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Dance + is an Indian dance competition show on Star Plus. Remo D'Souza has taken the show to 'one level up' as contestants face his special squad. Raghav Juyal is the host while Dharmesh Yelande, Puneet Pathak, Suresh Mukund and Karishma Chavan are the captains.

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149 episodes

Series Premiere

1x01 The audition round


1x02 Final selection round


1x03 Gauhar boosts the contestants


1x04 Saif, Katrina On Dance + Floor


1x05 Shakti scores a hat-trick!


1x06 'Welcome Back' stars on the show


1x07 Salman, Sooraj, Athiya drop by


1x08 Fight for the sixth spot


1x09 Meet the fans of the top eight


1x10 Who gets selected in the top four?


1x11 Akshay, Prabhu Deva drop by


1x12 The Dance + finale

Season Premiere

2x01 Dance + Season 2 Takes Off


2x02 Teams Get Going


2x03 Final Selection Round


2x04 Final Chance To Make Top 12


2x05 The Grand Premiere


2x06 Punit Throws A Challenge


2x07 Dance + Goes Dishoom


2x08 New Additions to the Top Six


2x09 Tiger Shroff on the Show


2x10 Tiger Shroff Is Impressed


2x11 Shakti and Punit's Challenge


2x12 A Tribute To Remo


2x13 Hrithik, Bowled Over!


2x14 Faizan Malik is Back


2x15 Independence Day Special


2x16 The Competition Becomes Tough


2x17 Sonakshi Joins The Dance Party


2x18 Dancers Ka Super Tadka!


2x19 Pt Birju Maharaj is all Praise!


2x20 Making it to the Finals


2x21 Prabhudeva, Sonu Sood Impressed


2x22 Second Finalist Announced!


2x23 The Four Finalists are Announced!


2x24 Riteish And Nargis On The Show


2x25 Sushant Singh Rajput On the Set


2x26 Sakshi, Ranbir Rock The Finale

Season Premiere

3x01 Remo Is Back!


3x02 Talent Unlimited


3x03 Don't Angry Me, Says Remo


3x04 Dance Like Never Before


3x05 It Gets Tough For Remo


3x06 Dancing Against All Odds


3x07 Grand Premiere!


3x08 International Squad Challenge


3x09 Jab King Khan Met The Contestants


3x10 An Exciting Showdown


3x11 Dytto On Raksha Bandhan Special!


3x12 Desi Dancers Notch It Up


3x13 Akshay Kumar On The Show


3x14 The Hindustani Spirit


3x15 Dance + Pe Bareilly Ki Barfi


3x16 Presenting Philippine All-Stars


3x17 Sidharth, Jacqueline Drop By


3x18 Women Cricketers in Action


3x19 Govinda Ala Re!


3x20 Amardeep's Emotional Act


3x21 Here are the 'Poster Boys'


3x22 'Haseena' on the D+ Stage!


3x23 Farah Turns 25; Kangana Rocks!


3x24 Tiger, Terence and the Top 4!


3x25 Judwaa 2 Stars Spice It Up


3x26 Dance Ke Deva Graces the Finale

Season Premiere

4x01 Meet the Talent and the 'Plus'


4x02 Dancers with Extraordinary Talent


4x03 Dance Is For All!


4x04 Some Mind-Blowing Performances


4x05 Shilpa Shetty Joins the Action


4x06 Shilpa Shetty Grooves on the Show


4x07 Bad Contemp Raises the Bar


4x08 The Unbeatable Dream


4x09 Royal Family Is Here to Compete


4x10 Karisma Kapoor on the Show


4x11 Karisma Sets the Stage Afire!


4x12 Cheer for Terence, Geeta, Remo!


