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This penetrating analysis of one of the most extraordinary fads ever to strike America details how dance marathons manifested a potent from of drama. Between the two world wars they were a phenomenon in which working-class people engaged in emblematic struggles for survival. Battling to outlast other contestants, the dancers hoped to become notable. There was crippling exhaustion and anguish among the contenders, but ultimately it was the coupling of authentic pain with staged displays that made dance marathons a national craze. Within the well-controlled space of theatre they revealed actual life's unpredictability and inconsistencies, and, indeed, the frightful aspects of social Darwinism. In this grotesque theatrical setting we see also a horrifying metaphor - the ailing nation grappling with difficult times.
The author draws upon the humanities and social sciences to analyze the meaning and significance of this form of aberrant play. Dance of the Sleepwalkers is descriptive of a freak form of amusement but, more importantly, it identifies the posture of Americans living in modern times, the automaton!
Examines how popular culture during the Great Depression and later during the Second World War influenced the lives of women.
This dynamic collection documents the rich and varied history of social dance and the multiple styles it has generated, while drawing on some of the most current forms of critical and theoretical inquiry. The essays cover different historical periods and styles; encompass regional influences from North and South America, Britain, Europe, and Africa; and emphasize a variety of methodological approaches, including ethnography, anthropology, gender studies, and critical race theory. While social dance is defined primarily as dance performed by the public in ballrooms, clubs, dance halls, and other meeting spots, contributors also examine social dance’s symbiotic relationship with popular, theatrical stage dance forms. Contributors are Elizabeth Aldrich, Barbara Cohen-Stratyner, Yvonne Daniel, Sherril Dodds, Lisa Doolittle, David F. García, Nadine George-Graves, Jurretta Jordan Heckscher, Constance Valis Hill, Karen W. Hubbard, Tim Lawrence, Julie Malnig, Carol Martin, Juliet McMains, Terry Monaghan, Halifu Osumare, Sally R. Sommer, May Gwin Waggoner, Tim Wall, and Christina Zanfagna.
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Intercepted e-mails alert Homeland Security to the possibility of a terrorist attack on South Florida staged from a Bahamian island. Rhonda and Morgan Early are again recruited by the Drug Enforcement Administration to monitor suspicious activity on Bimini, located just fifty miles from Miami. Ahmed Atta needs money to implement his plan to kill sixty-five thousand Americans. He busts convicted cartel leader Victor Torres from jail for one million dollars. When Rhonda and Morgan learn of suspicious activity on Bimini, they rush to the island to thwart any potential danger. Torres inadvertently assists the terrorists by attempting to avenge his earlier capture by Morgan and Rhonda. He snatches their son and lures them to his trafficking headquarters on Plana Cay with the intent to brutally murder them. Meanwhile, Ahmed Atta's brilliant plan to kill an unfathomable number of Americans proceeds unabated.
"In October 2017, four internationally influential practitioners of immersive experiences gathered at the Snug Harbor Cultural Center on Staten Island in New York for a panel discussion on the creation of immersive productions. The panel, entitled "All the World is a Stage," was part of the Future of Storytelling Festival 2017 (FoST FEST), advertised as "the world's leading immersive storytelling event." During this discussion, each of the four panelists described examples of their work. Hector Harkness, Associate Director of Punchdrunk International, explained how the company created productions that "rip up the rules for the audience" so they can "go beyond the boundaries of closed environ...
Details the Roaring Twenties in American history discussing presidents, the Eighteenth Amendment, Nineteenth Amendment, expatriate writers, the Ku Klux Klan, the Harlem Renaissance, restricted immigration, the National Football League and more.
When political protest is read as epidemic madness, religious ecstasy as nervous disease, and angular dance moves as dark and uncouth, the 'disorder' being described is choreomania. At once a catchall term to denote spontaneous gestures and the unruly movements of crowds, 'choreomania' emerged in the nineteenth century at a time of heightened class conflict, nationalist policy, and colonial rule. In this book, author K lina Gotman examines these choreographies of unrest, rethinking the modern formation of the choreomania concept as it moved across scientific and social scientific disciplines. Reading archives describing dramatic misformations-of bodies and body politics-she shows how prejudi...