" How to Land: Finding Ground in an Unstable World foregrounds the importance of embodiment as a means of surviving the disorientation of our twenty-first century world. Linking somatics and politics, author Ann Cooper Albright argues that a renewed attention to gravity as both a metaphoric sensibility and a physical experience can help transform moments of personal disorientation into an opportunity to reflect on the important relationship between individual resiliency and communal responsibility. Long one of the nation's preeminent thinkers in dance studies, Albright asks how contemporary bodies are affected by repeated images of falling bodies, bombed-out buildings, and displaced peoples, as well as recurring evocations of global economies and governments in discursive free fall or dissolution. What kind of fear gets lodged in connective tissue when there is an underlying anxiety that certain aspects of our world are in danger of falling apart? To answer this question, she draws on analyses of perception from cognitive studies, tracing the discussions of meaning, body and language through the work of Sara Ahmed, Jean-Luc Nancy, and Shaun Gallagher, among others. In addition, she follows the past decade of debate in contemporary media concerning the implications of the weightless and two-dimensional social media exchanges on structures of attention and learning, as well as their effect on the personal growth and socialization of a generation of young adults. Each chapter interweaves discussions of movement actions with their cultural implications, documenting specific bodily experiences and then tracing their ideological ripples out through the world. " 4e de couverture

Contents:
- Acknowledgments
- Introduction

- Falling
- Disorientation
- Suspension
- Gravity
- Resilience
- Connection

- Afterword

Contient aussi : des notes, une bibliographie et un index[-]

"(...) The sixty essays here have been selected not only because they represent the work of the finest dance writers in America and Europe, but also for the particular questions they pose about the definition of dance, the ways in which dance conveys meaning, the relationship of dance to the other arts, and much more.
The book contains contributions by popular critics such as Arlene Croce and Edwin Denby, choreographers such as Noverre, Isadora Duncan, Mary Wigman, and Yvonne Rainer, historians such as Lincoln Kirstein and Selma Jeanne Cohen, and theoricians such as Mallarmé, Susanne Langer, and Paul Valéry. Also included are writers not generally associated with dance, among them Roland Barthes (on the semiotics of the striptease), Frank Kermode (on poetry and dance), R. P. Blackmur (on Balanchine), Eric Bentley (on Martha Graham), and George Bernard Shaw (on nineteenth-century ballet in London. (...)" -- P. [4] de la couv.

Comprend une bibliographie.
Comprend un index.[-]

"Choreographing Copyright is a new historical and cultural analysis of U.S. dance-makers' investment in intellectual property rights. Stretching from the late nineteenth century to the early twenty-first, the book reconstructs efforts to win copyright protection for choreography and teases out their raced and gendered politics, showing how dancers have embraced intellectual property rights as a means to both consolidate and contest racial and gendered power.

A number of the artists featured in the book are well-known in the history of American dance, including Loie Fuller, Hanya Holm, and Martha Graham, Agnes de Mille, and George Balanchine. But the book also uncovers a host of marginalized figures--from the South Asian dancer Mohammed Ismail, to the African American pantomimist Johnny Hudgins, to the African American blues singer Alberta Hunter, to the white burlesque dancer Faith Dane--who were equally interested in positioning themselves as subjects rather than objects of property (...)"--P.[4] de la couv.

Comprend une bibliographie et des notes bibliographiques.
Comprend un index.
Comprend une chronologie.[-]