International Dance Day

First introduced in 1982 by the International Dance Council and now celebrated yearly on April 29th, the International Dance Day brings attention to the art of dance. It revels the universality of this art form that crosses all political, cultural and ethnic barriers and brings people together with a common language – Dance!

 

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“Let us read, and let us dance; these two amusements will never do any harm to the world.” – Voltaire

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To celebrate the Dance Day we invite you to browse Dance & Performance Studies series. Visit series webpage and use code DPS16 at checkout to receive 25% discount on all titles within the series (valid for the next 30 days).

Continue reading “International Dance Day”

International Dance Day

First introduced in 1982 by the International Dance Council and now celebrated yearly on April 29th, the International Dance Day brings attention to the art of dance. It revels the universality of this art form that crosses all political, cultural and ethnic barriers and brings people together with a common language – Dance!

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“Let us read, and let us dance; these two amusements will never do any harm to the world.” – Voltaire

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To celebrate the Dance Day we invite you to browse Dance & Performance Studies series. Visit series webpage and use code DPS15 at checkout to receive 25% discount on all titles within the series (valid for the next 30 days). Grounded in ethnography, this series explores dance, music and bodily movement in cultural contexts at the juncture of history, ritual and performance in an interconnected world.

 

LEARNING SENEGALESE SABAR
Dancers and Embodiment in New York and Dakar
Eleni Bizas Continue reading “International Dance Day”

Today in History of Performance Art

On this day in 1947, first-ever performance of Tennessee Williams’ play A Streetcar Named Desire thrilled the audience during it’s opening on the Broadway stage of Ethel Barrymore Theatre.

Produced by Irene Mayer Selznick and directed by Elia Kazan, the play shocked mid-century audiences with its frank depiction of sexuality and brutality onstage. When the curtain went down on opening night, there was a moment of stunned silence before the crowd erupted into a round of applause that lasted 30 minutes. On December 17, the cast left New York to go on the road. The show would run for more than 800 performances, winning numerous prizes and in 1951 was made into a movie.

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In relevance to the event Berghahn is delighted to offer an array of titles on Performance Studies:

 

PERFORMING PLACE, PRACTISING MEMORIES
Aboriginal Australians, Hippies and the State
Rosita HenryDuring the 1970s a wave of ‘counter-culture’ people moved into rural communities in many parts of Australia. This study focuses in particular on the town of Kuranda in North Queensland and the relationship between the settlers and the local Aboriginal population, concentrating on a number of linked social dramas that portrayed the use of both public and private space. Through their public performances and in their everyday spatial encounters, these people resisted the bureaucratic state but, in the process, they also contributed to the cultivation and propagation of state effects.

Continue reading “Today in History of Performance Art”