bluuebunny/crossref_metadata_2025 huggingface dataset:
The Notion of Mysticism in the Philosophy and Choreography of Mary Wigman 1914-1931
Authors: Howe Dianne S.
Published: May 2006

Mary Wigman wanted to develop a new dance form, one that could express her personal perception of the spirit of her era and communicate her innermost feelings. What she created in her early choreographies, despite variations in specific works, was a dance in which one of the most prevalent constituents was mysticism, found in the purpose, process, and content of her choreography. It is by virtue of the element of mysticism that Wigman's artwork can be linked to a major aspect of the German Expressionist movement, which had come to full flower in art and drama during Wigman's artistically formative years.

German Expressionism was the attempt, by several German artists circa 1907-1925, to express the inner reality of a character, situation, or event rather than the external, scientifically verifiable facts, by portraying the essence, by giving form to experience to convey its universal significance. This expression of the artist's vision, which was intensely individual in style and inspiration yet universal in content, was often marked by distortion or non-realistic symbols used to attain a direct communication from soul to soul, that is, to express the essence of their vision so that it could be apprehended on a sensed level rather than on an intellectual level. The German Expressionist artists, as well as Wigman, developed their own, individual styles according to their particular art medium and individual personalities.
Symbols of Possession: A Study of Movement and Regalia in an Anago-Yoruba Ceremony
Authors: Drewal Margaret Thompson
Published: May 2006

The phenomenon of spirit possession exists throughout Africa and many other parts of the world. Recent studies view possession as a performance, concentrating on the manner in which mediums become possessed and a description of the ensuing action. The following study of the Ondo ceremony of the Anago-Yoruba in Dahomey, while concerned with this, focuses more specifically on the numerous symbolic references to possession within the dramatic framework. Possession cannot be meaningfully discussed solely as a state of dissociation. As a performance it is made up of complex arrangements of symbols—visual, aural, and kinetic. The combination forms the reality of possession as witnessed by the audience. An examination of each element in the ritual complex deepens one's understanding of the others and of the whole. Dance specialists, particularly those analyzing dance cross-culturally, should be sensitive to all contextual elements in order to perceive patterns of thought and philosophical ideas expressed kinetically. This paper considers a number of crucial ritual elements: first, imagery in oral tradition, which reveals the personalities of the gods involved in the ritual; second, shrine architecture and priestly regalia, which symbolizes man's relationship to the divine; and third, the possession dance, which unifies the vast array of references to possession in time and space.
A Preliminary Investigation of Two Variations of the Grand Battement Devant
Authors: Ryman Rhonda S. , Ranney Donald A.
Published: May 2006

Twentieth century technology has given rise to new and exciting methods for the analysis of human motion. With the aid of the motion picture camera a dancer's kick can be frozen and details invisible in normal viewing can be isolated and analyzed. Electrical detecting devices can uncover secrets about the inner workings of the body, its nerves and muscles. Platforms sensitive to the changing dynamics of a movement can tell us how the body generates force, how it locomotes itself and creates artistic effects and qualities which were previously thought of as “mystical” and “denying natural laws”. Numerous ballet technique manuals offer explanations as to the correct execution of dance movements. Although these descriptions are largely in agreement with one another, they are often in conflict with kinesiological information about the general functioning of the human body. Little research exists in the specific area of kinesiology and dance.

It is therefore the goal of the present research to clinically examine one selected dance movement, the grand battement devant, in order to form a kinesiological model of its skeletal and muscular components. This information may help provide a means of assessing the great heritage of traditional ballet theory based largely on personal experience and trial and error, and form a foundation for new theory based on objective analysis. The problem was to discover skeletal and muscular patterns when the grand battement is performed with both legs parallel (patellae facing anteriorly), and with both legs “turned out” (femurs laterally rotated as much as possible at the hip joints).
Dance and the “Women's War”
Authors: Hanna Judith Lynne
Published: May 2006

What lever of power do Ubakala women have when their society traditionally requires them to leave their birthplace to live among strangers in a situation which excludes them from formal political and religious decision-making? The answer is dance! And when the messages of the dance go unheeded, the women have been known to resort to less peaceful persuasion. The Nigerian Women's War of 1929, which I describe later, is the most notable case.

