A renewed interest in nature, the ancient Greeks, and the freedom of the body was to transform dance and physical culture in the early twentieth century. The book discusses the creative individuals and developments in science and other art forms that shaped the evolution of modern dance in its international context.

Cleveland's manual opens with an interesting account of the building blocks required for setting up a successful private dancing academy. He includes discussion on the architectural requirements, music, progress of students, hours and division of classes, dealing with children, and how to manage balls. The second part of the manual covers "fashionable dances," and the author describes quadrilles, the "Boston Waltz," and twenty-nine figures for the German (also known as cotillon), a group dance comprised of a series of party games.

This book focuses on how Latin American people and cultural practices have moved from one continent to another, and specifically to London. How do Latin Americans experience such a process and what part do different people play in the re-making of Latin identities in the neighbourhoods, parks, bars and dance clubs of London? Through a critical engagement with theories of globalization, the geography of power, cultural identity and the transformation of places, the book explores how the formation of Latin identities is directly related to wider social, economic and political processes. Drawing on the voices of migrant peoples, community activists, shop owners, sports organizers, club owners, dancers, dance teachers, musicians and disc jockeys, the book argues that the micro movements of people - through a shopping mall or across a dance floor in a club - are directly connected to global processes involving the regulated movement of citizens, sounds and images across national boundaries and through cities.

This collection of new essays explores connections between dance, modernism, and modernity by examining the ways in which leading dancers have responded to modernity. Burt and Huxley examine dance examples from a period beginning just before the First World War and extending to the mid-1950s, ranging across not only mainland Europe and the United States but also Africa, the Caribbean, the Pacific Asian region, and the UK. They consider a wide range of artists, including Akarova, Gertrude Colby, Isadora Duncan, Katherine Dunham, Margaret H’Doubler, Hanya Holm, Michio Ito, Kurt Jooss, Wassily Kandinsky, Margaret Morris, Berto Pasuka, Uday Shankar, Antony Tudor, and Mary Wigman. The authors explore dancers’ responses to modernity in various ways, including within the contexts of natural dancing and transnationalism. This collection asks questions about how, in these places and times, dancing developed and responded to the experience of living in modern times, or even came out of an ambivalence about or as a reaction against it. Ideal for students and practitioners of dance and those interested in new modernist studies, Dance, Modernism, and Modernity considers the development of modernism in dance as an interdisciplinary and global phenomenon.

Tracing the historical figure of Vaslav Nijinsky in contemporary documents and later reminiscences, Dancing Genius opens up questions about authorship in dance, about critical evaluation of performance practice, and the manner in which past events are turned into history.

Both Buddhism and dance invite the practitioner into present-moment embodiment. The rise of Western Buddhism, sacred dance and dance/movement therapy, along with the mindfulness meditation boom, has created opportunities for Buddhism to inform dance aesthetics and for Buddhist practice to be shaped by dance. This collection of new essays documents the innovative work being done at the intersection of Buddhism and dance. The contributors--scholars, choreographers and Buddhist masters--discuss movement, performance, ritual and theory, among other topics. The final section provides a variety of guided practices.