4x13 Karen, Ricardo Steal the Show


4x14 A Surprise Awaits Vartika, Chetan


4x15 Shovana Narayan Graces the Show


4x16 Cricket ke Dev, Kapil Dev Is Here


4x17 The Dance Battle Is on


4x18 Remembering the Diva, Sridevi


4x19 B-Unique Crew Give Their Best


4x20 Ranveer, Sara On the Show


4x21 Ranveer, Sara Are Overwhelmed


4x22 Hero No 1, Govinda Is Here


4x23 Dancing with Govinda


4x24 SRK, Anushka, Katrina on the Show


4x25 A Tribute to King Khan


4x26 All for the Dance Legend, Remo


4x32 Performance Infused with Wonder


4x34 Season 4 Finale

Season Premiere

5x01 Episode 1


5x02 Episode 2


5x03 Episode 3


5x04 Episode 4


5x05 Episode 5


5x06 Episode 6


5x07 Episode 7


5x08 Episode 8


5x09 Episode 9


5x10 Episode 10


5x11 Episode 11


5x12 Episode 12


5x13 Episode 13


5x14 Episode 14


5x15 Episode 15


5x16 Episode 16


5x17 Episode 17


5x18 Episode 18


5x19 Episode 19


5x20 Episode 20


5x21 Episode 21


5x22 Episode 22


5x23 Episode 23


5x24 Episode 24


5x25 Episode 25


5x26 Episode 26


5x27 Episode 27


5x28 Episode 28


5x29 Episode 29


5x30 Episode 30


5x31 Episode 31

Season Premiere

6x01 The Dancing Gurus are Back


6x02 An Array of Splendid Performances


6x03 Who will make the cut


6x04 Mega Auditions begin


6x05 Mega auditions part 2


6x06 The Dance Icon Challenge


6x07 Prabhu Deva rocks the Stage


6x08 The First Battle Plus


6x09 Badshah in the House


6x10 The Competition Heats Up


6x11 Episode 11


6x12 Episode 12


6x13 Episode 13


6x14 Episode 14


6x15 Episode 15


6x16 Episode 16


6x17 Episode 17


6x18 Episode 18


6x19 Episode 19


6x20 Episode 20


6x21 Episode 21


6x22 Episode 22


6x23 Episode 23


6x24 Episode 24


6x25 Episode 25


6x26 Episode 26


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What is the difference between a dance and a dance • Episode transcript • Arzamas

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CourseWhat is modern danceAudio lecturesMaterials

Contents of the third lecture from Irina Sirotkina's course "What is modern dance"

In the last lecture we were convinced that dance is not so alien to philosophy as ignorant people used to think about it. Our next step is to show that dance can very well be a philosophy. Remember Nietzsche said that you need to philosophize with both your feet and your head? How they think with their heads seems to be clear. But is it possible to "think with your feet"? But some famous dancers speak directly about this. One of the creators of postmodern dance, Merce Cunningham (we will return to him later), stated: “I am no more philosophical than my legs.” nine0004

The more you get to know the dance, the more you notice contradictions in it. On the one hand, dance is liberation, emancipation of the body. On the other hand, there are a lot of rules in the dance. For example, when dancing with a partner and walking freely, it is important not to step on his or her foot.

Balls have always had very strict rules regarding not only the sequence of movements in each dance, but also the sequence of dances. The aristocratic ball opened with a polonaise, followed by more cheerful mazurka and cotillion. It was carefully prescribed who would dance with whom: it was indecent to dance more than three times with the same gentleman. The outfit was even more strictly controlled: it was obligatory to wear gloves (white and always clean) so that, God forbid, not to touch the skin of a partner. In other words, the ball is very, very codified by custom, rules, prescriptions. However, by the end of it, "ballroom liberties" could also increase. No wonder loves and marriages began at balls. nine0004

Yuri Mikhailovich Lotman wrote something like this: dance exists in the space between discipline and freedom, order and liberties. This is true not only about ballroom dancing, but about dance in general. The existence between order and freedom is the first dilemma of dance, which we will talk about today. By the way, the presence of two different words in the Russian language is connected with it: "dance" and "dance". These words are not full synonyms, they mean different things (I call them concept words). And their origin is different. "Dance" is a word borrowed from the German language (der Tanz), "dance" is a native Russian. The word "dance" entered the Russian language at the same time when the first balls, or "assemblies" appeared, which were arranged by Peter I.

If we place dance and dance on a scale with maximum freedom on one pole and maximum order on the other, then the dance will be closer to the pole of freedom, and the dance will be closer to the pole of order. In dance, as we have seen, there is also freedom, but in dance there is more of it. We call dance a passionate, wild, free, ecstatic dance. Unlike dance, dance is subject to regulations, the rules of the civilization that created it, the laws of art. Dance and dance in a sense oppose each other, like a free expression of feelings - self-control. nine0004

You have probably heard the expressions “nerves dance”, “soul dances”. Buffoons are dancing, a tightrope walker is dancing in the sky above the fair. Buffoons in their dance triumph over the prohibitions of the official repressive culture - it was not for nothing that the church forbade buffoon games. And the buffoons themselves were severely punished: in Andrei Tarkovsky's film "Andrey Rublev", the buffoon is cut off his seditious language.