The Ubakala people of eastern Nigeria (now Imo State) trace family descent on the father's side. Women leave their natal home upon marriage to live among their husband's kin, many of whom may be strangers. Another indicator of apparent male domination is the exclusion of women from the formal, traditional political and ritual decision-making bodies. Most women's activities center on the domestic scene, agricultural fields, and the market network. However, Ubakala women are not merely subordinate domestic creatures of exchange and family alliances. They also provide men with mates, privileges in a new group (husbands gain special support from a wife's family), and labor. Ubakala recognize that female fertility and energies complement male virility and strength in human and economic production. Furthermore, women have prestige and power apart from that of their husbands: achieving wealth, developing persuasive verbal eloquence, and bearing many offspring are indicators of a woman's success. With these assets women past menopause may even attend men's political meetings if they choose. Women have their own groups and leaders which are considered powerful amongst both themselves and the men. Moreover, women may assert themselves and become especially visible in dance-play performance.
Issues in Labananalysis Research: Using the Humphrey Scores
Authors: Jordan Stephanie
Published: May 2006

The accessibility of notation scores and film provides a unique opportunity for examination of the relationship between existing music and dance in the work of Doris Humphrey. Nine of her pieces to existing musical scores have been notated in Labanotation and at least fourteen have been filmed in their entirety or in part. Nine are recorded in notation and on film. The Humphrey films and scores span her choreographic career and illustrate a wide range of musical scores from the eighteenth to the twentieth century. In this paper, I will suggest various ways in which the Labanotation scores have been useful for analysis and have contributed to my understanding of Humphrey's work.

So far I have studied three pieces, each of which has been filmed and notated, Passacaglia in C minor (1938), Partita in G major (1942) the four movements that remain, and the first movement of Brandenburg Concerto No. 4 in G major (1959), created with Ruth Currier. All three employ scores and titles by Bach and all make oblique reference to the music visualization tradition from which Humphrey emerged.
“I Feel Like I'm Going to Take Off!”: Young People's Experiences of the Superordinary in Dance
Authors: Bond Karen E. , Stinson Susan W.
Published: May 2006

Work by children in every art form has been both romanticized and criticized by adults. Child art has been emulated as “natural” by artists seeking to free themselves from social and historical conventions (Lowenfeld and Brittain 1987; Read 1957, 1973) and to reconnect with qualities of purity and simplicity (Coleman 1998). Such values have been challenged by those seeking a rationale for instructional programs in the arts (Clark, Day, and Greer 1987). It often seems that educators view children as incomplete adults, in need of education and training to make them mature as well as civilized (Torgovnick 1990). This may be why the ideas and opinions of children are rarely found in research literature, even in education.

Similarly, books about how to teach young people rarely include the perspective of the student. Except in child-centered programs for young children, teachers and educational administrators generally decide what children should learn and then, at least sometimes, assess to see if it has been learned. Very little is known about how young students experience the educational activities designed by adults or construct meaning from them.
Grand Union: The Presentation of Everyday Life as Dance
Authors: Banes Sally
Published: May 2006

The Grand Union was a collective of choreographer/performers which during the years 1970–76 made group improvisations embracing dance, theater, and theatrics in an ongoing investigation into the nature of dance and performance. Grand Union's identity as a group had several sources: some of the nine who have been its members had known each other for as long as ten years when the group formed; they had seen and performed in each other's works since the Judson Church days. Most had studied with Merce Cunningham, and three had danced in his company.

