Anthony Shay – författare

Assistive Technology Service Delivery: A Practical Guide for Disability and Employment Professionals provides professionals working in vocational rehabilitation with the guidelines and methodologies they need to carry out their daily work at a high standard. Crucially, the techniques and tools described in the book are based on evidence gathered in rigorous research. Chapters cover an introduction to the accommodations system, the role of assistive technology as an accommodation and evidence-based practice in vocational rehabilitation, the service delivery process, from referral, through technology procurement and implementation, to the monitoring of outcomes.

Drawing on their extensive experience, the authors then present techniques, tools and tips for assistive technology service delivery, with illustrative case study examples. Written with practicing assistive technology professionals and students in mind, this book translates technical knowledge into content that professionals can understand and readily apply.

People all over the world dance traditional and popular dances that havebeen staged for purposes of representing specific national and ethnic groups.Anthony Shay suggests these staged dance productions be called “ethno identitydances”, especially to replace the term “folk dance,” which Shay suggestsshould refer to the traditional dances found in village settings as an organicpart of village and tribal life. Shay investigates the many motives that impelpeople to dance in these staged productions: dancing for sex or dancing sexydances, dancing for fun and recreation, dancing for profit - such as dancingfor tourists - dancing for the nation or to demonstrate ethnic pride. In thisstudy Shay also examines belly dance, Zorba Dancing in Greek nightclubs andrestaurants, Tango, Hula, Irish step dancing, and Ukrainian dancing.

In this book Anthony Shay examines the life and works of renowned choreographer Igor Moiseyev and his dance company. Formed in 1937, The Igor Moiseyev Dance Company have performed across the globe and are the first major Soviet dance group to perform in the United States. Through The Igor Moiseyev Dance Company, dance became a vital diplomatic tool, ballerinas replaced atom bombs and helped usher in a new era of cultural exchange, formalized by an agreement signed by the United States and the Soviet Union. Through this book Shay explores the multiple lenses of spectacle, Russian nationalism and the Cultural Cold War, to describe and analyse the history of Moiseyev’s company, and the shock that ‘innocent’ folk dance gave the American government. Blending academic study and personal anecdote, Shay provides a nuanced analysis of Moiseyev’s importance and his place in the world of dance. This is the first English language study of Igor Moiseyev and his dance company.

In this book Anthony Shay examines the life and works of renowned choreographer Igor Moiseyev and his dance company. Formed in 1937, The Igor Moiseyev Dance Company have performed across the globe and are the first major Soviet dance group to perform in the United States. Through The Igor Moiseyev Dance Company, dance became a vital diplomatic tool, ballerinas replaced atom bombs and helped usher in a new era of cultural exchange, formalized by an agreement signed by the United States and the Soviet Union. Through this book Shay explores the multiple lenses of spectacle, Russian nationalism and the Cultural Cold War, to describe and analyse the history of Moiseyev’s company, and the shock that ‘innocent’ folk dance gave the American government. Blending academic study and personal anecdote, Shay provides a nuanced analysis of Moiseyev’s importance and his place in the world of dance. This is the first English language study of Igor Moiseyev and his dance company.

Everyone who viewed the opening ceremonies of the 2008 Beijing Olympic Games can understand the power of dance and mass movement in the service of politics. While examples of such public performances and huge festivals are familiar in Nazi Germany, the former Soviet Union and today''s North Korea, this new book addresses the lesser known examples of Spain under Franco, the Dominican Republic, Iran, Croatia and Uzbekistan, all of which have been subjected to various political regimes.

Dance and choreographed mass movement is the newest field of serious research in dance studies, particularly in the fields of politics and international relations and gender and sexuality. The author uses dance as a lens through which to study political, ethnic, and gendered phenomena so that the reader grasps that dance

constitutes an important non-verbal lens for the study of human behaviour.

This is the first study on dance and political science to focus specifically on authoritarian regimes.  It is a significant and original contribution to scholarship in the field, with the key studies drawn from a variety of different geographical and historical backgrounds.

In Spain under Franco, the Women''s Section of the fascist Falange created a folk dance program that toured widely and through the performance of Spanish regional folk dances performed by virginal young Spanish women, embodying Catholic purity, permitted the regime to re-enter the world of polite diplomacy.

The Dominican Republic dictator, Rafael Trujillo, himself a gifted dancer, raised the popular folk and vernacular dance, the merengue, to the level of the "national" dance, which became a symbol of his regime and Dominican identity, which merengue it still maintains.

