and wrestling. See other books on: American Culture | Anthropological aspects | Dance | Improvisation in dance | Sharing See other titles from University of Wisconsin Press |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
Nearby on shelf for Recreation. Leisure / Dancing:
| |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Sharing the Dance: Contact Improvisation and American Culture
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
University of Wisconsin Press, 1990
Cloth: 978-0-299-12440-3
eISBN: 978-0-299-12443-4
Paper: 978-0-299-12444-1
Cloth: 978-0-299-12440-3
eISBN: 978-0-299-12443-4
Paper: 978-0-299-12444-1
In Sharing the Dance, Cynthia Novack considers the development of contact improvisation within its web of historical, social, and cultural contexts. This book examines the ways contact improvisers (and their surrounding communities) encode sexuality, spontaneity, and gender roles, as well as concepts of the self and society in their dancing.
While focusing on the changing practice of contact improvisation through two decades of social transformation, Novack’s work incorporates the history of rock dancing and disco, the modern and experimental dance movements of Merce Cunningham, Anna Halprin, and Judson Church, among others, and a variety of other physical activities, such as martial arts, aerobics, and wrestling.
While focusing on the changing practice of contact improvisation through two decades of social transformation, Novack’s work incorporates the history of rock dancing and disco, the modern and experimental dance movements of Merce Cunningham, Anna Halprin, and Judson Church, among others, and a variety of other physical activities, such as martial arts, aerobics, and wrestling.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
