By Eric Franklin
ISBN-10: 0736041567
ISBN-13: 9780736041560
Even the easiest experience of rhythm, the main cautious technical education, and the main astute dance instinct arent sufficient to make a dancer actually excel you furthermore may want targeted power, stability, and adaptability to execute the events with strength and charm. Conditioning for Dance improves your procedure and function in all dance types by way of strengthening the bodys middle (abdominal and again muscle groups) whereas bettering coordination, stability, and alignment and optimizing flexibility. the result's extra elevate with out stress, deeper pliés, larger jumps with much less attempt, tighter turns, and more suitable extension and turnout.
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Additional info for Conditioning for dance
Sample text
Even as the reports list the disciplinary measures taken to suppress dancing and argue—repeatedly—that the practices are just about to die out, Native peoples’ subtle and not so subtle refusals of agents’ categorizations and restrictions bubble up throughout. Agents’ exasperated tones and frustrations with continuing dance practices, as well as their recurring assurances, repeated year after year, that the dances will soon be a thing of the past, demonstrate the multiple ways Native dancers refused, rejected, and reframed the prohibitions in ways that allowed dancing, and the validating of worldviews they embodied and affirmed, to continue.
Teller argues that the dances (the “scalp dance” and “war dance” were explicitly named as offensive) are not “social gatherings for the amusement of these people,” and thus presumably 39 40 HAVE TH EY A RIG HT? harmless, but rather “heathenish” and dangerous. This stricture on war dances is repeated in Commissioner of Indian Affairs Thomas J. Morgan’s 1892 reissue of the Rules for the Courts of Indian Affairs. Less than a decade later, however, the tenor and rhetoric of official federal restrictions on Indian dances shifted.
Also signal another attempt at corporeal control, here, an attempt to control and replace bodily participation with written representation as mark and location of history. These agents’ reports and many others like them thus worked to establish Indian dances and dancing as constitutive of Indian “otherness,” and to replace the authority of dancing practices that require the physical participation/ witnessing and active investment of not only Aboriginal bodies but also of the bodies of agents and other authorities, with authoritative written representation of it.
Conditioning for dance by Eric Franklin
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