For over a thousand years, Croatia, has endured a series of authoritarian regimes – Hapsburg, Napoleon, the Yugoslav royal dictatorship, fascist, Josip Broz Tito''s communist regime, Franjo Tudjaman – that ruled that small nation. For over 70 years, Lado, the National Folk Dance Ensemble of Croatia, has served as "the light of Croatian identity." Through its public performances of folk dances and music, Lado has become the face of a series of different regimes.

In Iran, dance became banned under the Islamic Republic after serving the Pahlavi regime as a form of representation of its peasant population and its historic Persian identity. Uzbekistan currently has expanded the role of the invented tradition of Uzbek "classical" dance, created during the soviet period, as a representation of Uzbek identity, in national festivals. Thus, through these examples, the reader will see how dance and mass movement have become important as political means for a variety of authoritarian regimes to represent themselves.

Primary readership will be dance scholars; particularly the growing number interested in ethno-identity dances of the second half of the twentieth-century

Will be of interest to academic libraries and departments, with valuable information and interest also for scholars of ethnology, anthropology, cultural studies, history.

Everyone who viewed the opening ceremonies of the 2008 Beijing Olympic Games can understand the power of dance and mass movement in the service of politics. While examples of such public performances and huge festivals are familiar in Nazi Germany, the former Soviet Union and today''s North Korea, this new book addresses the lesser known examples of Spain under Franco, the Dominican Republic, Iran, Croatia and Uzbekistan, all of which have been subjected to various political regimes.

Dance and choreographed mass movement is the newest field of serious research in dance studies, particularly in the fields of politics and international relations and gender and sexuality. The author uses dance as a lens through which to study political, ethnic, and gendered phenomena so that the reader grasps that dance

constitutes an important non-verbal lens for the study of human behaviour.

This is the first study on dance and political science to focus specifically on authoritarian regimes.  It is a significant and original contribution to scholarship in the field, with the key studies drawn from a variety of different geographical and historical backgrounds.

In Spain under Franco, the Women''s Section of the fascist Falange created a folk dance program that toured widely and through the performance of Spanish regional folk dances performed by virginal young Spanish women, embodying Catholic purity, permitted the regime to re-enter the world of polite diplomacy.

The Dominican Republic dictator, Rafael Trujillo, himself a gifted dancer, raised the popular folk and vernacular dance, the merengue, to the level of the "national" dance, which became a symbol of his regime and Dominican identity, which merengue it still maintains.

For over a thousand years, Croatia, has endured a series of authoritarian regimes – Hapsburg, Napoleon, the Yugoslav royal dictatorship, fascist, Josip Broz Tito''s communist regime, Franjo Tudjaman – that ruled that small nation. For over 70 years, Lado, the National Folk Dance Ensemble of Croatia, has served as "the light of Croatian identity." Through its public performances of folk dances and music, Lado has become the face of a series of different regimes.

In Iran, dance became banned under the Islamic Republic after serving the Pahlavi regime as a form of representation of its peasant population and its historic Persian identity. Uzbekistan currently has expanded the role of the invented tradition of Uzbek "classical" dance, created during the soviet period, as a representation of Uzbek identity, in national festivals. Thus, through these examples, the reader will see how dance and mass movement have become important as political means for a variety of authoritarian regimes to represent themselves.

Primary readership will be dance scholars; particularly the growing number interested in ethno-identity dances of the second half of the twentieth-century

Will be of interest to academic libraries and departments, with valuable information and interest also for scholars of ethnology, anthropology, cultural studies, history.

This book is about the folk: the folk in folk dance, the folk in folklore, the folk in folk wisdom. When we see folk dance on the stage or in a tourist setting, which is the way in which many of us experience folk dance, the question arises are these the “real folk” performing their authentic dances? Or are they urban, well trained, carefully-rehearsed professional dancers who make their livelihood as representatives of a specific nation-state acting as the folk? Or something in between? This study delves more deeply into the folk, their origins, their identities in order to know the source of inspiration for ethno identity dances - dances prepared for the stage and the ballroom and for public performances from ballet, state folk dance ensembles and their amateur emulators, immigrant folk dance group performances, and tourist presentations. These dances, unlike modern dance, ballet, or most vernacular dances, always have strong ethnic references. It will also look at a gallery of choreographers and artistic directors across a wide spectrum of dance genres.