The College at Brockport is very proud to showcase works by our faculty authors. This Bookshelf features works published by the faculty and professionals (both current and former) of the Department of Dance. It also includes items that have contributions by our authors including chapters, videos and essays.
Patrons of The College at Brockport may check these books out at Drake Memorial Library. Otherwise, please use your library's Interlibrary Loan program to request them from us.
By Maxine Sheets-Johnstone, former College at Brockport visiting professor.
Putting Movement into Your Life: A Beyond Fitness Primer is both playful and serious, bridging both popular and scholarly texts. It is engagingly written with two reflective stopping posts -- Ponderabilia -- per chapter that offer slow food for thought on a diversity of topics related to the immediate topic in the text. The book is definitely NOT an exercise book or a self-help book, but a book about movement that breaks new ground in lively and creative ways while remaining anchored in everyday life. In so doing, it answers to the growing attempt by numerous individuals, organizations, and businesses to promote health by promoting movement.
Amanda Williamson, Glenna Batson, Sarah Whately, Rebecca Weber, and Sondra Horton Fraleigh The College at Brockport
Edited by Amanda Williamson, Glenna Batson, Sarah Whately, and Rebecca Weber.
Contains a chapter written by Sondra Fraleigh, former College at Brockport faculty member: Permission and the making of consciousness.
"Presenting a rich mosaic of embodied contemporary narratives in spirituality and movement studies, this book explicitly studies the relationship between spirituality and the field of Somatic Movement Dance Education. It is the first scholarly text to focus on contemporary spirituality within the domain of dance and somatic movement studies. ...[It] brings together prominent authors and practitioners in order to elucidate how a wide range of sacred narratives/spiritualities are informing pedagogy, educational and therapeutic practice. As well as providing new insights and promoting creative/artistic awareness, this seminal text de-mystifies the spiritual/sacred and brings clarity and academic visibility to this largely uncharted and often misrepresented subject."--Back cover
Gabriele Brandstetter, Gabriele Klein, Susan Leigh Foster, Melanie Haller, and Heike Luken
Edited by: Gabriele Brandstetter and Gabriele Klein, with the editorial assistance of Melanie Haller and Heike Luken.
Includes a chapter by former College at Brockport faculty member Susan Leigh Foster: Dancing and theorizing and theorizing dancing.
Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology of revisions of the papers and proceedings of an international conference held in April 2011 in Berlin collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the "next generation."
Dena Davida, Juanita Suarez, and Anne Flynn
Edited by Dena Davida.
Includes chapters by College at Brockport faculty member Juanita Suarez: Spectres of the dark : the dance-making manifesto of Latina/Chicana choreographies ; and co-authored by College at Brockport alumna Anne Flynn: Epilogue : theory that acts like dancing : the autoethnographic strut.
Fields in Motion: Ethnography in the Worlds of Dance examines the deeper meanings and resonances of artistic dance in contemporary culture. The book comprises four sections: methods and methodologies, autoethnography, pedagogies and creative processes, and choreographies as cultural and spiritual representations. The contributors bring an insiders insight to their accounts of the nature and function of these artistic practices, giving voice to dancers, dance teachers, creators, programmers, spectators, students, and scholars.
International and intergenerational, this collection of groundbreaking scholarly research points to a new direction for both dance studies and dance anthropology. Traditionally the exclusive domain of aesthetic philosophers, the art of dance is here reframed as cultural practice, and its significance is revealed through a chorus of voices from practitioners and insider ethnographers.
By Maxine Sheets-Johnstone, former College at Brockport visiting professor.
This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set forth in phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity.
Sondra Horton Fraleigh
By Sondra Fraleigh [College at Brockport emeritus].
"Both a refraction of the bombings of Hiroshima and Nagasaki and a protest against Western values, butoh is a form of Japanese dance theater that emerged in the aftermath of World War II. Sondra Fraleigh chronicles the growth of this provocative art form from its midcentury founding under a sign of darkness to its assimilation in the twenty-first century as a poignant performance medium with philosophical and political implications. Employing intellectual and aesthetic perspectives to reveal the origins, major figures, and international development of the dance, Fraleigh documents the range and variety of butoh artists around the world with first-hand knowledge of butoh performances from 1973 to 2008. Her definitions of butoh's morphology, alchemy, and philosophy set a theoretical framework for poetic and engaging articulations of twenty butoh performances in Japan, Europe, India, and the West. With a blend of scholarly research and direct experience, she also signifies the unfinished nature of butoh and emphasizes its capacity to effect spiritual transformation and bridge cultural differences."--Publisher.