One important and rich source for the group's genesis was Yvonne Rainer's work Continuous Project-Altered Daily (CP-AD). To understand the course of Grand Union's activities, it is useful to look first at the changing nature of CP-AD. Rainer began the piece in 1969, and in March 1970 presented a definitive version at the Whitney Museum. The performers were Becky Arnold, Douglas Dunn, David Gordon, Barbara Lloyd (now Dilley), Steve Paxton, Yvonne Rainer and various readers.
Stravinsky's Les Noces
Authors: Reeder Roberta , Comegno Arthur
Published: May 2006

Stravinsky's first ideas for Les Noces date from 1913, when mention of the ballet first appears in his correspondence, yet they did not come to fruition until the ballet's premiere in 1923. This protracted gestation, the longest for any of his compositions, was largely caused by the impositions and consequences of World War I and the revolution in Russa. Both Stravinsky and the Ballet Russes, the company he had been associated with since 1909, experienced economic difficulties. Without any promised performance of Les Noces, Stravinsky concentrated his efforts on other compositions.

During the genesis of the ballet, Stravinsky reformulated his musical philosophy. Before the war; Stravinsky was composing large-scale works for sizable orchestras, with plots derived from Russian folktales and customs, and melodies borrowed from Russian folk music; a few years after the war, he began composing works for smaller forces that borrowed features from eighteenth- and nineteenth-century European music, rather than Russian elements. Both styles — “Russian” and “neoclassical” — are present in Les Noces.
Fedor Lopukhov: A Soviet Choreographer in the 1920s
Authors: Souritz Elizabeth , Visson Lynn , Banes Sally
Published: May 2006

Elizabeth Souritz's book Soviet Choreographers in the 1920s (first published in the U.S.S.R. as Khoreograficheskoe iskusstvo dvadtsatykh godov [Moscow: Iskusstvo, 1979) is presently in preparation for publication by Dance Horizons. The book focuses on one particular aspect of Soviet choreography in the 1920s – the changes within the ballet institution, that is, the state lyric theaters. Although her main purpose is to excavate the choreography itself, and especially the work of three key artists (Alexander Gorsky, Kasian Goleizovsky, and Fedor Lopukhov), in the course of reading about the ballets, we also learn a great deal about the dance and theater life on the periphery, about who was included and who excluded from the mainstream and why, about the aesthetic and political debates that brought some of the projects to fruition and buried others, and about the ways in which the period served as a kind of linchpin in the history of ballet. We see in Souritz's account a microcosm both of the larger Soviet dance world of the 1920s and of the larger picture of state cultural institutions.

The book sheds a welcome light on an era, a group of choreographers, and a series of ballets that have previously been little known in the West. We have been tantalized by brief references in the available literature to the revolutionary ballets celebrating the October Revolution of 1917, to the revisions of the classics that remain in the Soviet repertory, to the remarkable innovations inspired by modernist experiments in all the arts of the period, and to the “model ballet” The Red Poppy. These topics fascinate us not only for their own sake, for they have been a missing chapter in our knowledge of dance history, but also because they illuminate the history of American ballet, and in particular the early roots of George Balanchine's oeuvre.
Introduction
Authors: Ingber Judith Brin
Published: May 2006

The most exuberant example of dance among the Jews is the dance at weddings. For this rejoicing, Jews have paid the most attention to how they danced in order to celebrate the new couple and also to enhance many different aspects of the marriage process. Written sources have recorded examples of wooing and wedding dances from the biblical period through all the vagaries of more than two thousand years of Jewish life. Today countless examples of wedding dances of the Jews still exist, but relatively little scholarship has focused on them.

Outstanding is the remarkable variety of all these dances and the paradoxical fact that they are all unified by the single Jewish phenomenon of a mitzvah. A mitzvah is a commandment of Jewish life; one of these is the commandment that one must dance at a Jewish wedding. This commandment has been honored through the centuries in all the diverse places Jews have been forced to live—the ghettoes, the Pale of Settlement, the mellah, imposed exile or changes through immigration and through choice.
“Tantsn Is Lebn”: Dancing in Eastern European Jewish Culture
Authors: Friedland LeeEllen
Published: May 2006

The study of Jewish wedding dances, as represented in this volume, is a new and exciting endeavor. There are untold riches of dance customs and wedding celebrations to be found among the Jewish peoples of the world. A better understanding of these customs will help illuminate the complex nature of Jewish dance traditions and the importance of dancing in Jewish social life.

