bluuebunny/crossref_metadata_2025 huggingface dataset:
Facile Production of (R)-Proline by Asymmetric Transformation of (S)-Proline
Authors: Shiraiwa Tadashi , Shinjo Kazuyuki , Kurokawa Hidemoto
Published: May 2006

The asymmetric transformation of (S)-proline ((S)-Pro) through formation of the salt with (2S,3S)-tartaric acid achieved in the presence of 0.1 molar equivalent of butanal in butanoic acid at 80 °C to obtain (R)-Pro. The purified salt gave (R)-Pro with 100% optical purity in 85% yield.
Formation of Single Phase of Bi2Sr2CaCu2Ox Film by Plasma Assisted Organometallic Chemical Vapor Deposition Method
Authors: Kobayashi Kenkichiro , Ichikawa Satoshi , Okada Genji
Published: May 2006

A film of single phase of Bi2Sr2CaCu2Ox is prepared on a single crystalline SrTiCO3 (100) at 923 K by the method of plasma assisted organometallic chemical vapor deposition. The c axis of the resulting film is oriented in the direction perpendicular to the substrate surface.
[4+2] Cycloaddition of 3-Cyanocyclopropene with Anthracenes
Authors: Saito Katsuhiro , Isobe Satoru , Ito Kazuaki , Kagabu Shinzo , Takahashi Kensuke
Published: May 2006

The thermal reactions of 3-cyanocyclopropene with 9-substituted anthracenes afforded [4+2] cycloadducts. The relative rate ratio of the reaction correlated well with the substituent constants.
Enzyme-Mediated Enantioface-Differentiating Hydrolysis of Enol Esters
Authors: Matsumoto Kazutsugu , Ohta Hiromichi
Published: May 2006

A new type of enzymatic hydrolysis has been disclosed. A kind of yeast, Pichia miso, hydrolyzed enol esters such as 3-acetoxy-1-p-methoxybenzyloxy-2-methoxymethoxy-2-alkenes with differentiation of the enantiotopic face to afford optically active α-substituted ketones.
A Facile Method for the Cleavage of Acetals by the Combined Use of Samarium Trichloride and Chlorotrimethylsilane
Authors: Ukaji Yutaka , Koumoto Naosuke , Fujisawa Tamotsu
Published: May 2006

Cleavage of acetals by a stoichiometric or a catalytic amount of samarium trichloride and chlorotrimethylsilane in the absence of a proton source proceeded smoothly giving the corresponding carbonyl compounds in high yields.
Second Harmonic Generation by the Use of Metal to Ligand Charge-Transfer Transition of Ruthenium(II)–Bipyridine Metal Complex in Langmuir–Blodgett Film
Authors: Sakaguchi Hiroshi , Nakamura Hiroshi , Nagamura Toshihiko , Ogawa Teiichiro , Matsuo Taku
Published: May 2006

An alternate Y type LB multilayer capable of SHG was prepared by the use of an amphiphilic ruthenium(II) tris(2,2′-bipyridine) complex. The large angular dependence of the second harmonic light intensity and the electronic absorption of the multilayer indicated that the SHG was due to MLCT transition of the ruthenium complex.
Self-Organization of Solvophobic, Double-Chained Fluorocarbon Derivatives in Organic Media
Authors: Ishikawa Yuichi , Kuwahara Hiroaki , Kunitake Toyoki
Published: May 2006

A novel type of compounds which contain two fluorocarbon chains and one flexible hydrocarbon chain gave bilayer-based molecular assemblies in organic solvents. The regularity of the assemblage was supported by specific incorporation of benzene.
Reentrant Behavior of the Temperature Dependence of Resistivity of DCNQI-Cu Alloy System, [(DMe)1−x(MeBr)x-DCNQI]2Cu
Authors: Kobayashi Akiko , Kato Reizo , Kobayashi Hayao
Published: May 2006

Reentrant resistivity behavior (metal → semiconductor → Metal) is observed at ambient pressure in the alloy system of [(DMe-DCNQI)1−x(MeBr-DCNQI)x]2Cu (x < 0.1). Resistivity maximum appears around 60 K. The magnitude of the resistivity maximum is extremely sensitive to x. This anomaly resembles the anomalous pressure-induced reentrant resistivity behavior in (R,R-DCNQI)2Cu (R = CH3, CH3O).
Configuration-dependent Stereochemistry in 2,4-Dichloro-3-pentanone-Its Enol Trimethylsilyl Ether Interconversion
Authors: Shimizu Nobujiro , Matsuno Shoichiro , Tanaka Masayuki , Tsuno Yuho
Published: May 2006

Et3N-promoted enol trimethylsilylation of meso- and dl-2,4-dichloro-3-pentanone in ether respectively shows 97% Z- and 86% E-selectivity, while Z- and E-products respectively give dl (70% de) and meso (24% de) ketones stereoselectively upon protonation.
Diastereoselective Synthesis of the Hydroxyethylene Dipeptide Isostere of Leu–Val
Authors: Nishi Takahide , Kataoka Mitsuru , Morisawa Yasuhiro
Published: May 2006

The synthesis of hydroxyethylene dipeptide isostere of Leu–Val, a transition-state mimic, is described. The key steps of this synthetic approach are the homogeneous asymmetric hydrogenation of γ-keto esters by BINAP–Ru(II) complex, and the construction of a 2(S)-isopropyl unit.
Reduction of Carbon Dioxide with Benzoin Carbanion. Conversion of the Reduction Products of Carbon Dioxide to a Mixture of Saturated Hydrocarbons
Authors: Akiyama Fuminori
Published: May 2006

