Physics and the Art of Dance gives all who enjoy dance - whether as dancers, students, teachers, or fans - an opportunity to understand what happens when human bodies move in the remarkable ways we call dance. How, for instance, do dancers create the illusion of defying gravity? Or of starting to spin when in the air with no source of force to act on their bodies? You may observe some dancers using their arms in a way that allows some to jump higher than others. What is that technique, and why does it work?
In this second edition, author Ken Laws - a physicist with years of professional dance training - teams with veteran dance instructor Arleen Sugano to provide new step-by-step experiments for dancers. "What you see" sections describe the way physical principles form the framework within which some movements exist. The complementary "What you do" sections allow dancers to experience how those physical analyses can provide them a more efficient means of learning how to carry out those movements. Throughout, the book shows how movements are first artistic expressions, and secondly movements of the body within the framework of easy-to-understand physical principles.
Dancers and dance instructors will find in this book an efficient means of improving technical proficiency and growing professional and aesthetic development. For physics and science teachers, the book provides a new and compelling way to draw people into the world of science. And observers and fans of dance will marvel over the beautiful time-stop photography by renowned dance photographers Martha Swope and Gene Schiavone.
Kenneth Laws is like the Richard Feynman of Dance. He thoroughly explains why and how, instead of just expecting rote learning to enlighten the reader.
As a nerd who does ballet, this book was great. There's so much that you're just told by ballet teachers. Reading about the science and purpose behind everything was eye-opening. Every comment, every alignment, every movement has a purpose and for a nerd like me, I loved finally getting to understand it concretely in terms of science.
So far, this book has answered one of the most haunting question in my life. This book showed me the best way to achieve multiple pirouettes, especially pirouette en dehors from fourth position. I'm not a natural in turning nor do I suck at it. I just want my pirouettes to be consistent. Turning is the only thing I fear in terms of ballet technique, and Kenneth Laws' book has pretty much assured me that with a lot of thinking (and an equal amount of confidence), triple pirouettes are no longer so impossible to do.