Judith Bennahum – författare

THE LURE OF PERFECTION: FASHION AND BALLET, 1780-1830 offers a unique look at how ballet influenced contemporary fashion and women's body image, and how street fashions in turn were reflected by the costumes worn by ballet dancers. Through years of research, the author has traced the interplay between fashion, social trends, and the development of dance. During the 18th century, women literally took up twice as much space as men; their billowing dresses ballooned out from their figures, sometimes a full 55 inches, to display costly jewelry and fine brocade work; similar costumes appeared on stage. But clothing also limited her movement; it literally disabled them, making the dances themselves little more than tableaux. Movement was further inhibited by high shoes and tight corsets; thus the image of the rigidly straight, long-lined dancer is as much a product of clothing as aesthetics. However, with changing times came new trends. An increased interest in natural movement and the common folk led to less-restrictive clothing. As viewers demanded more virtuosic dancers, women literally danced their way to freedom.THE LURE OF PERFECTION will interest students of dance and cultural history, and women's studies. It is a fascinating, well-researched look at the interplay of fashion, dance, and culture-still very much a part of our world today.

THE LURE OF PERFECTION: FASHION AND BALLET, 1780-1830 offers a unique look at how ballet influenced contemporary fashion and women's body image, and how street fashions in turn were reflected by the costumes worn by ballet dancers. Through years of research, the author has traced the interplay between fashion, social trends, and the development of dance. During the 18th century, women literally took up twice as much space as men; their billowing dresses ballooned out from their figures, sometimes a full 55 inches, to display costly jewelry and fine brocade work; similar costumes appeared on stage. But clothing also limited her movement; it literally disabled them, making the dances themselves little more than tableaux. Movement was further inhibited by high shoes and tight corsets; thus the image of the rigidly straight, long-lined dancer is as much a product of clothing as aesthetics. However, with changing times came new trends. An increased interest in natural movement and the common folk led to less-restrictive clothing. As viewers demanded more virtuosic dancers, women literally danced their way to freedom.THE LURE OF PERFECTION will interest students of dance and cultural history, and women's studies. It is a fascinating, well-researched look at the interplay of fashion, dance, and culture-still very much a part of our world today.

The essays in The Living Dance: An Anthology of Essays on Movement and Culture explore the history of both eastern and western forms of dance, and emphasize important trends in contemporary theatrical and social performance. Each of the dances discussed brings into focus the vitality and richness of the cultures that produced them. Completely updated throughout, the 3rd edition of The Living Dance examines:Native American Dances of New MexicoMexican and New Mexican DancesDeep Song Dances of Gypsy BlacksmithsModernism in DanceAfrican American Influences on DanceDance in IndiaDance in FilmA Critical Appreciation of DancesThe Living Dance demonstrates how important the local knowledge of movement styles informs the essential understanding of how dance functions on many levels. Throughout the book, the reader witnesses the way dance responds to conquest, fusion, the advancement of subcultures, gender roles, fashions of clothing on the body while dancing, and to the survival of communities. Through the essays, numerous photographs, and reflection journal, the reader will learn the power of dance during their quest for mutual cross-cultural understanding.Featuring three new authors (Dawn Lille, Michelle Hayes, and Yasmine Jahanmir), The Living Dance provides a contemporary, critical, and feminist perspective to the history of dance.