Choreography has been thoroughly updated to help students develop their skills in each step of the choreographic experience, from finding an idea to staging the performance. The text comes with a new web resource that offers video clips and supplemental learning activities.

This market-leading practical text helps student teachers develop their confidence, understanding and skills to effectively and authentically teach arts. With a strong balance between theory and practice, Delivering Authentic Arts Education outlines the true nature of the key learning area of arts education and its importance in the curriculum, emphasising the arts as forms of creative activity, meaning-making and expression in a cultural context. Initial chapters discuss how to recognise and build on existing artistic abilities and pedagogical skills, how to encourage children’s creativity, how to lead arts appreciation experiences, and the general principles of planning and assessment. Part 2 specifically examines the five arts areas: dance, drama, media arts, music and visual arts. The final part of the text, Units of Inquiry, contains valuable sample learning activities and resources that demonstrate how to plan an effective lesson within a unit of inquiry.

Merce Cunningham reached the age of 75 in 1994, an age at which many creative artists are content to rest on their laurels, or at least to leave behind whatever controversies they may have caused during their careers. No so Cunningham. In the first place, his 70s have been a time of intense creativity in which he has choreographed as many as four new works a year. Cunningham is a strongly committed as ever to the discovery of new ways of moving and of making movement, refusing to be hampered by the physical limitations that have come with age. Since 1991 every new work has been made at least in part with the use of the computer program Life Forms, which enables him to devise choreographic phrases that he himself would be unable to perform - and which challenge and develop the virtuosity of the young dancers in his company. The essays collected in this special issue of Choreography and Dance were written over the last few years and discuss various aspects of the work of Cunningham as seen both from the outside and the inside.

Told from the perspective of the dancers, »Processing Choreography: Thinking with William Forsythe's Duo« is an ethnography that reconstructs the dancers' activity within William Forsythe's Duo project. The book is written legibly for readers in dance studies, the social sciences, and dance practice. Considering how the choreography of Duo emerged through practice and changed over two decades of history (1996-2018), Elizabeth Waterhouse offers a nuanced picture of creative cooperation and institutionalized process. She presents a compelling vision of choreography as a nexus of people, im/material practices, contexts, and relations. As a former Forsythe dancer herself, the author provides novel insights into this choreographic community.

Finally, a comprehensive book that covers all aspects of choreography from the most fundamental techniques to highly sophisticated artistic concerns. The Intimate Act of Choreography presents the what and how of choreography in a workable format that begins with basics - time, space, force - and moves on to the more complex issues faced by the intermediate and advanced choreographer - form, style, abstraction, compositional structures, and choreographic devices.The format of the book evolved from the idea that improvisation is a good way to learn choreography. This approach is in harmony with widely accepted dance philosophies that value the unique quality of each individual's creativity. After discussing a concept, the authors provide improvisations, and choreographic studies that give the student a physical experience of that concept. The language is stimulating an innovative, rich in visual images that will challenge the choreographer to explore new directions in movement.The book is for serious dance students and professionals who are interested in both the practical and theoretical aspects of the art, dancers who are just starting to choreograph, and teachers who are seeking fresh ideas and new approaches to use with young choreographers. (A Teacher's Addendum offers suggestions on how to use the material in the classroom.) It is a guide, a text, and an extensive resource of every choreographic concept central to the art form.

In Maroon Choreography fahima ife speculates on the long (im)material, ecological, and aesthetic afterlives of black fugitivity. In three long-form poems and a lyrical essay, they examine black fugitivity as an ongoing phenomenon we know little about beyond what history tells us. As both poet and scholar, ife unsettles the history and idea of black fugitivity, troubling senses of historic knowing while moving inside the continuing afterlives of those people who disappeared themselves into rural spaces beyond the reach of slavery. At the same time, they interrogate how writing itself can be a fugitive practice and a means to find a way out of ongoing containment, indebtedness, surveillance, and ecological ruin. Offering a philosophical performance in black study, ife prompts us to consider how we—in our study, in our mutual refusal, in our belatedness, in our habitual assemblage—linger beside the unknown. Duke University Press Scholars of Color First Book Award recipient

This book sheds light on the practice of French choreographer Jérôme Bel, who is active in the fields of performing arts and contemporary art. Shuntaro Yoshida examines a case study of collective creation involving the choreographer and a group of amateur workshop participants. The focus is on Atelier Danse et Voix (Dance and Voice Workshop) (2014) and workshops held with local diverse participants in Brussels, Venice, and Munich after the cancellation of the Dance and Voice Workshop. This study elucidates Bel’s creative method by exploring the relationship between choreographer and participants in a situation where the typical framework of actors has been expanded. The focus of the case study is not so much the choreographic methodology itself, but the relationship between the method and the participants and the ways in which the choreographer cedes creative decision-making power to participants. In order to investigate Bel’s creative method, this study makes use of participant observation field notes taken during a rehearsal. Additional data sources include Bel’s emailed materials, performance programs, and interviews with participants.This book will be of great interest to students and scholars in theater, performance, and dance studies.