Dança moderna 1992-2022 reúne textos do livro Dança moderna (1992) com escritos atualíssimos, incluindo imagens inéditas: as fotos da bailarina da Semana de Arte Moderna, evento que em 2022 teve seus cem anos festejados. Sob a curadoria editorial de Cássia Navas, os quatro artigos de 1922 permaneceram intactos: "As mães da modernidade" e "Klauss Vianna em São Paulo", de Cássia Navas, "As companhias estáveis" e "A experiência do Teatro de Dança no Galpão", de Linneu Dias. A eles juntam-se os capítulos: "Dança na Semana de Arte Moderna: importante desimportância", de Cássia Navas; "Dança em São Paulo hoje: continuidade e instabilidade, de 1992 a 2022", de Henrique Rochelle, e "Modernidade, dança no Recife", de Arnaldo Siqueira. Com isso, consolidam-se as escrituras da modernidade em dança (aqui incluídos o pós-moderno, o contemporâneo e até mesmo um "des-moderno" decolonial), desta vez para além de São Paulo, lançando-se uma mirada sobre a dança do Recife. A obra Dança Moderna 1992-2022 é uma realização do Programa de Ação Cultural-PROAC Mecenato Direto, por meio da Secretaria de Cultura, Economia e Indústria Criativa do Governo do Estado de São Paulo, em edital que contemplou a CÁSSIA NAVAS PRODUÇÕES CULTURAIS

"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, calls for innovation have defined palpable shifts in ballet's direction and resultantly we have arrived at a new moment in its history that is unquestionably recognized as a genre onto its own: Contemporary Ballet. An aspect of this recent discipline is that its dancemakers, more often than not, seek to reorient the viewer by celebrating what could be deemed vulnerabilities, re-construing ideals of perfection, problematizing the marginalized/mainstream dichotomy, bringing audiences closer in to observe, and letting the art become an experience rather than a distant object preciously guarded out of reach. Hence, the practice of ballet is moving to become a less-mediated and more active process in many circumstances. Performers and audiences alike are challenged, and while convention is still omnipresent, choices are being made. For some, this approach has been drawn on for decades, and for others it signifies a changing of the guard, yet however we arrive there, the conclusion is the same: Contemporary Ballet is not a style. That is to say, it is not a trend, phase, or fashionable term that will fade, rather it is a clear period in ballet's time deserved of investigation. And it is into this moment that we enter"--

The Musical Heritage of Al-Andalus is a critical account of the history of Andalusian music in Iberia from the Islamic conquest of 711 to the final expulsion of the Moriscos (Spanish Muslims converted to Christianity) in the early 17th century. This volume presents the documentation that has come down to us, accompanied by critical and detailed analyses of the sources written in Arabic, Old Catalan, Castilian, Hebrew, and Latin. It is also informed by research the author has conducted on modern Andalusian musical traditions in Morocco, Algeria, Tunisia, Egypt, Lebanon and Syria. While the cultural achievements of medieval Muslim Spain have been the topic of a large number of scholarly and popular publications in recent decades, what may arguably be its most enduring contribution – music – has been almost entirely neglected. The overarching purpose of this work is to elucidate as clearly as possible the many different types of musical interactions that took place in medieval Iberia and the complexity of the various borrowings, adaptations, hybridizations, and appropriations involved.

An Instant #1 New York Times Bestseller! A Publishers Weekly Bestseller! Leading actor, producer and director Channing Tatum's picture book debut, The One and Only Sparkella is a charming ode to self-esteem and the love between a father and daughter—illustrated by Kim Barnes. Ella is excited for her first day at a new school. Glimmering pencil case? Check! Shimmering backpack? Check! Glittery ribbons in her hair? Check! She can't wait to meet the other kids and share her sparkly personality. But her first day doesn't go quite as planned: Her new classmates don't like her disco-ball shoes, her PB&J-with-sprinkles sandwich, or her rainbow-y unicorn painting. Ella decides to try to be less sparkly at school the next day so the other kids won't make fun of her. But with a little help from her dad, she soon learns the importance of just being herself, no matter what other people say.

A theoretical examination of the influence of political and social movements on the art of dance.

Subject: Volume dedicated to the question of how dance, both in its historical and in its contemporary manifestations, is intricately linked to conceptualisations of the political. Whereas in this context the term "policy" means the reproduction of hegemonic power relations within already existing institutional structures, politics refers to those practices which question the space of policy as such by inscribing that into its surface which has had no place before. The art of choreography consists in distributing bodies and their relations in space. It is a distribution of parts that within the field of the visible and the sayable allocates positions to specific bodies. Yet in the confrontation between bodies and their relations, a deframing and dislocating of positions may take place. The essays included in this book are aimed at the multiple connections between politics, community, dance, and globalisation from the perspective of e.g. Dance and Theatre Studies, History, Philosophy, and Sociology