This paper will discuss the wedding dances performed by the Jews of Eastern Europe. It is ironic that although the majority of Jews in North America are of East European heritage, this dance tradition is probably the one about which we know the least. The reasons for this are complicated, but one of the most important factors is that the dance tradition did not adapt very well to Jewish life in the New World, unlike, for example, food traditions. The foodways of East European Jewish culture have persisted voraciously in New World communities. In fact, in many parts of the country, Jewish foodways have had a profound influence on the culinary repertoire of non-Jewish America. In contrast, the dancing that was part of traditional Jewish social life in Eastern Europe has dwindled, surviving primarily in the Jewish wedding and other rites of passage.
The Wedding Dances at Kibbutz Ramat Yohanan: The Original Experiments of Lea Bergstein
Authors: Ingber Judith Brin
Published: May 2006

The very first month my husband and I arrived in Israel in 1972, we were bussed from our language center, Ulpan Ben Yehuda in Netanya, some five hours to the northern border to Kibbutz Baram, along with our entire Hebrew class of newcomers, in order to see the daughter of our teacher get married. In true kibbutz fashion, there were several couples marrrying at once so there would be a manifold joy for the kibbutz and all the families involved and no doubt less strain on the kibbutz budget. The bus ride was so long that when we arrived and I saw the brides walking around outside on the green lawns in lovely white dresses, and the grooms in their casual opennecked white short-sleeved shirts, I was sure tht we had missed the entire event. After all, the food was all set out and everyone was milling around eating and greeting each other; only the music and dancing had not begun. Later I realized that the idea of a reception apparently was not relegated to the end of the ceremony. And I learned that buses sent to central places in the city to bring family and friends are a feature of bridging the literal distances between cityfolk and kibbutz life.
Over the Footlights and Under the Moon: Images of Dancers in the Ballet at the Alhambra and Empire Palaces of Varieties, 1884–1915
Authors: Carter Alexandra
Published: May 2006

In general discourse on cultural representation, dance tends to be absent and its contribution to the cultural life of society and its specific role in the social production of gender identity are largely ignored (1). When feminist scholars have addressed dance, the focus has tended to be on ballet as a “high” art form has been significant in forming ideological constructs of an idealised femininity. The following exposition aims to extend the debate by offering a case study located in the Victorian/Edwardian era, when ballet was the main attraction at the rival Alhambra and Empire palaces of varieties in London's Leicester Square. An examination of the period reveals the complexities of the representations of women in the ballet and demonstrates that, whilst the ideology of the dominant culture is embodied in the body of the dancer, that ideology is not singular but plural. It is argued that such a plurality is not at odds, but is commensurate with, co-existing notions of femininity (2).
Darshan and Abhinaya: An Alternative to the Male Gaze
Authors: Coorlawala Uttara Asha
Published: May 2006

In the following study, methods developed within feminist film theory of deconstructing the gaze are applied to “read” abhinaya (the narrational component in Indian classical dancing)(1) and the performer-audience relationship. The study has yielded an alternative model to Kaplan's model of an inevitable male gaze and a performance mechanism for generating transcendence. It also shows that decontextualised readings of dance can yield very different meanings from the readings that consider the religio-aesthetic environment of Indian dance. European-American perceptions informed by Freud and Lacan recognize the power of seeing and its relationship to knowing, so also do yogic theories of perception and the cosmological view of existence that informs the Indian dance. Examining one way of looking through another way of looking may yield fascinating connections and insights, but it also has limitations. The two perspectives cannot be equated. Each view has value-laden socio-cultural orientations which must be considered.