Heating under reflux of the tetrahydrofuran solution of the reduction products of carbon dioxide with benzoin carbanion in the presence of N-p-nitrophenylsydnone gave a mixture of saturated hydrocarbons.
Color Difference between Diastereomers of the Brucine Salt of Phthaloyl-threo-β-hydroxyleucine
Authors: Kuwata Shigeru , Tanaka Jumpei , Sakamoto Yoshio , Onda Norihiro , Yamada Takashi , Miyazawa Toshifumi
Published: May 2006

When phthaloyl-threo-DL-β-hydroxyleucine was resolved using brucine as a resolving agent, yellow and white crystals were obtained. threo-L-Form was obtained from yellow crystals and threo-D-form from white ones. The appearance of yellow color is considered to be due to the stacking of benzene ring of phthaloyl group and of brucine molecule.
Racemization Suppression by Copper(II) Chloride in Peptide Synthesis by the Mixed Anhydride and Related Methods
Authors: Miyazawa Toshifumi , Donkai Tomoko , Yamada Takashi , Kuwata Shigeru
Published: May 2006

In segment couplings by the mixed anhydride and related methods, the addition of copper(II) chloride suppressed racemization completely in the same manner as in the carbodiimide method.
Stabilities of Metal Complexes of Mugineic Acids and Their Specific Affinities for Iron(III)
Authors: Murakami Tasuku , Ise Kunio , Hayakawa Minato , Kamei Shigeru , Takagi Sei-ichi
Published: May 2006

Equilibria between several metal ions and mugineic acids, phytosiderophores in gramineous plants, were potentiometrically investigated in aqueous solutions and the stabilities of the complex species formed were determined. Only iron(III) formed very stable species with the quadrivalent anions of mugineic acids, and their stability constants were estimated to be 1032.5∼1033.3.
Preparation, Stereoisomerism, and Dynamic Properties of [(η5-C5H5)2Fe2(CO)2(μ-CO)(μ-SiXBut)] (X = Cl, Br, I, and Me)
Authors: Tobita Hiromi , Kawano Yasuro , Ogino Hiroshi
Published: May 2006

Replacement of a hydrogen on the silylene bridge of [Cp2Fe2(CO)2(μ-CO)(μ-SiHBut)] (Cp = η5-C5H5) by a bulkier group (Cl, Br, I, or Me) caused the proportion of the trans isomer to increase from 0 to 7–38%. Dynamic 1H NMR study for the methyl derivative revealed that the ΔG‡362 K values of the process cis isomer → trans isomer and of the reversed process were 83.1 ± 1.0 and 81.7 ± 1.0 kJ mol−1, respectively.
Tetraphenylphosphonium Bromide Catalyzed Fluorodenitrations and Fluorodesulfonylations. Efficient Syntheses of m-Fluoroaromatic Compounds
Authors: Yazawa Naoto , Suzuki Hiroshi , Yoshida Yasuo , Furusawa Osamu , Kimura Yoshikazu
Published: May 2006

Meta-fluoroaromatic compounds were effectively synthesized from m-nitroaromatic or m-fluorosulfonylaromatic compounds by replacement reaction with potassium fluoride in the presence of a catalytic amount of tetraphenylphosphonium bromide.
Porcine Pancreatic Lipase Catalyzed Enantioselective Hydrolysis of Esters of N-Protected Unusual Amino Acids
Authors: Miyazawa Toshifumi , Iwanaga Hitoshi , Ueji Shinichi , Yamada Takashi , Kuwata Shigeru
Published: May 2006

Porcine pancreatic lipase catalyzed the highly enantioselective hydrolysis of a kind of α-substituted carboxylic esters, i.e., the 2,2,2-trifluoroethyl esters of the N-benzyloxycarbonyl derivatives of unusual amino acids.
Hydration of Olefins with Molecular Oxygen and Triethylsilane Catalyzed by Bis(trifluoroacetylacetonato)cobalt(II)
Authors: Isayama Shigeru , Mukaiyama Teruaki
Published: May 2006

In the presence of a catalytic amount of bis(trifluoroacetylacetonato)cobalt(II), various olefins react smoothly with molecular oxygen (oxidant) and triethylsilane (reductant) to afford the corresponding alcohols regioselectively in good yields along with ketones.
Short Effective Synthesis of α-Fluoroketones by Palladium-Catalyzed Decarboxylation Reactions of Allyl α-Fluoro-β-keto Carboxylates
Authors: Shimizu Isao , Ishii Hirotoshi
Published: May 2006

α-Fluoroketones, α-fluoro-α-allylketones, and α-fluoro-α,β-unsaturated ketones are synthesized by palladium-catalyzed decarboxylation reactions of allyl α-fluoro-β-keto carboxylates.
Synthesis of a Conformationally Restricted Porphyrin Tetramer Bridged by a 9,9′-Spirobifluorene Spacer
Authors: Osuka Atsuhiro , Ida Kazutaka , Maruyama Kazuhiro
Published: May 2006

9,9′-Spirobifluorene-linked porphyrin monomer, dimer, and tetramer, and their zinc-complexes have been synthesized. Intramolecular porphyrin–porphyrin interactions were shown to be greater in the dimer than in the tetramer by 1H-NMR, absorption spectra and intramolecular singlet energy transfer studies.
Paired Electrooxygenation of Benzene in Undivided Cell
Authors: Ito Sotaro , Fukumoto Noriya , Kunai Atsutaka , Sasaki Kazuo
Published: May 2006

