Safer return to jazz dance instruction after simultaneous bilateral total hip arthroplasty

To describe the case of a 48-year-old Japanese female patient with more than two decades of experience in jazz dance instructor returning to work after simultaneous bilateral total hip arthroplasty (SBTHA). We provided her with a tailored postoperative physical therapy programme considering her preoperative activity level and skills using three-dimensional motion analysis for guidance. The patient returned to jazz dance instruction 8 months after undergoing SBTHA, and her disease-specific quality of life assessment score at 1-year postsurgery was almost perfect. Use of three-dimensional motion analysis helped facilitate our assessment of whether her hip angle was within the acceptable range for teaching the compound movements necessary in jazz dance, but her preoperative experience was crucial in determining her full-scale participation in jazz dance. At present, 7 years since the surgery, the patient is able to continue jazz dancing, the THA component remains stable.

Americans Learning Gamelan in Bali

The chapter analyzes the development and scope of educational tourism programs in the performing arts, including collegiate study-abroad programs, in the context of the Balinese tourism industry. The programs—which include hands-on music making and dance instruction, lectures and workshops, and visits to performing arts events and tourist sites—feature elements of both educational and leisure tourism. Through an examination of several different models for such “edutourism” programs, the chapter suggests that while they capitalize on presenting an “authentic” experience of Balinese-ness for participants, they also provide distinctive opportunities for foreigners to transcend the conventional tourist role via more direct involvement in Balinese community events and by treating and compensating teachers as professionals.

Commodifying and Giving

Chapter 2 examines how dance might be exchanged either as commodity or as gift within the contexts of dance instruction and dance performance. It compares the ways that dance’s resource-fullness becomes utilized within either system of exchange. Within commodity exchange, dance’s ability to convene people produces an interactivity that is based in the autonomy of each individual; these individuals become connected but as isolated and independent entities within a network. Commodification of dance’s energy, presumed to be precious and somewhat scarce, entails the careful monitoring of bodily energy followed by strategic expenditure in order to achieve the maximum effect. The third of dance’s resources, its malleability of form and adaptability to place, is tapped in commodification so as to facilitate dance’s easy transport from place to place. To generate economic profit, dance must be quickly and cheaply manufactured, delivered efficiently, and disseminated as widely as possible. In contrast, within gift exchange dance’s capacity to summon people into relation becomes a way of creating mutual indebtedness among all involved. Circulating gifts connects people not as isolated agents but instead as mutually defining and dependent beings. Dance’s energy, considered to be abundant and always available, is widely given and reciprocated. And finally, dance’s adaptability, its protean form and function, is cultivated as a way to engage with and commemorate particular times, places, and people. Dance as gift is not transportable, and instead, binds itself to and operates within specific communities, connecting itself with and devising unique responses to their ecologies.

A dancer made a recusant: dance and evangelization in the Jacobean North East of England

In the summer of 1615, a newly discovered Catholic conspiracy prompted William James, bishop of Durham, to vigorously correspond with the archbishop of Canterbury. On 3 August, in the midst of the crisis, the bishop incarcerated a professional dancer, Robert Hindmers (b. 1585). Together with his wife Anne, Robert was associated with the Newcastle-based secular priest William Southerne and involved in Catholic evangelising in the diocese of Durham. This article discusses the biography and career of Robert Hindmers, and speculates about the role of dancing within the Durham Catholic community. It also analyses how the activities of the Hindmers were perceived by the ecclesiastical authorities. The case of Robert Hindmers traverses and links many related issues, such as Counter-Reformation culture, traditional festivity, religious politics, and the interconnectedness of elite and popular cultures. But above all, it expands our understanding of Catholic missionary strategies in post-Reformation England by suggesting that dance instruction might have been used by Catholics to access households and assist the mission.