Free from conventions and restrictions, dance is subject only to music, which itself is an emotional element. The dance cannot be "performed", it can only be surrendered to - like passion or ecstasy, "start dancing". nine0004

As we can understand, dance and dance are also class antipodes: rich and noble people “dance” at balls, peasants “dance”, ordinary townspeople - in a word, the people. The dance is democratic, the dance is aristocratic. Remember how in "War and Peace" Natasha Rostova, trained only in ballroom dancing, unexpectedly for everyone (and perhaps for herself) dances "Russian" to her uncle's guitar - with the full approval of the peasants.

Some even talk about the "dancing instinct", supposedly universal for all people, but I will not subscribe to the biological word "instinct". I prefer to stay in the realm of culture when talking about dance rather than speculating that animals also dance. It seems to me that we are talking about different phenomena here. nine0004

Of course, dance and dancing have a lot in common. Both serve for communication - not only personal, tete-a-tete, but, as sociologists say, are included in the processes of group communication. This is especially noticeable in some dances: look, for example, how much pride and challenge in the movements of flamenco dancers. And in Russian dances, men even have special knees: trick, breaking (hence the colloquial “Well, why are you breaking out?”), snorting, frightening, trepak. This is a challenge, intimidation of an opponent, maintaining one's own morale. They are performed, for example, during aggressive courtship or as a provocation to a fight. Not without reason, at the end of rural holidays, after round dances and dances, street fights often took place. They fought wall to wall (for example, suitors because of a girl with the support of their teams) or on a geographical basis: street to street, edge to edge. Now this tradition has partly passed to modern street dance, street dance - hip-hop. Initially, this is a rivalry between two gangs from different quarters: as in a Russian village, they compete in prowess, intimidate each other, promising to give each other a trepak. nine0004

With this ability of street dancing - a symbolic confrontation - to develop into a real struggle, sometimes with bloodshed and self-mutilation, perhaps the distrust of the authorities in public holidays is connected. The authorities have always tried to put the dance under their control. In pre-revolutionary Russia, the introduction of folk festivals into a "civilized" framework was carried out, in particular, by public organizations - guardians of people's sobriety. In contrast to the taverns, they opened the so-called people's houses, where they drank tea, not vodka. In Soviet times, this tradition was continued by red corners, factory and village clubs, and Houses of Culture. They tried to subdue the free, uncontrollable energy of folk festivals and dances, introduce them into a disciplinary channel, and regulate. For this, they organized "amateur art" (which, of course, is a paradox - organized amateur performance). They published instructions for holding club evenings, collections of "mass games and dances". At 19In 28, at the All-Union Spartakiad, they even organized a “dance championship” between different peoples of the USSR.

The Pyatnitsky Choir, which arose even before the revolution and was an informal gathering of singers and musicians, became "state" and even "academic" under Soviet rule. On the wave of taming the "wild" dance, in the terrible year for the country in 1937, the first State Folk Dance Ensemble was created - it was permanently led by Igor Moiseev. A rather strange hybrid of folk dance and classical ballet appeared - the so-called folk stage dance. The dance began to be staged by special choreographers and taught in special schools, including cultural institutes. Finally, the dance rose to the very top of officialdom: "folk dances" were included in physical culture and other parades on Red Square. Moiseev, Kasyan Goleizovsky, and other professional choreographers, including those from the Bolshoi Theater, took part in staging the parades. nine0004

It is curious that when Isadora Duncan came to Russia on her first tour, her dance was so unusual, it was so different from both balls and ballet that it could not even be called a dance. Journalists, critics, fans unanimously wrote and spoke about Duncan as a dancer. They remembered Nietzsche again (Isadora herself ambitiously imagined herself “a battlefield contested by Apollo, Dionysus, Christ, Nietzsche and Richard Wagner”). Her dance has become for her fans a symbol of rebellion against a repressive culture, a space of individual freedom, where creativity and creation of oneself are possible, where the human "I", the personality, is revealed - or perhaps created for the first time. nine0004 Reenactment of Isadora Duncan's dance by Sylvia Gold. Music by Franz Schubert. 1979

