An innovative exploration of understanding through dance, Dancing across the Page draws on the frameworks of phenomenology, feminism, and postmodernism to offer readers an understanding of performance studies that is grounded in personal narrative and lived experience. Through accounts of contemporary dance making, improvisation, and dance education, Karen Barbour explores a diversity of themes, including power; activism; and cultural, gendered, and personal identity. An intimate yet rigorous investigation of creativity in dance, Dancing across the Page emphasizes embodied knowledge and imagination as a basis for creative action in the world.

This book examines what the bible says about both dance and worship, and relates it to an understanding of what dance is and how it can be used in the church and education today. Martin Bloggs relates his faith to his profession of teaching Dance Drama and his non verbal approach to Christian dance opens new avenues for the expression of the faith. The book is a critical discussion, both theoretical and practical, into the nature and conditions of religious dance seen within the disciplines of Scripture Education and Art.Although centred on dance much of the discussion is directly relevant to the performing arts in general.

In Knowing Dance, Marion Gough provides a general framework for understanding the many different aims, demands and constraints of teaching dance, with suggestions for practical and creative ways of dealing with them. After considering the interaction between teaching and learning, the author looks at the ways that a dance course may be planned, and how styles, strategies and methods of assessment can be applied to achieve different teaching objectives.

As her grandmother’s health declines, a young girl begins to lovingly take the lead in their cozy shared autumn traditions. Poetic prose paired with evocative illustrations by Mexican illustrator Claudia Navarro make for a beautiful celebration of life and a gentle introduction to the death of a loved one.

Liturgical dance is a way to present, reflect, instruct, learn, study, and share religious beliefs with one’s self, within one’s worship community, and with one’s God. Such a belief is confirmed and witnessed within a variety of religious settings throughout the world from the beginning of time to this present age. However, there is a vacuum of resources that connect liturgical dance within the Christian context as a tool for religious learning within the field of religious education. With the continual rise of liturgical dance as an artistic form of expression, this book proposes that liturgical dance offers unique attributes conducive to the teaching and learning of faith and to faith formation. Kathleen S. Turner shows how liturgical dance is religious education in two very important ways: first, by addressing the power and potential liturgical dance has in nourishing the faith life of Christian congregants through means that are both educative and reflective; and second, by giving examples of how liturgical dance can be implemented as a religious-education tool within the teaching life of the church.

Seventeen-year-old Penny is a lead dancer at the Grande Teatro, a finishing school where she and eleven other young women are training to become the finest ballerinas in Italy. Tucked deep into the woods, the school is overseen by a mysterious and handsome young master who keeps the girls ensconced in the estate. But when flashes of memories of a life very different from the one she thinks she's been leading start to appear, Penny begins to question the world around her. With a kind and attractive kitchen boy, Cricket, at her side, Penny vows to escape the confines of her school and the strict rules she has to follow. But at every turn, the Master finds a way to stop her, and Penny must find a way to escape the school and uncover the secrets of her past before it's too late.

How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.