According to Indian theories of aesthetics and perception, looking (drishti) as evident in Indian Classical Dance, is integrally linked with cognizing form (rupa) and naming (nāma). Mastery of abhinaya necessarily involves the ability to direct the audience's sensibilities towards a particular perception through the use of eye movements. The eyes are used not just for “looking” at, or responding to another imaginary character. The focused gaze directs attention to an action, a place or a part of the body. This cues observers to “see” what they are supposed to see. Thus the spaces between the sounds of tatkar (rhythmic footwork) of the Kathak performer are emphasized and translated into a visual dimension, by swift directional changes of the performer's head and gaze. Occasionally the hands too will “draw” the pattern of the rhythms (2).
Body Composition and Body Type of Female Dance Majors
Authors: Evans Blanche W. , Tiburzi Antoinette , Norton Candace J.
Published: May 2006

In recent years, dance, in its broadest sense, has been used in many general conditioning and exercise programs. Aerobic dance and, more recently, “jazzercise” have become increasingly popular in programs sponsored by YMCAs and recreation departments. In addition, the more traditional or established forms of dance, such as ballet, modern, square, social, and folk dance continue to provide recreational activity for people of all ages.

Although there is considerable interest in dance in its many forms, little research has been conducted on the physiological effects of participation in various types of dance programs. The energy cost of some dance styles, such as aerobic dance (Igbanugo & Gutin, 1978) and tap dance (Noble & Howley, 1979), have been reported. In addition, the heart rate response of college students enrolled in modern dance classes and the beneficial effect of modern dance on sedentary college females have also been investigated (deGuzman, 1979). Recently reported (Rosentswieg & Tate, 1979) was the volumetric determination of the body composition of female dance majors (25.4% fat), professional dancers (21.4% fat), and dance educators (18.3% fat). Also reported in this study was a breakdown of the percent of fat of the professional dancers by style of dance performed: jazz dancers were 23% fat; modern dancers were 19.8% fat; and ballet dancers were 16.4% fat. Rimmer (1981) reported a mean body density (Db) of 1.0529 and percent fat of 20.13 for a small group of highly trained female dance majors.
Comments on John Forrest's “Here We Come A-Fossiling”
Authors: Barrand Anthony G. , Dommett Roy Leonard , Allsop Ivor
Published: May 2006

John Forrest's essay, “Here We Come A-Fossiling,” is a refreshing and rare effort by a folklorist to articulate an aesthetic distinction between dancing in the folk tradition and dancing in the folk revival. Since neither “tradition” nor “revival” are clearly defined within the discussion, however, Dr. Forrest's argument may seem a little obscure to any but a folklorist or a folk dance enthusiast. At least to this “revivalist,” it also seems a little harsh to claim that there is a wide chasm rather than at most a delicate line between two types of people who both dance the Morris for the love of it.

There is considerable tension between those who engage in formal study of folklife and those who love to sing or dance the materials collected by the field worker. Perhaps one of the most divisive and unwelcome trends emerging out of the development of folklore as an academic discipline has been the quasi-deification of certain performers as “traditional” and a vigorous denigration of “revivalists” or “interpreters.”
Annual International Bibliography of Dance History: The Western Tradition. Works Published in 1978. Part II.
Authors: Ruyter Nancy Chalfa
Published: May 2006

This second group of works published in 1978 is organized in the same way as Part I (DRJ 12/2, Spring-Summer 1980). There are books and articles in nine categories. The seven indexes guide the reader to time, place, and area of subject matter; to people, dance works, and institutions named in the references; and to authors, editors, translators, etc.

Many people have contributed to the 1978 list and for subsequent years as well. I wish to thank Genevieve Oswald and Dorothy Lourdou of the Dance Collection of the Lincoln Center for the Performing Arts, New York Public Library, for providing catalogue work sheets for all relevant items that are processed into that collection. I am also grateful for substantial assistance from the staffs of the Honnold Library at the Claremont Colleges, Claremont, California; Oviatt Library at California State University, Northridge; and the SIRLS Database at the University of Waterloo in Ontario, Canada; and I appreciate very much the references contributed by Ingrid Brainard, Lynn Matluck Brooks, Selma Jeanne Cohen, Daniel Cole, Nancy de Wilde, Roderyk Lange, Alfred E. Lemmon, Irma Vienola Lindfors, Gita Sellman, Mary Grace Swift, Henning Urup, and Kate Van Winkle Keller. Work on the project has been partially supported by research grants from California State University, Northridge, and University of California, Irvine.

