Managing Dance

Crammed with information The only book you will ever need for your dance production classes, and planning your recitals and performances-all in an easy-to-follow format. This how-to book lays out the sequence of recital and performance planning for dance and theater departments, dance studios, and professional and amateur dance companies. From establishing a mission statement and auditions to performing and touring-all the technical aspects of theater are thoroughly explained: music lighting, programming, technical theater, box office management, booking, costuming, makeup, marketing, fundraising, Photographs, drawings, charts and examples, plus a myriad of Helpful Hints. Book jacket.

Dance and Organisation is the first comprehensive work to integrate dance theory and methods into the study of management, which have developed an interest in the arts and the humanities. Dance represents dynamics and change and puts the moving body at the centre, which has been ignored and oppressed by traditional management theory. ‘Being’ a leader however also means to ‘move’ like one, and critical lessons can be learned from ballerinas and modern dancers. Leadership is a dialogue, as in the work of musicians, conductors and DJs who manage groups without words. Movement in organisational space, in a museum or a techno club can be understood as a choreography and site-specific performance. Movement also is practically used for leadership and employee development workshops and can be deployed as an organisational research method. By taking a firm interdisciplinary stance in dance studies and organisational research to explore management topics, reflecting on practitioner accounts and research projects, the book seeks to make an innovative contribution to our understanding of the moving body, generating new insights on teamwork, leadership, gender in management, organisational space, training and research methods. It comprises an important contribution to the organizational behaviour and critical management studies disciplines, and looks to push the boundaries of the academic literature.

Managing Dance focuses on four themes - danc e artists, products, participation and the political context - each of which is explored from different perspectives by contributors currently working in dance management. '

Never before has a greater variety of careers been available in dance—and never before has such comprehensive, expert guidance on those burgeoning careers been accessible in one book. Careers in Dance is a master guide that will help students navigate the expanding opportunities in dance and familiarize current professionals with potential career choices that best align with their pursuits and strengths. This highly practical text offers a wealth of information on career options in a variety of settings and with a variety of focuses, including commercial ventures, scholarly pursuits, administrative avenues, medical and scientific settings, and interdisciplinary opportunities. Readers are guided in discovering their deepest interests and learning how to translate their unique strengths into rich and fulfilling careers. In keeping with recent trends in higher education dance programs, Careers in Dance spotlights entrepreneurship and leadership opportunities for dancers, delving into an array of options and offering much-needed advice. The book covers some of the social and cultural influences that affect success in the field, and it explores various career opportunities: K-12 and postsecondary dance education Dance studios Performance, choreography, and production Dance research, analytical writing, and journalism Dance administration and advocacy Dance science, therapy, and medical and somatic practices Private competition companies Technical theater and related areas The text also helps readers understand the connections between dance and other disciplines. For example, it details the interdisciplinary opportunities involving technology, technical theater, and media. It also notes the possibilities for continued education in graduate school programs and suggests approaches to acclimating to life as a working professional. Careers in Dance offers two recurring elements throughout the book: Profiles of, and interviews with, esteemed professional dancers, revealing their real-world experiences and affording insights into different dance careers Reflection prompts that encourage self-reflection and prepare readers to seek career development and career advancement opportunities This text explores the opportunities dance students and professionals can pursue, helps them pinpoint their areas of interest and strengths, and equips them to create their unique paths to a fulfilling career in dance. In doing so, Careers in Dance provides the advice and strategies dancers need to actualize their own destinies in dance.

Dancers represent a unique athletic population. They can often be required to perform a variety of shows of differing intensity and styles: professional ballet dancers may perform up to 150 shows a year, across eighteen different productions. The dynamic and demanding nature of dance can however lead to injury, making injury prevention and management a vital part of dance training. Drawing on research and knowledge from both sports and dance medicine, this book will provide dance and healthcare professionals with a fundamental understanding of dance terminology, physiology and movement requirements, and how these relate to specific injuries commonly sustained in dance. Proposed models and structures of pathology-specific rehabilitation and usable examples are illustrated with step-by-step photographs and anatomical diagrams, as well as case studies for common injuries. Training programmes, conditioning exercises and advice are supported by findings from contemporary medical literature to ensure an informed, conclusive and evidence-based approach to the healthcare of dancers. Chapters will cover a range of issues including the unique challenges seen in dance and how they differ from other athletic populations; physical preparation and conditioning for dance; injury prevention, tracking and management models and an exploration of the regional anatomical injuries commonly seen in dance. Structured rehabilitation and detailed exercise programmes are covered and dance criteria for musculoskeletal injuries, concussion and post-surgery are discussed.

Safe Dance Practice bridges the gap between research and application for dancers and dance educators at all levels. The book presents integrated guidelines and principles that will maximize physical and mental well-being without compromising creativity and expression.

Get ready to bop, bounce, and shake with this board book edition ofthe hit picture book from the acclaimed author of Alfie and Fraidyzoo There are so many ways to dance! You can jiggle or wiggle or stomp. You can bop or bounce or go completely nuts. You can dance at the market or the bus stop, with your fingers or your face. You can dance because you’re happy or even because you’re sad. But, what’s the best way to dance? Exactly how you want to! In How Do You Dance?, award-wining author-illustrator Thyra Heder explores dance in all of its creativity, humor, and—most of all—joy, in a celebration of personal expression that will inspire young and old readers alike to get up and get moving.