As we remember, the “dancing philosopher” Nietzsche admitted that he would believe “only in such a God who could dance”, and considered lost “the day when we never danced”. He meant, commented Isadora, not pirouettes and entrecha, but "an expression of life's ecstasy in motion." Creating her dance - deeply emotional and personal - Duncan claimed to experience ecstasies on stage and revel in her own "will to dance." This is how she attracted spectators who admired the "rapture of joy of the dancer" and believed that she should be seen "if only because of this joy of hers to dance." Dance-ecstasy, dance-improvisation became the most characteristic utopia of the Silver Age. Man, wrote one of Duncan's followers, must first of all awaken his "will to improvise. " Dance improvisation is "the manifestation and realization of one's higher spiritual and physical "I"". Duncan's fans saw in her dance a means to restore the once lost integrity, to bridge the gap between mind and emotions, soul and body. No wonder her dance was called free, free. nine0004

Michel Foucault has a concept of biopower - this is how he calls the control that modern society exercises over the body of an individual. This is not so much about direct control, but about a set of cultural norms and practices for disciplining the body. It is required to discipline the body, to educate, to subordinate it to control and self-control precisely because they see a danger in the body. The awakening of bodily forces and energies can be fraught both for others and for the “owner of the body” itself.

nine0003 Conversely, physicality and dance are often seen as the last island of resistance, including resistance to a normative culture clothed in the words of an ideology.

The dancing body is more than a mere conductor of social norms. Unlike consciousness, it - so these people believe - is able to elude the rigid requirements of morality, relations of dominance and submission, the hypnosis of consumerism, consumerism. The body can become the basis for a radically different relationship. I will neither confirm nor refute this statement - I will leave it open so that the listeners themselves can explore the relations of order and freedom in their body and their dance. nine0004

More to read:

Bakhtin M. M. Folk-holiday forms and images in the novel Rabelais. The work of Francois Rabelais and the folk culture of the Middle Ages and the Renaissance. Ch. 3. M., 1990 .
Kreidlin G. E. Non-verbal semiotics. Body language and natural language. M., 2004 .
Lotman Yu. M. Conversations about Russian culture. Life and traditions of the Russian nobility (XVIII - early XIX century). Part 2: ball. nine0053 St. Petersburg, 1994.
Shay A. Choreographic Politics: State Folk Dance Companies, Representation, and Power. Middletown, 2002 .
Body history. M., 2012.

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How the dance affects the viewer • Episode transcript • Arzamas

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CourseWhat is modern danceAudio lecturesMaterials

Contents of the fifth lecture from Irina Sirotkina's course "What is modern dance"

Watching a dance or sports is even more interesting if you yourself are involved in dance, gymnastics or sports. As it is often said, "art is in the eye of the beholder". I see what I see, what my eye sees. And the art of dance is also “in the body of the beholder”, because a person perceives dance not only with his eyes, but with his whole body. This lecture is about the sense of movement, kinesthesia. It, this feeling, not only allows us to move and dance, but also serves as a kind of radar, helping to pick up the movements of others and understand the art of dancing. nine0004

What is the sense of movement, kinesthesia, everyone knows from their own experience. Remember, for example, the pleasant sensations when you get up after a long sitting, stretch, stretch your numb body.

The term "kinesthesia" appeared relatively recently, in the 20th century. Before him, they talked about "muscular", "dark" or even "sixth" sense. Sixth - because traditionally, starting with Aristotle, it is customary to count five senses: sight, hearing, touch, smell and taste. In the middle of the 19th century, the physiologist Ivan Mikhailovich Sechenov argued that when walking, the sensations from working muscles and from the contact of the foot with the ground or floor are important - the resulting feeling of support. Normally, if everything works well for us and nothing hurts, we are not aware of the work of the muscles, but only the movement itself. The sensations that a person experiences when moving, maintaining a posture, gesticulating, or tensing the vocal cords, as a rule, are not conscious or almost unaware. For this they were called a dark feeling and for a long time they were not separated from touch. nine0004

