Richard Powers is a social dance instructor and historian at Stanford University’s Dance Division. Richard’s focus since 1975 has been the research and reconstruction of American and European social dance forms, working from a personal collection of over a thousand historic dance manuals. Richard became a full-time instructor at Stanford University’s Dance Division, joining the faculty in 1992. He was selected by the Centennial Issue of Stanford Magazine as one of Stanford University’s most notable graduates of its first century, and was awarded the Lloyd W. Dinkelspiel Award for distinctive and exceptional contributions to education at Stanford University. Richard has choreographed for dozens of stage productions, including Broadway and off-Broadway, and for films and television. He has taught over five hundred dance workshops across the U.S. and abroad.
Nick Enge graduated from Stanford University with a bachelors in Atmosphere/Energy Engineering and a masters in Earth Systems. At Stanford, in addition to his ecological interests, he developed a passion for social dancing, psychology, and writing. Over the past five years, Nick has served as a course developer and teaching assistant for more than twenty-five iterations of ten different courses at Stanford, including Valuescience, Public Speaking, Electric Automobiles and Aircraft, and Energy Efficient Buildings. Although he only began taking Richard’s social dance classes in 2011, he is now a frequent instructor at Friday Night Waltz, and a substitute teacher for Richard when he travels. Nick served as a chair of Stanford’s 36th Annual Viennese Ball in 2013, and is currently a choreographer for the Opening waltz and polka for the 37th Annual Viennese Ball.
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5,0 su 5 stelle"Waltzing" is a must have for every dancers library
30 giugno 2013 - Pubblicato su Amazon.com
"Waltzing" is a must have for every dancer's library. Powers' lovely book captures both the idea and the spirit as well as the practical techniques that make his philosophy of social dance and vintage dance a pleasure for for all the thousands and thousands of students he has taught worldwide since creating vintage dance itself in Cincinnati back in the 70's. The close embrace cover image will surprise many of his students and partners but it really reflects his belief in diversity of dance in the spirit of American crossover diversity and individual style of partner dancing. He notes that some of the early chapters were written at my Split Tree Farm writing cabin and it was an honor to have offered our creative space as well as to have sponsored his first waltz weekend in 1997 at the farm studio ballroom that he and many others helped to build and refine. Sadly our Split Tree home, barn and fine studio (built by dancers) burned in 2007. But Richard's spirit of dance and diversity and improvisation continue in many other places. I have seen his ideas evolve, assisted by his lovely and gracious teaching partner Angela Amarillas, from formal vintage dancing to freestyle improvisational partner dancing that fuses various traditions so that for me, for example, close fast turning Austrian style waltzing became a transcendental and even spiritual experience. As he notes, dance that is partner dance is more than just steps but a relationship between two people and offers many life lessons can be learned. I found for example that the simplicity of endless turning to a classic Viennese waltz in the arms of a contributing partner was preferable to a hundred variations of any other style but on the other hand I never have lost my curiosity about the many concepts and techniques Powers has taught to so many since the 1980s. I suppose he is the Vernon Castle of this era. He has been the main leader in bringing back the romance of waltzing and I hope this new book will inspire many others around the world to join him in this grand adventure.
For a long time I have been trying to find more about the history of social dance and what defines it. The authors of this book are the perfect men to do this and that is what they have done.
It is an ideal book for every dancer's library. Even though I have read it, I can still pick it up and open it to any page and get something from it. The only issue I have is that it could do with more images when talking abut figures. However, the other aspects of this book are so valuable and rare that this not a real issue.
It will not provide an exact description of what dance is; it focuses more on the diversity of how dance can be approached. However, after reading this, I now feel much more confident in saying what I want for dance, knowing what dance is and how to get the most from it. Every dancer should at least read this book once.
Some of the interesting things I got from this book: *The difference between dance-sport, social dance and performance dance *That there are so many Waltzs (even one done to 7/4 timing) *Why we have routines at all *When and why leading and follow took on stricter definitions
I'm so happy Richard wrote this book. It's a beautiful exposition of everything I loved about learning to dance from him, and about dancing in general, and the waltz in particular. It ranges from instructional and practical to romantic and spiritual in exactly the expansive, joyful way that a book about social dancing should.
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