Customer service is a lot like dancing. You can sit on the sidelines, go through the motions, or take the time to learn. This book will give you the moves to stand out. Chris Lynam left a passion for screenwriting to pursue a summer job as a dance teacher. More than two decades later, he found a way to combine both passions as the co-owner of seven of the top Arthur Murray Dance Studios in the world with his wife and dance partner, Daisey. Chris firmly believes that behind the atmosphere of glitter, Tango dancing, and spray tans lies one of the greatest customer service organizations in the world. The close proximity to the clients creates a level of service where the help desk lies within a dance frame and the connection is impossible to fake. That is high touch service. In a business landscape that has been hit with hardship, wouldn’t it be crazy if the answers were right there, dancing in the background? In the past, customer service might have been the difference between a good online review and a bad one. Today, it might be the difference between staying in business and shutting down. With five customer service components, you and your business can become masters of high touch service, even in a touch free environment. Learn how to make a lasting connection with your customers; speak with clarity, conviction, and confidence; and never again leave the customer experience up to chance.

Chris Lynam left a passion for screenwriting to pursue a summer job as a dance teacher. More than two decades later, he found a way to combine both passions as the co-owner of seven of the top Arthur Murray Dance Studios in the world with his wife and dance partner, Daisey. Chris firmly believes that behind the atmosphere of glitter, Tango dancing, and spray tans lies one of the greatest customer service organizations in the world. The close proximity to the clients creates a level of service where the help desk lies within a dance frame and the connection is impossible to fake. That is high touch service. In a business landscape that has been hit with hardship, wouldn’t it be crazy if the answers were right there, dancing in the background? In the past, customer service might have been the difference between a good online review and a bad one. Today, it might be the difference between staying in business and shutting down. With five customer service components, you and your business can become masters of high touch service, even in a touch free environment. Learn how to make a lasting connection with your customers; speak with clarity, conviction, and confidence; and never again leave the customer experience up to chance.

Daniel Lewis's legacy as a hugely influential choreographer and teacher of modern dance is celebrated in this biography. It showcases the many roles he played in the dance world by organizing his story around various aspects of his work, including his years at the Juilliard School, dancing and touring with the Jose Limon Company, staging Limon's masterpieces around the world, directing his own company (Daniel Lewis Dance Repertory Company), writing and choreographing operas and musicals, and his years as dean of dance at New World School of the Arts. His life has spanned a particular period of growth of modern and contemporary dance, and his biography gives insight into how the artistic and journalistic perspectives on modern dance were influenced by what was occurring in the broader dance and arts communities. The book also offers rarely seen photographs and interviews with unique perspectives on many dance luminaries.

Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers. The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughly interdisciplinary.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

Dance in TV advertisements has long been familiar to Americans as a silhouette dancing against a colored screen, exhibiting moves from air guitar to breakdance tricks, all in service of selling the latest Apple product. But as author Colleen T. Dunagan shows in Consuming Dance, the advertising industry used dance to market items long before iPods. In this book, Dunagan lays out a comprehensive history and analysis of dance commercials to demonstrate the ways in which the form articulates with, informs, and reflects U.S. culture. In doing so, she examines dance commercials as cultural products, looking at the ways in which dance engages with television, film, and advertising in the production of cultural meaning. Throughout the book, Dunagan interweaves semiotics, choreographic analysis, cultural studies, and critical theory in an examination of contemporary dance commercials while placing the analysis within a historical context. She draws upon connections between individual dance-commercials and the discursive and production histories to provide a thorough look into brand identity and advertising's role in constructing social identities.

Choreography is the highly creative process of interpreting and coordinating movement, music and space in performance. By tracing different facets of development and exploring the essential artistic and practical skills of the choreographer, this book offers unique insights for apprentice dance makers. With key concepts and ideas expressed through an accessible writing style, the creative tasks and frameworks offered will develop new curiosity, understanding, skill and confidence. The chapters cover the key areas of engagement including what is a choreographer; getting started; improvisation and ideas; context, stage geometry and atmosphere; movement as dance in time and space; solo, duet, trio and group choreography and finally, structure and the 'choreographic eye'. This is an ideal companion for dancers and dance students wanting to express their ideas through choreography and develop their skills to effectively articulate them in performance. It is superbly illustrated with 143 practical colour and black & white photographs and diagrams. Kate Flatt has over forty years' experience as a choreographer, mentor and teacher.