Compared to seeing or hearing, in which the source of sensations is external, kinesthetic sensations originate inside the body. The direct, immediate character of muscular feeling is its important advantage. As the same Sechenov wrote, muscular feeling "goes to the root." And according to the time of its occurrence, the "sixth" sense is actually the first. When an embryo grows in the mother's womb, it does not yet have sight and hearing, but it can already move. This means that he already has a muscular feeling; it is fundamental, basic, and all other feelings are built on top of it. nine0004

At the very beginning of the 20th century, the physiologist Charles Sherrington proposed to call the muscular feeling proprioception, and the neurologist Henry Bastien used the Greek word "kinesthesia" for the same: kinesis - "movement", aisthesis - "sensibility". Since then, this last term has firmly entered the scientific language and has already given rise to several derivative concepts: kinesthetic intelligence, kinesthetic empathy, and even kinesthetic imagination.

nine0003 The first of these concepts is kinesthetic intelligence. With the help of muscular sense, we perceive, in particular, spatial relations, thereby carrying out an elementary act of thinking about the relations of things in space. This act of thinking is colloquially called sometimes dexterity - the ability to cope with a motor task quickly and efficiently. And psychologists sometimes talk about motor talent and even measure this ability with special tests.

Dancers are well aware that "thinking" and "muscle" are close. American postmodern dancer Yvonne Rainer at 19In the 60s, she staged a dance, which was called: “The Mind Is a Muscle” (“Mind is a muscle”). Part of this composition, entitled "Trio A", consists of a repetitive series of simple, everyday movements: low jumps, arm swings, squats, and so on. All series are equivalent and follow each other without interruption. Movements are made slowly, under control, not relaxed, in real time and with real weight. The dancers do not stop their efforts and do not lose energy for a moment, showing the same endurance as long-distance runners. The spectator, according to the choreographer's idea, seems to be witnessing the work of the mind - not machine, but human rationality, operations of the mind, which in this case are performed through the body. nine0004

Soviet physiologist Nikolai Bernshtein created the theory of movement construction and operationalized the concept of dexterity. Bernstein was referred to by the American psychologist, the author of the concept of multiple types of intelligence, Howard Gardner, when he spoke about bodily-kinesthetic intelligence ( bodily-kinesthetic intelligence ). Gardner defines bodily-kinesthetic intelligence as "the ability to control one's own movements and skillfully handle objects."

nine0003 The idea of ​​the corporeal mind has been in the air for a long time. In 1932, a book by the physiologist Walter Cannon called The Wisdom of the Body was published, and five years later his colleague Mabel Todd published The Thinking Body, about how to develop refined neuromuscular coordination with the help of creative mental imagery and conscious relaxation. Over the past half century, many systems for the development of the human motor sphere have appeared: the Franz Alexander technique, the Moshe Feldenkrais method, Thomas Hanna's "somatics", Lulu Sveigard's "ideokinesis" and others. nine0004

This trend intensified after the Second World War, when people realized that the whole system of education had to be changed. As opposed to control, discipline and authoritarianism, it was necessary to recognize as a value such qualities as openness, awareness, reflection, creativity and freedom. Attention to the body, development of a sense of movement, awareness of the internal state have become the goals of new systems of bodily-motor education. They have replaced training systems based on obedience, discipline, and conformity. According to movement culture historian Georges Vigarello, in the practices that appeared after the war, the main role was assigned to the inner side of the movement, its self-perception. The new approach offered an in-depth study of oneself, awareness of one's body and movements, the use of imagination, visualization of different parts of the body and the formation of a holistic body image. Physiological thought followed the line of increasing confidence in what is called the bodily, moving mind. nine0004

The second concept is kinesthetic empathy. Kinesthesia is not only a way to regulate one's own movements and interact with the world, but also the basis for understanding someone else's movement. As early as the beginning of the 20th century, the German art critic Hans Brandenburg argued that only those who themselves have “developed bodily awareness” can perceive the movements of a dancer. Looking at the dancer, the spectator allegedly makes imperceptible movements himself, which to some extent imitate the movements of the dance. Through kinesthetic sensations from his own body, he is able to better perceive this dance. nine0004

