Titlebook: Decentring Dancing Texts; The Challenge of Int Janet Lansdale (Emeritus Professor) Book 2008 Palgrave Macmillan, a division of Macmillan Pu

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The Method of Maximum Likelihood, Pompidou, respectively. As I read a critique of Bel’s performance by Tim Etchells, the director of the British-based experimental performance ensemble Forced Entertainment, it became clear to me how culturally specific these works are, and that some contextualisation by someone ‘on the premises’ ma

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The Method of Maximum Likelihood,ew of . (1978), by the Australian/British choreographer Ian Spink — a work shown in the first season of the then new company Second Stride. She describes vividly the works of Richard Alston and Siobhan Davies (Spinks’ partners in the venture) in terms of ‘lovely’ movement — for example, ‘the dancers

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Christine Lavit,Marie-Odile Pernind conventions of genres, languages and techniques. Since the late 1980s international dance critics have praised his inventive and creative work, his ‘highly original use of movement’ (Percival, 1992, p. 32), his fresh approach to composition (Mackrell, 1987), his ‘controlled, understated’ (Percival

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P. J. Lewi,G. Calomme,J. Van Hoofggest that the film is not about the dance. . focuses on a ballroom dance programme, initiated by a ballroom teacher, Pierre Dulaine, in 1994, for fifth grade children from New York City schools. Over 60 schools from Manhattan, Brooklyn, the Bronx and Queens participated in the ten-week course, whic

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Jugend und Beruf in beiden deutschen Staaten on a specific significance. The term denotes a number of synthesised musical styles that can be grouped together by shared characteristics, including a preference for cyclical repetition rather than linear narrative, a concentration on timbre and bass line rather than melody and harmony, and the us

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