By Erin Manning
Read or Download Always More Than One PDF
Best dance books
The entice of Perfection: type and Ballett, 1780-1830 bargains a different examine how ballet inspired modern model and women's physique photo, and the way highway models in flip have been mirrored via the costumes worn via ballet dancers. via years of analysis, the writer has traced the interaction among type, social tendencies, and the advance of dance.
The occupation of Norton and Margot, a ballroom dance group whose paintings was once thwarted via the racial tenets of the period, serves because the barometer of the days and acts because the travel advisor in this expedition in the course of the worlds of African American vaudeville, black and white the US in the course of the swing period, the ecu traveling circuit, and pre-Civil Rights period racial etiquette.
Maya Plisetskaya, one of many world’s prime dancers, rose to turn into a prima ballerina of Moscow’s Bolshoi Ballet after an formative years jam-packed with tragedy and loss. during this lively memoir, Plisetskaya displays on her own odyssey, offering a different view of the lifetime of a Soviet artist in the course of the stricken interval from the overdue Nineteen Thirties to the Nineteen Nineties.
Kathak, the classical dance of North India, combines virtuosic footwork and striking spins with sophisticated pantomime and delicate gestures. As an international perform and one among India's cultural markers, kathak dance is frequently awarded as inheritor to an historic Hindu devotional culture during which males referred to as Kathakas danced and instructed tales in temples.
Additional info for Always More Than One
Each one present[ing] a different vitality affect” (1985, 56). Vitality affects function in the associated milieu of relation: they merge with experience’s tendings-toward feeling and emerge as the feeling of the event. Stern writes: “The social world experienced by the infant is primarily one of vitality affects before it is a world of formal acts” (1985, 57). Vitality affects color immanent events. Not yet experienced as such, immanent events are the nexus through which experience begins to form.
Extrude the body, as William Forsythe would say, to find this movement in the more-than, to find the movement-moving coursing through actual movement. There are an infinity of ways of touching on the more-than that is movement-moving. Dance is one example. What dance gives us are techniques for distilling from the weave of total movement a quality that composes a bodying in motion. This quality is a vibration that exists as a movement of thought. Not a thinking that is outside, beyond movement-moving, but a thinking that composes-with movement, with-body-in-the-making.
Lures for feeling do not achieve form per se. They generate attunements, tendencies, force of form. This is why Whitehead speaks of “subjective form” more than of form itself. What an occasion ultimately achieves is strictly speaking not a form but a tending, a mobile ecology. An occasion is less an object or a body than a node of relation expressing itself momentarily as this or that—an edging into object, a swerving into body. The how or the expressivity of this relational node is the occasion’s subjective form.