The combination of anodic dissolution of copper electrode with cathodic reduction of copper(II) ions in an undivided cell brought about efficient electrooxygenation of benzene to give hydroquinone and p-benzoquinone.
The Optically Active Phosphinodithioates. Synthesis and Conversion to the Optically Active Phosphine Sulfides
Authors: Kawashima Takayuki , Kojima Satoshi , Inamoto Naoki
Published: May 2006

The optically active phosphinodithioates were prepared by the reaction of the corresponding phosphinothioates with Lawesson’s reagent in high chemical and optical yields, and were allowed to react with n-BuLi, followed by treatment with the electrophiles to give the corresponding optically active secondary or tertiary phosphine sulfides.
Matrix Studies of the Photolysis of o-Carbomethoxyphenyldiazomethane. Direct Observation of Carbonyl Ylide and Its Photoinduced Valence Tautomerization
Authors: Murata Shigeru , Ohtawa Yasuki , Tomioka Hideo
Published: May 2006

Photoreactions of o-carbomethoxyphenyldiazomethane (1), in Ar matrix at 10 K are studied by means of infrared spectroscopy. Irradiation (>350 nm) of 1 generates the carbonyl ylide, which undergoes the reversible photo-isomerization to the corresponding oxirane.
Palladium(0)-Catalyzed Cyclization-Carbonylation of 2,7-Octadienyl Acetate and Analogs
Authors: Yamamoto Keiji , Terakado Masahiko , Murai Kouya , Miyazawa Masahiro , Tsuji Jiro , Takahashi Kazuhiko , Mikami Koichi
Published: May 2006

The palladium(0)-catalyzed carbonylation of 2,7-octadienyl acetate and analogs via π-allylic intermediates can be preceded by their intramolecular olefin insertion, in acetic acid, affording 2-vinylcyclopentylacetic acid and derivatives therefrom.
Stabilization of a Phosphate Molecular Bilayer in Organic Media by Complexation with Ca2+ Ion
Authors: Kim Jong-Mok , Kunitake Toyoki
Published: May 2006

An aqueous phosphate bilayer membrane was transformed by addition of CaCl2 to a stoichiometric, water-insoluble complex, of which dispersions in CHCl3 and toluene retained the bilayer characteristics such as huge molecular weight, fiber-like morphology and regular chromophore orientation.
Molecular Aggregates of Mixed Ligand Cobalt(III) Complexes Having One or Two Long Alkyl-Chains
Authors: Yashiro Morio , Matsumoto Katsuya , Yoshikawa Sadao
Published: May 2006

Mixed ligand amphiphilic cobalt(III) complexes having one or two long alkyl-chains were prepared. Critical micelle concentration of the complex having one dodecyl group in aqueous solution is extremely low compared with that of the amphiphilic ligand, N-dodecylethylenediamine dihydrochloride.
Effective Activation of Carbonyl and Related Compounds with Phosphonium Salts. The Aldol and Michael Reactions of Carbonyl Compounds with Silyl Nucleophiles and Alkyl Enol Ethers
Authors: Mukaiyama Teruaki , Matsui Shigekazu , Kashiwagi Kouichi
Published: May 2006

In the presence of a catalytic amount of a phosphonium salt, aldol reaction of silyl enol ethers with aldehydes or acetals and the Michael reaction of silyl enol ethers with α,β-unsaturated ketones or acetals proceed smoothly to afford the corresponding adducts in fairly good yields.
Stereoselective Syntheses of Carbon Homologated Vinylsilanes and Desilylated Olefins from α,β-Epoxy Silanes Using Organolithium and Organolanthanoid Reagents
Authors: Ukaji Yutaka , Yoshida Akifumi , Fujisawa Tamotsu
Published: May 2006

Synchronous insertion of alkyl group and deoxygenation reaction were achieved from α,β-epoxy silanes by the treatment with organolithium or organolanthanoid reagents in a regio- and stereoselective manner, i.e., the reaction of (Z)-α,β-epoxy silanes gave the corresponding alkylated (Z)-vinylsilanes, and (E)-α,β-epoxy silanes were transformed into desilylated alkylated (E)-olefins.
Palladium-Catalyzed Asymmetric α-Allylations of Carbonyl Compounds via Chiral Imines Derived from Optically Active α-Amino Acid Allyl Esters
Authors: Hiroi Kunio , Koyama Toshihiro , Anzai Kaori
Published: May 2006

Palladium-catalyzed asymmetric allylations of ketones and aldehydes were successfully executed via chiral imines derived from optically active α-amino acid allyl esters. The mechanistic pathway for this asymmetric induction is proposed on the basis of stereochemical results obtained.
Synthesis of Pyrido[1′,2′:1,2]imidazo[4,5-b]quinoxaline Derivatives from 2-Amino-3-chloroquinoxaline and Pyridines
Authors: Tomoda Haruhiko , Saito Shojiro , Shiraishi Shinsaku
Published: May 2006

Pyrido[1′,2′:1,2]imidazo[4,5-b]quinoxaline was synthesized from 2-amino-3-chloroquinoxaline and pyridine. 3-Substituted pyridoimidazoquinoxalines were obtained from pyridines substituted at 4-position. These pyridoimidazoquinoxalines showed intense greenish yellow fluorescence.
The Effect of Polysaccharide Adsorption on Surface Potential of Phospholipid Monolayers Spread at Water–Air Interface
Authors: Baszkin Adam , Rosilio Veronique , Puisieux Francis , Albrecht Genevieve , Sunamoto Junzo
Published: May 2006

