Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music and dance, Davinia Caddy approaches the Ballets Russes with a wide-angled lens that embraces not just the choreographic, but also the cultural, political, theatrical and aesthetic contexts in which the company made its name. In addition, Caddy examines and interprets contemporary French dance practices, throwing new light on some of the most important debates and discourses of the day.
Serving as a perennial meditational diary, this attractive desktop calendar offers familiar simple teachings on faith, fulfillment, and stillness, taken?from a spiritual bestseller on which meditators
Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.
Long treated as peripheral to music history, dance has become prominent within musicological research, as a prime and popular subject for an increasing number of books, articles, conference papers and special symposiums. Despite this growing interest, there remains no thorough-going critical examination of the ways in which musicologists might engage with dance, thinking not only about specific repertoires or genres, but about fundamental commonalities between the two, including embodiment, agency, subjectivity and consciousness. This volume begins to fill this gap. Ten chapters illustrate a range of conceptual, historical and interpretive approaches that advance the interdisciplinary study of music and dance. This methodological eclecticism is a defining feature of the volume, integrating insights from critical theory, film and cultural studies, the visual arts, phenomenology, cultural anthropology and literary criticism into the study of music and dance.
No one is more passionate about rescuing hurt animals than Robin, except maybe her best friend Zo-Zo, who helps Robin run the family’s animal shelter, The Wild Place. When the two of them discover tha
Can a high-seas, whale-saving adventure repair the hurt between two friends?How do you decide where your heart lies when it’s being tugged at from so many sides?When Robin and Zo-Zo discover that thei
Robin is kidnapped by dangerous poachers while trying to save leatherback turtles in Central America.Robin Green is carrying on her work rescuing vulnerable animals at The Wild Place Animal Shelter wh
Twelve-year-old Robin will never get over her mother's death. Nor will she forgive her father for moving the family to a small town to live with a weird grandmother. At her new school Robin is laughin
Poor Penguin is bored at the South Pole. His friends come to his aid building swings, sleighs and slides to show Penguin how much fun can be had in the snow.