Foster Susan Leigh
By Susan Leigh Foster, former College at Brockport faculty member.
"This is an urgently needed book – as the question of choreographing behavior enters into realms outside of the aesthetic domains of theatrical dance, Susan Foster writes a thoroughly compelling argument." – André Lepecki, New York University
"May well prove to be one of Susan Foster’s most important works." – Ramsay Burt, De Montford University, UK
What do we feel when we watch dancing? Do we "dance along" inwardly? Do we sense what the dancer’s body is feeling? Do we imagine what it might feel like to perform those same moves? If we do, how do these responses influence how we experience dancing and how we derive significance from it?
Choreographing Empathy challenges the idea of a direct psychophysical connection between the body of a dancer and that of their observer. In this groundbreaking investigation, Susan Foster argues that the connection is in fact highly mediated and influenced by ever-changing sociocultural mores.
Foster examines the relationships between three central components in the experience of watching a dance – the choreography, the kinesthetic sensations it puts forward, and the empathetic connection that it proposes to viewers. Tracing the changing definitions of choreography, kinesthesia, and empathy from the 1700s to the present day, she shows how the observation, study, and discussion of dance have changed over time. Understanding this development is key to understanding corporeality and its involvement in the body politic.
Jo Butterworth, Liesbeth Wildschut, and Susan Leigh Foster
Edited by Jo Butterworth and Liesbeth Wildschut.
Contains chapter by Susan Leigh Foster, former College at Brockport dance faculty member: 'Throwing like a girl'? : gender in a transnational world.
This innovative text provides a range of articles covering choreographic enquiry, investigation into the creative process, and traditional understandings of dance making. It features contributions by practitioners and researchers from Europe, America, Africa, Australasia and the Asia-Pacific region, investigating the field in six broad domains: Conceptual and philosophic concerns, Educational settings, Communities, Changing aesthetics, Intercultural choreography, Choreography's relationships with other disciplines. By capturing the essence and progress of choreography in the twenty-first century this reader supports and encourages rigorous thinking and research for future generations of dance practitioners and scholars.
Susan Leigh Foster
Edited by Susan Leigh Foster, former College at Brockport faculty member.
What world has been constructed for dancing through the use of the term 'world dance'? What kinds of worlds do we as scholars create for a given dance when we undertake to describe & analyze it? This book endeavours to make new epistemological space for the analysis of the world's dance by offering a variety of new approaches.
By Maxine Sheets-Johnstone, former College at Brockport visiting professor.
The purpose of The Corporeal Turn is to document in a single text the impressive array of investigations possible with respect to the body and bodily life, and to show that, whatever the specific topic being examined, it is a matter of fathoming and elucidating complex and subtle structures of animate meaning. The corporeal turn is envisioned as an ever-expanding, continuous, and open-ended spiral of inquiry in which deeper and deeper understandings are forged, understandings that in each instance themselves call out for deeper and deeper inquiries. The first thirteen essays have already been published as distinct articles. The two new essays constituting the final two chapters are testimony to this open-ended spiral of inquiry.
By Maxine Sheets-Johnstone, former College at Brockport faculty member.
This book argues the case for a foundationalist ethics centrally based on an empirical understanding of human nature. For Maxine Sheets-Johnstone, "an ethics formulated on the foundations of anything other than human nature, hence on anything other than an identification of pan-cultural human realities, lacks solid empirical moorings. It easily loses itself in isolated hypotheticals, reductionist scenarios, or theoretical abstractions - in the prisoner's dilemma, selfish genes, dedicated brain modules, evolutionary altruism, or psychological egoism, for example - or it easily becomes itself an ethical system over and above the ethics it formulates," such as the deontological ethics of Kantian categorical imperatives, the utilitarianism of Bentham and Mill, or the ethics of care." "Taking her cue from Hume, especially his Treatise on Human Nature, where he grounds "the moral sense" in human nature seen as always in tension between the natural tendencies of selfish acquisitiveness and sympathy for others, Sheets-Johnstone pursues her phenomenological investigation of the natural basis of human morality by directing her attention, first to what is traditionally considered the dark side of human nature, and then to the positive side. The tension between the two calls for an interdisciplinary therapeutic resolution, which she offers in the epilogue by arguing for the value of a moral education that enlightens humans about their own human nature, highlighting both the socialization of fear and the importance of play and creativity."--Jacket.
Susanne Franco, Marina Nordera, and Susan Leigh Foster
Edited by Susanne Franco and Marina Nordera ; in conjunction with the Centre national de la danse.