Surface potential measurements were performed for the systems of egg phosphatidylcholine (PC)/cholesteryl-amylopectin and egg PC/cholesteryl-pullulan. The variations of surface potential of phospholipid monolayers on injection of polysaccharide derivatives into the aqueous subphase were monitored for various surface densities of phospholipids and polysaccharide solution concentrations. At the phospholipid surface concentrations above 1014 molecules/cm2, the changes in the surface potential of monolayers were shown to be higher for amylopectin than for pullulan.
Synthesis of Racemic Cryptostylines I, II, and III by Radical Cyclization
Authors: Takano Seiichi , Suzuki Mahito , Kijima Atsushi , Ogasawara Kunio
Published: May 2006

Three 1-phenyl-1,2,3,4-tetrahydroisoquinoline alkaloids, cryptostylines I, II, and III, have been synthesized in racemic forms via a aryl radical-initiated cyclization.
Methanol Conversion to Oxygenated Compounds over the Catalyst Containing Ti Ion as a Main Ingredient
Authors: Wang Fey-long , Ueda Wataru , Morikawa Yutaka , Ikawa Tsuneo
Published: May 2006

Methanol was converted into a variety of oxygenated compounds including esters, ketones, and aldehydes at 350 °C over Ti ion-based catalysts, for which Zn and Cl ions were effective additives.
An Improved Coprecipitation Method for Preparation of Superconducting Bi,Pb–Sr–Ca–Cu–O Material
Authors: Itoh Hidenobu , Okada Kazuhiro , Fujisawa Tatsuya , Okazaki Noriyasu , Tada Akio
Published: May 2006

Superconducting Bi,Pb–Sr–Ca–Cu–O material has been prepared by an improved coprecipitation method; mixed metal oxalates as the precursor were precipitated from a homogeneous acetic acid solution of the constituent metal acetates and dimethyl oxalate. This method permits easier fabrication of the superconducting material which is almost free from low-Tc phase.
Benzo[g][1,2,5]thiadiazolo[3,4-b]quinoxaline-5,10-dione and Its Selenium Analogue. An Unusual Type of Quinones
Authors: Yamashita Yoshiro , Tsubata Yoshiaki , Suzuki Takanori , Miyashi Tsutomu , Mukai Toshio , Tanaka Shoji
Published: May 2006

The title compounds, which were prepared from 2,3-diamino-1,4-naphthoquinone, are stronger acceptors than the related naphthoquinones. The studies of the cyclic voltammogram and MO calculation revealed that upon reduction electrons are first accepted at the heterocyclic part.
Ethanol Gas Sensing Properties of Pd–La2O3–In2O3 Thick Film Element
Authors: Tamaki Jun , Maekawa Tomoki , Matsushima Shigenori , Miura Norio , Yamazoe Noboru
Published: May 2006

The doubly doped In2O3 thick film element, Pd–La2O3–In2O3, was found to show excellent ethanol gas sensing properties in sensitivity, selectivity and response rate, in addition to having an electric resistance low enough to be compatible with a conventional circuitry. Such properties resulted from the modifications of In2O3-based element with the dopants and the thick film structure applied.
Host–Guest Sensory System of Dansyl-Modifled β-Cyclodextrin for Detecting Steroidal Compounds by Dansyl Fluorescence
Authors: Ueno Akihiko , Minato Shingo , Suzuki Iwao , Fukushima Mitsuru , Ohkubo Masahiro , Osa Tetsuo , Hamada Fumio , Murai Koichi
Published: May 2006

Dansyl-modifled β-cyclodextrin decreases its fluorescence intensity upon guest binding, and this phenomenon was used to detect steroidal compounds. This system exhibited remarkable molecular recognition, showing high sensitivities for ursodeoxycholic acid and chenodeoxycholic acid.
Optically Active Sulfoxides as Ferroelectric Liquid Crystals and Chiral Dopants for Them
Authors: Nishide Kiyoharu , Nakayama Akiko , Kusumoto Tetsuo , Hiyama Tamejiro , Takehara Sadao , Shoji Tadao , Osawa Masashi , Kuriyama Takeshi , Nakamura Kayoko , Fujisawa Toru
Published: May 2006

Chiral alkylsulfinylbenzenes having an ester functional group at C-4 were prepared and shown for the first time to be ferroelectric liquid crystals and excellent chiral dopants for them.
Conversion of 1,1,2-Trichloro-1,2,2-trifluoroethane (CFC113) over TiO2-Supported Metal and Metal Oxide Catalysts
Authors: Takita Yusaku , Yamada Hiroshi , Hashida Masayo , Ishihara Tatsumi
Published: May 2006

CCl2FCClF2 was converted to C2H2F2 and CH4 over Pd/TiO2 at 420–820 K in the presence of hydrogen. C2H2F2 and C2H3F3 were mainly formed over Pt/TiO2 at 520–570 K and dechlorination to CF3Cl took place over Ni/TiO2 and Co/TiO2 at 470–620 K. The CeO2/TiO2 catalyst and the catalyst containing La themselves reacted with CFC113 to give CeF3/TiO2 and LaF3/TiO2 after the reaction at 820 K, respectively. MnTiO3 catalyzed the reaction to C2F3Cl at relatively high temperatures of 770–820 K.
A Preparative Nitroxyl-radical Coated, Graphite Felt Electrode for the Oxidation of Alcohols
Authors: Osa Tetsuo , Kashiwagi Yoshitomo , Mukai Kenji , Ohsawa Akio , Bobbitt James M
Published: May 2006

The graphite felt electrode, coated with ca. 3 wt% polyacrylic acid, was modified by successive reactions with hexamethylenediamine (for cross-linking), 4-amino-2,2,6,6-tetramethylpiperydinyl-1-oxyl(4-amino-TEMPO) and diazomethane (for methylation). Properties of the electrode, were compared with a non-crosslinked and non-methylated one, a crosslinked and a non-methylated one, and a crosslinked and incompletely methylated one; the present electrode was stable and oxidized nerol to neral selectively with turnover number > 1560.
Intercalation of Ferrocene and Related Compounds into Interlayer Spaces of Vanadyl Phosphate
Authors: Matsubayashi Gen-etsu , Ohta Seiji
Published: May 2006

