Two overtures; dancers.

1. Overture, C major.--2. Overture, E minor.--3. Five Deutsche, with Coda and 7 trios; Minuet.

Hungarian dances : for piano four hands /

Pl. no.: 10726--10727 (v. 1); 11033--11034 (v. 2)

Party dances for violin and piano, or reed organ, consisting of the most popular cotillions, polka quadrilles, lancers ... with the figures or steps for dancing arranged in a light and easy manner.

Mode of access: Internet.

Histoire générale de la musique et de la danse,

Atlas has caption title only, and consists of 36 p. of music followed by 29 plates.

Lowe's collection of reels, strathspeys, & jigs. : Being a new and complete selection of the best dancing tunes in their proper keys, as performed at the different assemblies and public meetings throughout Scotland. Carefully arranged with appropriate basses for the piano forte & violoncello. Book 1[-6].

Book 1: 3d ed.; book 2: 2d ed.

Danceries (Ier volume)

For 4-5 instruments.

Rumänische Volkstänze : für Klavier zu zwei Händen /

Der Tanz mit dem Stabe -- Brâul -- Der Stampfer -- Tanz der Butschumer -- Rumänische Polka -- Schnell-Tanz.

Rumänische Volkstänze : für Klavier zu zwei Händen = Román népi táncok : gyüjtötte és zongorára két kézre átirta /

For piano solo.

Hungarian dances : nos. 1, 3, 10 /

Mode of access: Internet.

Slavic dances : for piano, four-hands /

Mode of access: Internet.

Oud-nederlandsche klaviermuziek uit het muziekboek van Anna Maria van Eijl (anno 1671)

Publisher's plate no.: 37.

Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Montserrat, West Indies

In this dissertation, I demonstrate how improvisations within the structures of performance during Montserrat’s annual festivals produce “rhythms of change” that contribute to the formation of cultural identities. Montserrat is a small island of 39.5 square miles in the Caribbean’s Leeward Islands, and a volcanic disaster in the 1990s led to the loss of villages, homes, and material possessions. The crisis resulted in mass displacement and emigration, and today’s remaining population of 5,000 is now in a stage of post-volcano redevelopment. The reliability of written archives for establishing cultural knowledge is tenuous, and the community is faced with re-energizing cherished cultural traditions. This ethnographic research traces my embodied search for Montserrat’s history through an archive that is itself intangible and performative. Festivals produce some of the island’s most visible and culturally political events, and music and dance performances prompt on- and off-stage discussions about the island’s multifaceted heritage. The festival cycle provides the structure for ongoing renegotiations of what it means to be “Montserratian.” I focus especially on the island’s often-discussed and debated “triangular” heritage of Irishness, Africanness, and Montserratianness as it is performed during the festivals. Through my meanderings along the winding hilly roads of Montserrat, I explored reconfigurations of cultural memory through the island’s masquerade dance tradition and other festival celebrations. In this work, I introduce a “Cast of Characters,” each of whose scholarly, artistic, and public service work on Montserrat contributes to the shape and transformation of the island’s post-volcano cultural identities today. This dissertation is about the kinesthetic transmission of shared (and sometimes unshared) cultural knowledge, the substance of which echoes in the rhythms of Montserrat’s music and dance practices today.

Manifesto of a defeated poet

This feature-length experimental film is the result of an intimate collaboration between Bosnian filmmaker/poet/painter/musician/performace artist Saidin Salkic (On Karasevdah: Srebrenica Blues, 2007 & Konvent 2010) and veteran Australian experimental filmmaker and film educator John Cumming (Obsession, Recognition & Sabotage 1985-87, First time Tragedy Second Tome Farce, 1989, The Hollow Centre 1999). Created over a period of four years it draws on the traditions and possibilities of improvisation – in cinematography, experimental cinema, dance, music and performance – with moments of intensity and repose, fluidity and halting re-composure. Cumming’s camera and Salkic’s movement work in front of it are at once expressionistic and in dialectical tension as are Salkic’s poetry, his haunting improvisations on piano and melodica and Cumming’s industrial soundscapes. SYNOPSIS: In the midst of fascist-capitalist madness, the Foreigner (a poet/dancer with sun on his palms and blood from his dreams on his face) hovers in neon twilight with last whispers of sanity on his lips, guarding and protecting the world – forever. REVIEW: ‘Full of mystery and beauty, punctuated by strange eruptions of silent cinema, of Chaplin, of film history made personal … not the film of a dance but a dance itself around pure presence … something unique and precious.’ Maximilian Le Cain, http://lecain.blogspot.com.au/2015/11/a-few-reflections-on-manifesto-of.html

The urgent need for career preview: Student expectations and graduate realities in music and dance

Unlike the work available in many creative disciplines, musicians and dancers have the possibility of full-time, company-based employment; however, participants far outweigh the number of available positions. As a result, many graduates become ‘enforced entrepreneurs’ as they shape their work to meet personal and professional needs. This paper first explores the career projections of 58 music and dance students who were surveyed in their first week of post-secondary study. It then contrasts these findings with the reality of graduate careers as reported by five of that cohort four years later. In contrast with the students’ overwhelming focus on performance roles, the graduate cohort reported a prevalence of portfolio careers incorporating both creative and non-creative roles. The paper characterises the notion of a performing arts ‘career’ as a messy concept fraught with misunderstanding. Implications include the need to heighten students’ career awareness and position intrinsic satisfaction as a valued career concept.