Dansare / koreografer

"Det är just när Mohamed vågar släppa garden och vara som mest öppen, sårbar och ödmjuk om sitt liv och artisteri som hennes berättelse blir som starkast. Och hon är modig nog för att våga det många gånger under bokens gång."

Aftonbladet

När Imenella är liten tvingas hon och hennes mamma fly inbördeskriget i Somalia. De lyckas ta sig till Nairobi, men efter en tid lämnar mamman Kenya för att flytta till Sverige. Imenella blir ensam kvar, utlämnad till främmande vuxna som inte vill henne väl. Det kommer att dröja flera år innan hon återförenas med sin mamma.

Idag är Imenella en av våra mest respekterade rappare, dansare och koreografer. Men det har varit en lång väg dit.

I Jag ska vara drottning här berättar hon om uppväxten i Tensta, om att leva med svåra barndomsminnen, om att försonas med sin mamma och skapa sitt eget liv. Och så handlar det om musiken och dansen, som förändrade allt.Berättat för Nina Wähä.

Tobias Karlsson berättar äntligen sin drabbande historia! Tobias är killen som aldrig kände sig hemma bland fotbollskillarna, som hellre umgicks med tjejerna i klassen och därför kallades fjolla och bög. Genom dansen fick han stunder då han kunde glömma alla plågoandar och vara sitt sanna jag – men det var också dansen som gjorde honom extra utsatt i ett mindre samhälle där man inte fick sticka ut. Tobias skildrar ärligt och naket vikten av att våga vara ärlig mot sig själv, vänskapens betydelse och hur man finner styrkan att gå vidare efter svåra händelser i livet. Med humor, självdistans och känsla berättar Tobias Karlsson om sitt liv och om dansen – och får oss alla att känna oss starkare.

Auditioning for Musical Theatre demystifies the process of giving the best possible professional audition for a role in a musical. It is the result of Denny Berry’s own experience, sitting "behind the audition desk" for 30 years of professional Broadway auditions, as well as teaching newcomers and coaching established actors. The book coaches performers on how to be their best selves—and avoid the pitfalls of nerves and poor preparation. To do so, it offers:

The book is intended for the talented newcomer as well as the experienced actor who wants to deliver a more effective audition. Ultimately, Auditioning for Musical Theatre takes the reader through the parts of auditioning that they can control, and helps them tailor every situation to show their individual best.

Auditioning for Musical Theatre demystifies the process of giving the best possible professional audition for a role in a musical. It is the result of Denny Berry’s own experience, sitting "behind the audition desk" for 30 years of professional Broadway auditions, as well as teaching newcomers and coaching established actors. The book coaches performers on how to be their best selves—and avoid the pitfalls of nerves and poor preparation. To do so, it offers:

The book is intended for the talented newcomer as well as the experienced actor who wants to deliver a more effective audition. Ultimately, Auditioning for Musical Theatre takes the reader through the parts of auditioning that they can control, and helps them tailor every situation to show their individual best.

Floating Bones charts the author’s journey into tensegrity, which begins in ballet and culminates in a model for addressing one’s body as a teacher.

Tensegrity flips traditional biomechanical models such that instead of support coming from the bones, the bones float, and it is the muscles and other soft connective tissue that provide support for the moving body. Using the model of tensegretic experience, Roses-Thema connects somatics, cognition, rhetoric, and reflective practices detailing the means that constructed approaching the body as a teacher. This study presents the argument for extending the models of thinking to include bodily thinking, by citing how the experiential perspective of tensegrity constructs physical evidence of the rhetorical concept, metis, where the body thinks as it moves.

This book will be of great interest to students, scholars, and practitioners of dance, theater, and sociology.

Floating Bones charts the author’s journey into tensegrity, which begins in ballet and culminates in a model for addressing one’s body as a teacher.

Tensegrity flips traditional biomechanical models such that instead of support coming from the bones, the bones float, and it is the muscles and other soft connective tissue that provide support for the moving body. Using the model of tensegretic experience, Roses-Thema connects somatics, cognition, rhetoric, and reflective practices detailing the means that constructed approaching the body as a teacher. This study presents the argument for extending the models of thinking to include bodily thinking, by citing how the experiential perspective of tensegrity constructs physical evidence of the rhetorical concept, metis, where the body thinks as it moves.

This book will be of great interest to students, scholars, and practitioners of dance, theater, and sociology.

This revised third edition of The Male Dancer updates and enlarges a seminal book that has established itself as the definitive study of the performance of masculinities in twentieth century modernist and contemporary choreography.

In this authoritative and lively study, Ramsay Burt presents close readings of dance works from key moments of social and political change in the norms around gender and sexuality. The book’s argument that prejudices against male dancers are rooted in our ideas about the male body and behaviour has been extended to take into account recent interdisciplinary discussions about whiteness, intersectionality, disability studies, and female masculinities. As well as analysing works by canonical figures like Nijinsky, Graham, Cunningham, and Bausch, it also examines the work of lesser-known figures like Michio Ito and Eleo Pomare, as well as choreographers who have recently emerged internationally like Germaine Acogny and Trajal Harrell.

The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural representation of gender. By reflecting on the latest studies in theory, performance, and practice, Burt has thoroughly updated this important book to include dance works from the last ten years and has renewed its timeliness for the 2020s.

This revised third edition of The Male Dancer updates and enlarges a seminal book that has established itself as the definitive study of the performance of masculinities in twentieth century modernist and contemporary choreography.

In this authoritative and lively study, Ramsay Burt presents close readings of dance works from key moments of social and political change in the norms around gender and sexuality. The book’s argument that prejudices against male dancers are rooted in our ideas about the male body and behaviour has been extended to take into account recent interdisciplinary discussions about whiteness, intersectionality, disability studies, and female masculinities. As well as analysing works by canonical figures like Nijinsky, Graham, Cunningham, and Bausch, it also examines the work of lesser-known figures like Michio Ito and Eleo Pomare, as well as choreographers who have recently emerged internationally like Germaine Acogny and Trajal Harrell.

The Male Dancer has proven to be essential reading for anyone interested in dance and the cultural representation of gender. By reflecting on the latest studies in theory, performance, and practice, Burt has thoroughly updated this important book to include dance works from the last ten years and has renewed its timeliness for the 2020s.

On choreography: ‘Choreography is a negotiation with the patterns your body is thinking.’

On rules: ‘Try breaking the rules on a need to break the rules basis.’

The updated and revised edition of ''A Choreographer’s Handbook'' invites the reader to investigate how and why to make a dance performance. In an inspiring and unusually empowering sequence of stories, questions, ideas and paradoxes, internationally renowned choreographer Jonathan Burrows explains how it’s possible to navigate a course through this complex process.

It is a stunning reflection on a personal practice and professional journey, and draws upon many years of workshop discussions, led by Burrows.

Burrows’ open and honest prose gives the reader access to a range of principles, exercises, meditations and ideas on choreography that allow artists and dance-makers to find their own aesthetic process.

It is a book for anyone interested in making performance, at whatever level and in whichever style.