Ferrocene and its alkyl-substituted derivatives intercalate into the lamellar VOPO4 compound, where the ferrocenium and related cation species are located in the interlayer space of the V(IV)/V(V) moieties. Based on powder X-ray diffraction patterns and ESR spectra, arrangements of the cations and electronic interactions between the cations and VOPO4 moieties are discussed.
Surgical Repair of Unidirectional Palatopharyngeal Epignathus: Case Report and Review of Literature
Authors: El-Musa Kusai A. , Shehadi Ramzi S. , Shehadi Sameer
Published: May 2006

Epignathus is an extremely rare, benign, congenital teratoma that arises from within the oral cavity and may be attached to the mandible, palate, or base of the skull. Because of its location, it can cause airway and feeding problems, as well as secondary defects due to the presence of an intraoral tumor. This tumor usually causes death in neonates, due to airway obstruction. Surgical removal is usually impossible, especially in large tumors (Stone, 1951; Bennett, 1970).

A patient with a neonatally diagnosed nonobstructive palatopharyngeal epignathus is described. It was associated with a shortened palate, cleft uvula, and velopharyngeal insufficiency, and was successfully excised surgically.
Working and Dancing: A Response to Monroe Beardsley's “What Is Going On in a Dance?”
Authors: Carroll Noël , Banes Sally
Published: May 2006

Professor Beardsley's paper is distinguished by his customary clarity. Many of the distinctions he draws will undoubtedly be useful not only for dance theoreticians, but for dance critics as well. Nevertheless, the way that these distinctions are placed in the service of a putative characterization of what constitutes a dance “moving” seems to us problematic. This brief note will be devoted to exploring the adequacy of Professor Beardsley's proposal.

Beardsley appears to conclude his paper by stating a condition requisite for a motion to be counted as a dance “moving.” He writes,

If, in other words, there is more zest, vigor, fluency, expansiveness, or stateliness than appears necessary for its practical purposes, there is an overflow or superfluity of expressiveness to mark it as belonging to its own domain of dance.

We interpret Beardsley's basic point here as the claim that a superfluity of expressiveness (above the requirements of practical exigencies) is a defining feature of a dance “moving.” However, in our opinion, this attribute represents neither a necessary nor a sufficient condition of dance.
Valentine de Saint-Point
Authors: Satin Leslie
Published: May 2006

On April 3,1917, dancer Valentine de Saint-Point performed at New York City's Metropolitan Opera House. It is accepted as common knowledge (a term which may be stretching the point somewhat, given the relatively small body of writings which refer to her) that she was a) a Futurist, b) one of the very few, if not the only, female Futurists, and c) the only, if not one of the very few, Futurists to perform in New York.

Actually, none of these “facts” is entirely documented. In this essay, I will leave the third point untouched, assuming this aspect of Saint-Point's singularity to be at least relatively accurate. The second point I will deal with obliquely; that is, rather than debating whether her position as a woman among the Futurists was unique, I will consider how she saw being female as meaningful in her work. The first point interests me as well—again, obliquely. I will not argue here for or against Saint-Point's definitive categorization as a Futurist. Instead, by verbally reconstructing a performance and analyzing a body of written work related to it, I will examine Saint-Point's associations with Futurism and other experimental movements in performance taking place within the same general timeframe.
Recruitment Patterns: their impact on ballet and modern dance
Authors: Sussmann Leila
Published: May 2006

English sociologist of art Janet Wolff says that all art is situated both historically and in relation to the status groups that produce it and share a taste for it. Tracing the relationships between the situation and the art is the difficult task of the sociology of art.

The theoretical model used by art historians results in their focusing heavily on the body of art itself, showing how styles influence and develop out of each other. Alternatively, the “interpretive” theory of anthropologist Clifford Geertz—described in his essay, “Art as a Cultural System” —emphasizes the idea that the meaning system of the art participates in the larger meaning system of the culture: the larger system provides the key to the art.
In Search of Satanella: An Adventure Prompted by The Children of Theatre Street
Authors: Cohen Selma Jeanne
Published: May 2006

Ever since I was fourteen and read Tamara Karsavina's Theatre Street, I had wanted to visit the school that she described so endearingly in her autobiography. Finally, in 1973,1 was in Leningrad and had a chance to see what is now known as the Vaganova Choreographic Institute. After several engrossing hours of watching classes, I was called into the office where I was invited to ask questions but was first asked to listen to an explanation. “We know,” said the young man appointed as spokesman, “that you have visited the very modern new school that is now used by the Bolshoi Ballet. We want you to know that we, too, were offered a new building by the Soviet government, but we did not accept it. We told the government that, unlike Moscow, we have a great tradition that was created and nurtured within these walls. We are proud of this tradition and we want to remain here.”

If I had not already loved the Leningrad school because of Karsavina, I would have loved it then.

