In Back to the Dance Itself, Sondra Fraleigh edits essays that illuminate how scholars apply a range of phenomenologies to explore questions of dance and the world; performing life and language; body and place; and self-knowing in performance. Some authors delve into theoretical perspectives, while others relate personal experiences and reflections that reveal fascinating insights arising from practice. Collectively, authors give particular consideration to the interactive lifeworld of making and doing that motivates performance. Their texts and photographs study body and the environing world through points of convergence, as correlates in elemental and constant interchange modeled vividly in dance. Selected essays on eco-phenomenology and feminism extend this view to the importance of connections with, and caring for, all life. Contributors: Karen Barbour, Christine Bellerose, Robert Bingham, Kara Bond, Hillel Braude, Sondra Fraleigh, Kimerer LaMothe, Joanna McNamara, Vida Midgelow, Ami Shulman, and Amanda Williamson.

Deluxe -- Thank You -- Pelham Road -- There Is No Mike Here -- Things People Said: An Essay in Seven Steps -- Temporary Talismans -- Six Hours from Anywhere You Want to Be -- No One Is Ordinary; Everyone Is Ordinary -- Ring Theory -- Saris and Sorrows -- Voice Texting with My Mother.

In her remarkable book, Sondra Horton Fraleigh examines and describes dance through her consciousness of dance as an art, through the experience of dancing, and through the existential and phenomenological literature on the lived body. She describes, with performance photographs, specific imagery in dance masterworks by Doris Humphrey, Anna Sokolow, Viola Farber, Nina Weiner, and Garth Fagan.

"Poignant and exquisite"--The Los Angeles Review of Books "An inspiring and powerful book"--Booklist "A genuinely absorbing read"--Kirkus "Revelatory, honest, and wondrous."--Chanel Miller, author of Know My Name A lyrical and meditative memoir on the damage we inflict in the pursuit of perfection, the pain of losing our dreams, and the power of letting go of both. With a promising career in classical ballet ahead of her, Ellen O'Connell Whittet was devastated when a misstep in rehearsal caused a career-ending injury. Ballet was the love of her life. She lived for her moments under the glare of the stage-lights--gliding through the air, pretending however fleetingly to effortlessly defy gravity. Yet with a debilitating injury forcing her to reconsider her future, she also began to reconsider what she had taken for granted in her past. Beneath every perfect arabesque was a foot, disfigured by pointe shoes, stuffed--taped and bleeding--into a pink, silk slipper. Behind her ballerina's body was a young girl starving herself into a fragile collection of limbs. Within her love of ballet was a hatred of herself for struggling to achieve the perfection it demanded of her. In this raw and redemptive debut memoir, Ellen O'Connell Whittet explores the silent suffering of the ballerina--and finds it emblematic of the violence that women quietly shoulder every day. For O'Connell Whittet, letting go of one meant confronting the other--only then was it possible to truly take flight.

Every hour in the UK, two people are told they have Parkinson’s disease. For Kate Swindlehurst, the diagnosis was a turning point: refusing to be defined by her condition, she chose instead a radically different path. This is the story of an extraordinary year. It begins with a single tango lesson but grows into an exploration of the dance itself, its history, its music and its incredible healing potential. It is a year in which Kate explored and documented ‘the tango effect’ – the emotional and social benefits of dance on Parkinson’s symptoms. Her personal account echoes what science is beginning to tell us about the powerful and transformative impact of Argentine tango. Intimate and unflinching, The Tango Effect challenges our perceptions of living with a chronic condition. Above all, it takes an honest look at the dark side of the illness while celebrating moments of joy, interconnectedness, acceptance and liberation.

Franklin provides 583 imagery exercises to improve dance technique, artistic expression and performance. More than 160 illustrations highlight the images, and the exercises can be put to use in dance movement and choreography.

Learn the five steps of land to water yoga: Standing and walking Kneeling and crawling Sitting Front lying Side lying and back floating While spending two months meditating and practicing yoga in silence at Sri Aurobindos first ashram in Baroda India, Sondra Fraleigh received her first inspirations about yoga based upon infant movement development and somatic principles. She consciously utilized this element in her creative use of yogabridging it with somatic movement education and intrinsic dancing. This unique new form of yogaLand to Water Yogamaintains yogas original intent of spiritual healing and awareness and offers a way to deepen clear seeing and a calm mind, urging one past his or her limited ego. It is based on five stages of infant development and the methods of Shin Somatics Moving Way. Its progression moves backward from the most complex movement in terms of balance to the least: from walking to floating (from land to water), providing the opportunity to retrace our personal human development back to its watery soma source. Progressing through these five primary stages may elicit surprising infant and childhood memories, which can heal trauma when one lets go of buried feelings. Peeling away social constructions via this innovative form of yoga, one can learn through curiosity and build skill with ease.