Includes a chapter by former College at Brockport faculty member Susan Leigh Foster: Dido's otherness: choreographing race and gender in the ballet d'action.
Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of new methodological approaches – with specific case studies – and how they can be applied to the study of ballet and modern dance. With an introduction exploring the history of dance studies and the development of central themes and areas of concerns in the field, the book is then divided into three parts: politics explores 'Ausdruckstanz' – an expressive dance tradition first formulated in the 1920s by dancer Mary Wigman and carried forward in the work of Pina Bausch and others gender examines eighteenth century theatrical dance – a time when elaborate sets, costumes, and plots examined racial and sexual stereotypes identity is concerned with modern dance. Exploring contemporary analytical approaches to understanding performance traditions, Dance Discourses' pedagogical structure makes it ideal for courses in performing arts and humanities.
Dianne L. Woodruff
Narrated and demonstrated by Dianne L. Woodruff [former College at Brockport faculty member].
"An integrated fitness program for anyone who wants to move well -- even non-exercisers who don't know where, or how, to start." Inspired by Bartenieff Fundamentals of movement, Rudolf Laban's Space harmony, and resistance training. Develops coordination, flexibility and lean muscle mass. Strengthens your muscles and joints for function, efficiency and endurance. It also improves your balance, flexibility, coordination, spatial awareness and grounding.
Judith Chazin-Bennahum, Bill Evans, and Susan Leigh Foster
Edited by Judith Chazin-Bennahum.
Includes chapter by College at Brockport Visiting Professor/Guest Artist Bill Evans. Teaching movement analysis.
Also includes a chapter for College at Brockport former faculty member Susan Leigh Foster: Dance theory?
A practical guide, written by college professors and dancers/choreographers active in the field, introducing key issues in dance pedagogy. Many young people graduating from universities with degrees – either PhDs or MFAs – desire to teach dance, either in college settings or at local dance schools. This collection covers all areas of dance education, including improvisation/choreography; movement analysis; anthropology; theory; music for dance; dance on film; kinesiology/injury prevention; notation; history; archiving; and criticism.
Sondra Horton Fraleigh
By Sondra Fraleigh.
Combining critical analysis with personal history and poetry, Dancing Identity presents a series of interconnected essays composed over a period of fifteen years. Taken as a whole, these meditative reflections on memory and on the ways we perceive and construct our lives represent Sondra Fraleigh's journey toward self-definition as informed by art, ritual, feminism, phenomenology, poetry, autobiography, and-always-dance.
Fraleigh's brilliantly inventive fusions of philosophy and movement clarify often complex philosophical issues and apply them to dance history and aesthetics. She illustrates her discussions with photographs, dance descriptions, and stories from her own past in order to bridge dance with everyday movement. Seeking to recombine the fractured and bifurcated conceptions of the body and of the senses that dominate much Western discourse, she reveals how metaphysical concepts are embodied and presented in dance, both on stage and in therapeutic settings.
Examining the role of movement in personal and political experiences, Fraleigh reflects on her major influences, including Moshe Feldenkrais, Kazuo Ohno, and Twyla Tharp. She draws on such varied sources as philosophers Simone de Beauvoir and Martin Heidegger, the German expressionist dancer Mary Wigman, Japanese Butoh founder Tatsumi Hijikata, Hitler, the Bomb, Miss America, Balanchine, and the goddess figure of ancient cultures. Dancing Identity offers new insights into modern life and its reconfigurations in postmodern dance.
by: Maxine Sheets-Johnstone, former College at Brockport visiting professor.
This interdisciplinary work demonstrates, by steadfast attention to corporeal matters of fact, how the concept of power and of power relations is rooted in bodily life, in animate form. It first shows how Foucault's "optics of power" is Sartre's "The Look" writ large, and proceeds to explain how optics of power are undergirded by a "power of optics" which has its roots in our primate evolutionary heritage. The exploration of an evolutionary genealogy leads in turn into extended examinations and exemplifications of corporeal and intercorporeal archetypes. Moving easily through biological, anthropological and psychological domains, and informed by keen philosophical reflection, "The Roots of Power" aims to show how the personal and political are fundamentally joined in the body, that is, how the political defines us both as creatures of a natural history and as culturally - and individually - groomed bearers of meaning. Sheets-Johnstone assesses the complex of topics that progressively surfaces such as females' being receptive "year-round", male threat/female vulnerability, Sartre's characterisation of females' being "in the form of a hole", and proposed relationships between aggression and sex.