The film The Children of Theatre Street tries to capture some of this feeling of inheritance, and at times it succeeds. We see the rapt faces of the young students as they stand beneath portrait's of past masters who walked these same halls, beneath views of dancers who preceded them, perhaps at that same space at the barre. The face of tradition, like that of a parent, is both loving and demanding. The children are intensely aware of their responsibility; we respond to their consuming dedication as the film concentrates on the daily lives of two young students, Angelina Armeiskaya and Alec Timoushin. But watching moments of their classes, we long to see more of their dancing. Of course, it is interesting to see the school cafeteria and a dormitory bedroom, but a glimpse would have sufficed.
Studying Water Study
Authors: Marion Sheila
Published: May 2006

Water Study, choreographed by Doris Humphrey in 1928, is described by dance writer Marcia B. Siegel as “still one of the most extraordinary works in American dance.” One of Humphrey's earliest works, it was created during the period in which American modern dancers Humphrey, Charles Weidman, and Martha Graham broke away from the ersatz ethnicity of Denishawn to begin choreographing their own works. “As small and strange as it is,” Siegel continues, “Water Study is a masterpiece of the choreographic art”.

The piece begins with ten to twelve dancers crouched low on the floor, scattered throughout the stage area, and all facing stage right. They slowly rise and sink in canon, as though a wave passed over them and back again. The movement grows until it brings them onto their feet: they separate and rush toward one another, leaping and falling like waves splashing together and subsiding. Then, grouped together, they surge back and forth from one side of the stage to the other like shifting tides. One cluster of dancers breaks away while another leaps, turns, and falls, forming a progressive, whirl-pool-like spiral to the floor. A side-to-side rocking motion gradually brings the dancers into unison as they spread throughout the stage area again. They return to the crouching position and ripple upward again in one last splash before finishing with a slow crawling action that leaves them prone like the last remnant of a wave creeping up the shore.

Water Study focuses attention on movement by minimizing other theatrical elements. The dance does not tell a story; it is performed in silence with no scenery; lighting changes are minimal; and dancers are costumed in plain, flesh-colored leotards. Although these kinds of choices tell their own story, as will be examined later, they serve to “turn the volume up” on the movement “channel” of communication.
East and West in the Work of Michio Ito
Authors: Cowell Mary-Jean , Shimazaki Satoru
Published: May 2006

The integration of Oriental and Occidental elements, as Michio Ito perceived them, was central to his vision of art and life. “In my dancing,” he said, “it is my desire to bring together the East and the West. My dancing is not Japanese. It is not anything—only myself”.

Ito thus described his dancing in a newspaper interview in August, 1917, less than a year after his arrival in America. Those who view the individual as inevitably embedded in his specific cultural and historical environment may find Ito's description idealistic but naive. He was, after all, only twenty-three. Certainly, Ito was inescapably an Oriental from the standpoint of the Western formulated Orientalism described by Edward Said. Moreover, Ito's prior experience in Europe had already acquainted him with the Orientalist tendency to lump together all Eastern cultures, assuming, for example, that values and behavior of Japanese, Indians, and Egyptians must be similar if not identical. As the only Asian among well over three hundred students at the Dalcroze Institute, Ito noted that, despite his protests, other students regarded what he said and did as typical of all Eastern people as well as all Japanese. Ito, then, was not naively oblivious to contemporary stereotypes of Orientals.

Ito's concept and practice of his art reflects some aspects of Said's Orientalism while evading others. This is partially because Said's study admittedly emphasizes British and French scholarship and imperialist politics, particularly in relation to the Arab world. In this Orientalist tradition, the European saw the Oriental as essentially different and inferior, the passive “other” incapable of self-government despite past glories of Eastern philosophy and art. Consequently, Orientalism logically predicted and justified the colonization of the colonized. Moreover, since the East was thought to have unchanging characteristics, this dominant-subservient relationship was assumed static until the dissolution of the imperialist empires in the twentieth century.
The Interface of Scholar and Subject: Studying Basque Dance
Authors: deAlaiza Candi
Published: May 2006

“Pathways to Historical Knowledge” was the title of the CORD regional conference where these papers were first presented (California State University, Northridge, December 8, 1979). In this conference, two disciplines – dance ethnology and criticism – and one genre – the personal memoir – were looked at in relation to what they could contribute to the study of dance history. In the session “Historical Process and Ethnic Dance Research,” these papers and the ensuing discussion made it clear that the dance ethnologist may be as concerned with process through time as the dance historian. The ethnologist however, working in the field and in social relationships with informants, almost inevitably influences the development of the dance complex under study – a well known phenomenon in any research involving living human subjects. The nature and amount of this influence seems from these accounts to depend on the extent to which the researcher has or develops such social relationships with members of the community whose dance is being investigated. The community may even go so far as to consider the researcher or the written results of research as its authority when making judgments or decisions about its own dance. Understanding the change and the continuity in seemingly traditional dance cultures thus becomes a difficult task: the researcher is a part of the dynamic process and yet must try to interpret it objectively and keep his own influence to a minimum.
Music and Dance in Boccaccio's Time: Part II: Reconstruction of Danze and Balli (including three dances with music and Labanotation)
Authors: Thomas Emma Lewis
Published: May 2006

W. Thomas Marrocco has shown the types of music and dance that are discussed in Boccaccio's Decameron; I should like to present some examples of these art forms, re-created as accurately as we are able to do so, in the form of an entertainment which might have amused the ladies and gentlemen in that secluded villa on the outskirts of Florence in 1348.