At the end of the 19th century, the hypothesis that the ability to understand the movements of other people is determined by one's own motor experience was formulated by the German psychologist Theodor Lipps. He proposed the term "empathy" - empathy, entry into the inner world of another, empathy for him. And then he began to write about empathy at the level of the body, kinesthetic. According to Lipps, we perceive not only the movement of a living organism, a person, but also movement in general, “pure” or “abstract”, as if reproducing it in an internal plane, imitating it internally. This seems to be less about a literal, physical imitation of movement, such as a reflex flinching at the sight of another person flinching, than about some kind of kinesthetic experience. Simplifying, it can be compared with emotional sympathy, empathy: we ourselves do not directly experience the emotion that another person experiences, but, looking at him, we begin to empathize with her; we ourselves do not move, but, looking at the movements of another, we experience sensations reminiscent of those experienced by a moving person. nine0004

American critic John Martin called this ability metakinesis. If kinesis is physical movement, then metakinesis will be its inner, psychological side. Without this ability for kinesthetic empathy, Martin argued, the audience would have no more pleasure in seeing a ballerina balancing on one pointe shoe than in contemplating a feather floating in the air. The audience applauds the ballerina because they realize the force of gravity, which firmly holds them on the ground. nine0004

Kinesthetics allows us to feel the quality of tension in other people, helps us to guess the intentions of others - they are going to stroke us or hit us. Kinesthetics allow us to avoid bumping into other people as we walk down the street. This is a kind of physiological radar, thanks to which we feel impulses and intentions and react ahead of our consciousness, our thought. Theatrical people know that the kinesthetic feeling is the substance of any performance. It allows the viewer to follow the intentions of the performer, feel and often anticipate them without even realizing how it happens. Acrobatic tricks entertain the viewer at the level of his kinesthetic nature - one of the lower, muscular levels connects the viewer and the actor. Circus and acrobatic performances, built on the power of attraction or on a sense of balance, achieve such a powerful impact, which is often lacking in complex dramatic performances, despite their intellectual, aesthetic strength. That is why circus and street performers became a model for the theater reformers of the early twentieth century. nine0004

Finally, in addition to kinesthetic empathy and intelligence, we can also talk about kinesthetic imagination. With its help, a person is freed from normative, habitual ways of moving and creates new motor "events". The motor nature of kinesthetic imagination was finally recognized relatively recently, at the end of the 20th century, thanks to the work of sports psychologists, as well as physicians who were rehabilitating patients with motor impairment or symptoms such as phantom pain. The researchers tried to show that motor imagination uses all the same parts of the brain as real movement. It turned out, however, that the activation of the motor system during kinesthetic imagination and that which occurs during motor excitation are not identical and only partially intersect. In addition, it was found that during the imagination of a particular movement, the activity of the motor cortex is weaker than during its actual execution. nine0004

Kinesthetic imagination, says dancer and philosopher Maxine Sheets-Johnston, is necessary for both making movement and perceiving it. She gives the example of a person dancing in a circle, forming a certain shape, or "gestalt". His movements are perceived holistically. “We form an imaginary gestalt by representing each moment of the circle as a spatiotemporal present in relation to a spatiotemporal past and future,” she says. - The present is not isolated from the past and the future, it is a jump from the past to the future, a transitional moment in some space-time whole, even if only imaginary. This is not a sequence of images, but a single and inseparable circular line. nine0004

Practitioners also talk about ideomotor movement - imaginary, represented only in the mind: athletes, coaches, dancers. They use this concept to teach new skills. So, for example, before performing some complex movement, the student is first asked to repeatedly play it in the imagination.

Developed kinesthetic imagination is simply necessary for a choreographer who comes up with new movements and dances. A good choreographer does not just see patterns, images of eye movement - he feels them in his body. Or he trusts the dancer to find these patterns, who also looks for them, starting from his own kinesthetic sensations. This is how one of the most successful choreographers of our time, the Englishman Wayne McGregor, creates his compositions. He also likes to talk a lot about the role of kinesthesia and body thinking in dance. nine0004

More to read:

Bernstein N. A. Agility and its development. M., 1991 .
Smith R . Kinesthesia and metaphors of reality. New Literary Review. No. 125. 2014.
Reynolds D. Rhythmic subjects: uses of energy in the dances of Mary Wigman, Martha Graham and Merce Cunningham. Chapter 5 Alton, 2007.

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