This book has systematic directions for those who are creating a dance company for young audiences: how to handle bookings, write effective grants, handle crowds of children, keep their interest high and deal with the unexpected—backstage, or onstage or costume! Important also: how to maintain the support and the appreciation of presenters, teachers and principals. Profiles of ten successful dance companies who perform for children are provided. The book’s touring and production information can be applied to almost any performing group that uses the medium of dance to deliver its message—from professional dance companies to university, high school and studio dance performers.

Imagine having a team of belly dance mentors willing to coach you through your belly dance journey. You might want their help and advice on selecting music, venues, costume or props. Perhaps you would like to hear about the pit-falls and problems of dancing at each different type of events, or the correct etiquette for classes and workshops. Maybe you would like their thoughts on your costuming, or some tips on putting together a web site, or managing your social networking. All of this and more is covered in Becoming a Belly Dancer, from stage fright to retirement, ATS to Zar. Becoming a Belly Dancer is a stagecraft handbook that provides valuable information, learned-in-the-trenches tips, and guidance for belly dancers who are ready to take the step from student to performer, or from performer to professional. Sara Shrapnell, author of "Teaching Belly Dance" and Dawn Devine, author of "Cloth of Egypt" and 13 other belly dance and costuming books, including the bestselling "Embellished Bras" and the now classic "Costuming from the Hip", have collaborated to produce "Becoming a Belly Dancer". Between them, they have more than 50 years of combined experience as performers, teachers, dancers and costume designers. Alisha Westerfeld explored the established and upcoming talent of the Bay Area to bring her beautiful photography to every page of this project. International belly dance celebrity and costume designer Poppy Maya adds her own special brand of "Additional Awesomeness" to the book, and the input of a young dancer, currently making her living through belly dance. The authors hope to bring the warmth, support, and humor of a teacher in absence, a true friend and a trusted advisor who has only one main goal: you. They want to focus on helping you be the best prepared physically and mentally for the challenges of performing for friends, family, the dance community, and the greater society, both in person at public venues, and via media available on the internet. The book covers improving your dance skills, good practice habits, preparing physically and emotionally, critiquing, picking your music and venues and dancer etiquette. In addition, the book includes extensive sections on costume design and selection, sewing and no sewing costumes, accessorizing, hair and makeup and presenting to the world the very best belly dancer that you can be."Becoming a Belly Dancer: From Student to Stage" is a useful and inspiring tool that will help belly dancers to be ready for the big day, so they can dazzle, impress and wow with talent and style.

The Western approach to dance is largely focused on control and mastery of technique, both of which are certainly necessary skills for improving performance. But mindful attention, despite its critical role in high performance, has gotten short shrift—until now. Attention and Focus in Dance, a how-to book rooted in the 20 years of attentional focus findings of researcher Gabriele Wulf, will help dancers unlock their power and stamina reserves, enabling efficient movement, heightening their sensory perception and releasing their dance potential. Author Clare Guss-West—a professional dancer, choreographer, teacher and holistic practitioner—presents a systematic, science-based approach to the mental work of dance. Her approach helps dancers hone the skills of attention, focus and self-cueing to replenish energy and enhance their physical and artistic performance. A Unique, Research-Based Approach Here is what Attention and Focus in Dance offers readers: A unique approach, connecting the foundations of Eastern movement with Western movement forms Research-based teaching practices in diverse contexts, including professional dance companies, private studios, and programmes for dancers with special needs or movement challenges Testimonies and tips from international professional dancers and dance educators who use the book’s approach in their training and teaching A dance-centric focus that can be easily integrated into existing training and teaching practice, in rehearsal, or in rehabilitation contexts to provide immediate and long-term benefits Guss-West explores attentional focus techniques for dancers, teachers and dance health care practitioners, making practical connections between research, movement theory and day-to-day dance practice. “Many dancers are using excessive energy deployment and significant counterproductive effort, and that can lead to a global movement dysfunction, lack of stamina and an increased risk of injury,” says Guss-West. “Attentional focus training is the most relevant study that sport science and Eastern-movement practice can bring to dance.” Book Organisation The text is organised into two parts. Part I guides dancers in looking at the attentional challenges and information overload that many professional dancers suffer from. It outlines the need for a systematic attention and focus strategy, and it explains how scientific research on attentional focus relates to dance practice. This part also examines the ways in which Eastern-movement principles intersect with and complement scientific findings, and it examines how the Eastern and scientific concepts can breathe new life into basic dance elements such as posture, turnout and port de bras. Attention and focus techniques are included for replenishing energy and protecting against energy depletion and exhaustion. Part II presents attention and focus strategies for teaching, self-coaching and cueing. It addresses attentional focus cues for beginners and for more advanced dancers and professionals, and it places attentional focus in the broader context of holistic teaching strategies. Maximising Dance Potential “Whether cueing others or yourself, cueing for high performance is an art,” Guss-West says. “Readers will discover how to format cues and feedback to facilitate effective neuromuscular response and enhance dancer recall of information and accessibility while dancing.” Attention and Focus in Dance offers an abundance of research-backed concepts and inspirational ideas that can help dancers in their learning and performance. This book aids readers in filtering information and directing their focus for optimal physical effect. Ultimately, it guides dancers and teachers in being the best version of themselves and maximising their potential in dance.