In re-creating dances of the past from written documents, two principles must be borne in mind: first, that the records reflect the dance of an earlier period, for the steps and movements must have been tried, learned, and proven successful before a dancing master (or academician) would have deemed them worthy of recording; second, the materials preserved were obviously quite popular in the courts and hence were likely the most “danceable” compositions available. Therefore, it is the task of the reconstructor of these movements to discover the elements that were exciting and appealing to the dancers (and spectators) of the period and to make these elements come to life for contemporary audiences. Besides the obvious necessity of translating verbal instructions for steps and movement patterns and setting these to music, many factors enter into this elusive performance task: the size of the dance area usually employed; the shape, length and weight of clothing worn while dancing; the style and maneuverability of shoes, hats, swords, capes and other accoutrements; body positions generally in vogue as well as attitudes towards the human body, i.e., what was and what was not generally acceptable in terms of the good manners of the day.
Repertoire, Values, and Social Meaning in the Wedding Dances of a Yemenite Jewish Village in Israel
Authors: Staub Shalom
Published: May 2006

Despite the popularity that the Yemenite Jewish dance has achieved among a general public, through Israeli folk dance and stage adaptation by groups such as the Inbal Dance Theater, scholarly treatment of this dance tradition is still in its early stages. My intent in this paper is to address an area neglected by other researchers: the examination of Yemenite Jewish dance in the context of village life in Israel, and further, the consideration of the social significance of the dancing. I will identify the significant social subsets of the village, examining the similarities and differences of dance repertoire and criteria for aesthetic evaluation among these groups as seen in the course of wedding celebrations. These similarities and differences will introduce the dimension of social meaning the intersection of form and function, symbol and meaning, dance and culture.

A moment for definition of basic terms: I use the term culture in its sense as a common conceptual framework, including beliefs, values, and symbols. Culture, as a common conceptual framework, is constantly enacted and re-enacted in actions, events, and symbolic expressions. This formulation is similar to Geertz's definition of culture as “a system of inherited conceptions expressed in symbolic form by which men communicate, perpetuate, and develop their knowledge about and attitudes towards life.” I approach dance as one such symbolic form. Dance style is not arbitrary. It is a learned and patterned activity. By carefully investigation native attitudes, it is possible to learn how dance operates as symbolic and expressive behavior.
Exploring Dance as Concept: Contributions from Cognitive Science
Authors: Francis Sandra T.
Published: May 2006

As a doctoral candidate in anthropology preparing for field research among the Navajo, I surveyed the literature of cognitive anthropology (a subdiscipline of cultural anthropology) searching for analytical tools and methods that might suit my research needs. This inquiry led to the development of an experimental project, which is the subject of this article. I will begin with a brief account of my research problems and follow with a description of the experimental project, including a discussion of problems encountered and lessons learned.

The subject of my field research is: “The Role of ‘dance’ (alzhish) in Navajo Curing Ceremonials.” Portions of Navajo ceremonials were labeled “dance” by early researchers, presumably because they fit the Western concept—movement accompanied by music (drumming and singing) and performed before an audience. The Navajo call this component alzhish. The meaning of this term has not been investigated. We do not know how the other parts of a ceremony are labeled, and we do not know why this group of actions receives this label and not a different one. I devised three questions for exploring this domain: 1) What is alzhish? 2) What is the ceremonial function of alzhish? 3) How is that function achieved?
The Historiography of European Linked Sword Dancing
Authors: Corrsin Stephen D.
Published: May 2006

One of the most widespread and dramatic styles of folk dance performance throughout much of Europe over the past six centuries has been sword dancing, specifically the linked styles—often called “hilt and point” or “chain” sword dances—which were first reported in the late Middle Ages and are still practiced in a number of countries. In these dance styles, a group of dancers, normally ranging from four or five up to twenty-odd, moves through various figures, minimally lines and circles but often using very complex and demanding movements. The dancers are connected to one another by swords, or sword-like implements of metal or wood, which they usually hold with the hilt in their right hands and the point of the next dancer's sword in their left. The dancers have traditionally been men or boys, often members of a guild or profession, or in rural areas, the men of a parish or district.

The dances are usually presented in the winter, most often during Carnival time or Shrovetide in much of northern and central Europe, or on Boxing Day or Plough Monday in England. But they might also take place on a local patron saint's feast day or other popular holiday. In Spain and Portugal the dances have been performed at Corpus Christi, in the summer. In many countries they have been presented to entertain royalty, wealthy tourists, folklore collectors, or other distinguished audiences. Particular speeches, songs, or short dramas have sometimes been associated with these dances. It has not been uncommon for a piece of mock combat to take place, perhaps with a fencing scene. A dramatic moment in some dances comes when the swords are locked or laid together. They then can be displayed in a star shape to the audience; used as a platform for a performer to stand on; or placed around a performer's neck, for an “execution”, sometimes followed by a “resurrection.” Nonetheless, the emphasis and originality of this style of dancing lies in the linked movements of the dancers, connected by their swords.
Zurich Dada and Dance: Formative Ferment
Authors: Prevots Naima
Published: May 2006

Zurich Dada had a profound impact on twentieth-century dance, bringing new possibilities to a rapidly changing field. The Dadaist performance ideas were mainly drawn from pre-World War I artistic movements—Futurism, Expressionism and Cubism. Coming together during World War I in Zurich, the artists and writers who made up the group found themselves loosely unified in a desire to destroy traditional forms of expression and build a society based on a purer vision encompassed in new artistic forms. The intensity of time and place—a small city far from the immediate battles of the war—allowed for an exchange of ideas that reactivated, integrated and reshaped the pre-World War I manifestoes and experiments of the various art movements.
Concentration of Modern Dancers While Performing Balancing Tasks
Authors: Jette Nadine , Shick Jacqueline , Stoner Lela June
Published: May 2006

