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Brazilian Bodies, and their Choreographies of Identification retraces the presence of a particular way of swaying the body that, in Brazil, is commonly known as ginga . Cristina Rosa its presence across distinct and specific realms: samba-de-roda (samba-in-a-circle) dances, capoeira angola games, and the repertoire of Grupo Corpo.

Ten international dramaturg-scholars advance proposals that reset notions of agency in contemporary dance creation. Dramaturgy becomes driven by artistic inquiry, distributed among collaborating artists, embedded in improvisation tasks, or weaved through audience engagement, and the dramaturg becomes a facilitator of dramaturgical awareness.

Ten international dramaturg-scholars advance proposals that reset notions of agency in contemporary dance creation. Dramaturgy becomes driven by artistic inquiry, distributed among collaborating artists, embedded in improvisation tasks, or weaved through audience engagement, and the dramaturg becomes a facilitator of dramaturgical awareness.

This book offers new ways of thinking about dance-related artworks that have taken place in galleries, museums and biennales over the past two decades as part of the choreographic turn. It focuses on the concept of intersubjectivity and theorises about what happens when subjects meet within a performance artwork. The resulting relations are crucial to instances of performance art in which embodied subjects engage as spectators, participants and performers in orchestrated art events. Choreographing Intersubjectivity in Performance Art deploys a multi-disciplinary approach across dance choreography and evolving manifestations of performance art. An innovative, overarching concept of choreography sustains the idea that intersubjectivity evolves through places, spaces, performance and spectatorship. Drawing upon international examples, the book introduces readers to performance art from the South Pacific and the complexities of de-colonising choreography. Artists Tino Sehgal, Xavier Le Roy, Jordan Wolfson, Alicia Frankovich and Shigeyuki Kihara are discussed.

Choreographic Dwellings: Practising Place offers new readings of the kinaesthetic experiences of site-specific and nomadic performance, parkour, installation and walking practices. It extends the remit of the choreographic by reframing the kinaesthetic qualities of place as action.

This book renews thinking about the moving body by drawing on dance practice and performance from across the world.

This book examines modern dance as a form of embodied resistance to political and cultural nationalism in India through the works of five selected modern dance makers: Rabindranath Tagore, Uday Shankar, Shanti Bardhan, Manjusri Chaki Sircar and Ranjabati Sircar.

Through seven key case studies from Khan's oeuvre, this book demonstrates how Akram Khan's 'new interculturalism' is a challenge to the 1980s western 'intercultural theatre' project, as a more nuanced and embodied approach to representing Othernesses, from his own position of the Other.

This study is the first monograph on the work of French choreographer Jerome Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016.

This book renews thinking about the moving body by drawing on dance practice and performance from across the world.

This book analyses the world-renowned Belgian choreographer's key approaches and dramaturgical strategies through selected case studies from his oeuvre between 2000 and 2010, from Rien de Rien to Babel(words).

The first monograph on the work of British choreographer Jonathan Burrows, this book examines his artistic practice and poetics as articulated through his choreographic works, his writings and his contributions to current performance debates.

This book traces an engagement between intercultural dance company Marrugeku and unceded lands of the Yawuru, Bunuba, and Nyikina in the north west of Australia.

This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core.

Rather than a discussion of African dance per se, the author challenges hegemonic perceptions of contemporary African dance theatre to interrogate the extent to which white supremacy and privilege weave through capitalist necropolitics and determine our perception of contemporary African dance theatre today.