Concentration is an important process in building a dancer's foundation for performance—a learned process. One must be able to focus attention to a purpose, a motive, or an intent and simultaneously remove what is nonessential. To a dancer, concentration is the discovering of a personal awareness of movement, a kinesthetic awareness of the human body (internal focus). This kinesthetic awareness is focused on the conscious use of the center that controls movement, i.e., the center of mass (center of gravity). When the body performs in equilibrium, e.g., in balancing activities, it is necessary to sense energy going from that center and returning to that center. It is the control of the center that provides freedom in the use of the arms and legs, which gives the dancer an effortless carriage of the head, free of tension in the neck and shoulders. Bonsignore (1983) believes that balance is a dynamic concept in dance. The dancer must constantly be kinesthetically aware of the direction of energy as it flows through the body. Muscles are continuously responsive to the center of the body, making minute changes that will be reflected to the distal parts of the body (Hays, 1981).
Reprise: On Dance Ethnography
Authors: Sklar Deidre
Published: May 2006

In 1991, when my essay, “On Dance Ethnography,” appeared in this journal, there was a small body of American research in dance that examined movement in cultural context (1). Since then, a radical shift has occurred in American dance scholarship. Cultural critique, with its attention to ethnicity, race, class, and gender, has permeated the academy, and dance historians have turned to sociocultural issues, blurring the boundaries between the sub-fields of dance. We now have a range of theories, methods, and case studies that address the cultural situatedness of dance and movement, a range reflected in the names applied to the subject: “dance ethnology,” “cultural studies in dance,” “ethnochoreology,” “performance studies,” “anthropology of dance,” and “anthropology of human movement.” While long-established paradigms continue to inspire work from structural, symbolic, and functional perspectives, two new trajectories have risen in ethnographic dance studies in this decade.

One trajectory is sociopolitical; it draws on the rapidly developing ideas and language of cultural studies. Here we talk about dance in terms of the “socially constructed nature of human movement” (Reed 1998, 503) and of “bodily theories— armatures of relations through which bodies perform individual, gendered, ethnic, or community identities” (Foster 1995, 8). We discuss globalization, transmigration, de- and re-contextualization, invented communities, kinesthetic homes, all of which address the way dance works and is worked upon in the changing contexts of world politics. We specify whether a dance affirms, resists, re-creates, challenges, undermines, or reenforces the status quo, and sometimes whether it does several of these at once, for we agree that dance as social action can be ambiguous (Desmond 1994) (2).
Technique and Theory in the Work of Kapila Vatsyayan
Authors: O'shea Janet
Published: May 2006

As a scholar and practitioner of Bharatanatyam I would like, foremost, to express my gratitude to Kapila Vatsyayan for her comprehensive, in-depth studies of Indian classical dance forms. Her work includes attention to both distant and recent epochs in the history of Indian dance as well as to current practice. Her analysis of many divergent sources has laid the groundwork for any academic study of classical Indian dance. She not only provides an exhaustive account of Indian dance in the past and present but also interprets the relationship among aesthetic theory texts, historical dance practice, and contemporary, classical Indian choreography in a nuanced and sophisticated manner.

Because the strengths of Vatsyayan's research are manifold, I restrict my consideration here to a narrow focus. Specifically, this discussion focuses on her concept of dance technique as an integral part of her analytical framework. This essay also addresses the ramifications of her methodology for current and future work in the field of dance studies. In particular, I consider how Vatsyayan's understanding of the bodily subject offers an important paradigm for current writings within dance scholarship, especially those that interpret dance praxis in relation to social theory (1). Moreover, I limit my attention to two of Vatsyayan's major works: Classical Indian Dance in Literature and the Arts and Indian Classical Dance.
Circling the Square: A Choreographed Approach to the Work of Dr. Kapila Vatsyayan and Western Dance Studies
Authors: Erdman Joan L.
Published: May 2006

When I first came to the University of Chicago in 1973 to study South Asian anthropology and history, and to write about North India's musicians, I was asked whether I would be studying the ancient texts such asNatyashastraandAbhinayadarpana. “No,” I said. “I am interested in today's arts and artists, and their recent history in the courts of Rajasthan, not in ancient texts.”

Eventually I found the writings of Dr. Kapila Vatsyayan, and recognized enduring connections between ancient and modern, great and little traditions, and the importance of all arts for understanding any one of them. This realization arose from her 1968 book on India's performing arts,Classical Indian Dance in Literature and the Arts. In his foreword Rai Krishnadasa, Honorary Director of Bharat Kala Bhavan at Benares, noted that since Indian Independence in 1947, many books dealing with its arts had been published, often “hastily written and often full of errors and even misinformation” (Vatsyayan 1968, xix). Vatsyayan's book, however, was “a breath of fresh air, clear, incisive and invigorating” (xix). She had studied historical and ancient dance texts, researched and analyzed the dance, and long practiced with dance gurus. In doing so, her book merged two traditions of learning: living “repositories of tradition,” and analysis of the “ancestry of dance movement–so integral a part of the evolution of modern dance abroad” (xix). So texts and commentaries, on the one hand, and praxis, on the other, were essential to understanding India's dance and dance traditions, and to reconstructing their history. This combination informs all her publications as well as her significant contributions to the patronage of India's dance culture. For me, it opened the pathway to a merger of text and practice, context and aesthetic process.
Ethical Standards for Experimental Research with Dancers
Authors: Welsh Thomas M.
Published: May 2006

As experimental research becomes more common in the world of dance, the ethical issues involved in conducting such research increase in importance. While several fields have identified ethical standards to guide researchers in their fields, standards for research with dancers have yet to appear.

In the absence of standards tailored for research with dancers, researchers might adapt the standards of related fields or use a personal code that seems appropriate to their situation. However, researcher backgrounds differ and researchers have a particularly strong interest in seeing their projects succeed, so there is no guarantee that every researcher will employ sufficient standards. Specifying an appropriate set of guidelines for research with dancers could be helpful to dance researchers, organizations that sponsor research with dancers, and dancers who participate in research. The purpose of this article is to propose a set of ethical standards for experimental research with dancers.