My original idea was not to stay with this project forever, but to get it started and then turn it over to others. The 1979 list is being completed by Lois Benson-Talley (Reference Center, University Library, California State University, Long Beach, CA 90840), and will be finished within the next few months.
“All the dances have a meaning to that apparition”: Felt knowledge and the Danzantes of Tortugas, New Mexico
Authors: Sklar Deidre
Published: May 2006

One at a time, the dancers entered the small chapel and crossed the green shag carpet to kneel before the virgin's portrait. For the three days of religious fiesta, her image would be the focus of the dancers' offerings. A faded color reproduction, the portrait was not honored for its aesthetic virtues. Rather, its significance was invocative and evocative: through it, the virgin's presence was invoked and her story evoked.

About four feet high, the virgin's portrait rested on a papier maché mountain half its size. On a lower ridge of the mountain was a statue of a kneeling man, cast in plaster. The man's size was equal to the mountain's so that his head reached the level of the virgin's knees. The overall effect was that the virgin on high looked down with compassion on a tiny mountain and a larger-than-life man. It was the opposite of traditional images of Mary looking up at Christ on the cross. Here, the man looked up from below at Mary (figure 1).
Finnish Dancers' Attitudes Toward Folk, Competitive Ballroom, Ballet, and Modern Dance
Authors: Nieminen Pipsa , Varstala Väinö
Published: May 2006

One would like to think that dancers hold positive attitudes toward many forms of dance, not just their own. Maybe this is a reason why researchers have not been interested in studying the attitudes of dancers toward dance. However, there have always been conflicts (e.g., which teachers, dancers, dance schools, dance genres should be supported by grants and awards) among dancers in Finland, thus Finnish dance-policy groups have held discussions about improving cooperation both among dancers representing different dance forms and between dancers and artists in other fields. As a result the Dance Council of Finland was founded in 1980 as an organization with board members from various art dance organizations, folk dance organizations and the Finnish Dance Sport Association. The aims of the Dance Council were, among others, to increase cohesion among dancers and to improve the public perception, appreciation and funding of dance. The Dance Council initiated a dance magazine, Tanssi (Dance). However, according to Laine (1991), who was chair of the Dance Council and director of the Finnish National Ballet, the process was problematic and slow.
An Exercise in Applied Personal Anthropology
Authors: Williams Drid
Published: May 2006

This paper represents an attempt to raise three points with regard to the study of dance and social anthropology. First, I have stressed the importance of an anthropological perspective in contrast to other perspectives in connection with ethnographies of dance. Second, I have briefly outlined a few ontological and epistemological implications of treating social anthropology itself as a language-based, rather than as a Behavioural science. Third, I have only barely indicated the epistemological consequences involved in accepting the idea of a personal anthropology.

In fact, it is the latter point which suffers most from the following brief treatment, for while the subject matter for a deeper analysis is present in this essay (i.e. the parts of texts of articles written before I read anthropology), it has mainly been subjected to a fairly standard anthropological critique. There are those who might say that this could have been done without the benefit of the idea of a personal anthropology.
Drumming in Okinawan Classical Music: A Catalogue of Gestures
Authors: Sutton R. Anderson
Published: May 2006

In the West, the categories of music and dance are generally thought of as related, but distinct performing arts. Those of us who devote our time to studying and performing music often forget that no sound is produced without physical movement and that in most (if not all) cases performers have learned to move in certain ways in order to produce a desired pattern of sounds. Yet when we attend a piano recital we may very well enjoy the performance without actually seeing the pianist's fingers in motion on the keyboard. The movements of western “classical” musicians are, for the most part, aimed at producing sounds, and it is these sounds that the audience is expected to apprehend and appreciate aesthetically. In Okinawan “classical” music (koten ongaku), however, the “musical aesthetic” relies on a combination of formalized patterns of movement and sound, particularly in the playing of the two drums, collectively called tēku. The movements of the Okinawan drummer are thus more than a means to correct sound production they have aesthetic significance in their own right. Some of these movements, in fact, produce no sound at all. Others, though highly contrastive visually, may produce sounds which are acoustically the same.

Interplay of the visual and the aural is found in performance traditions around the globe. In East Asia alone there are numerous genres in which dancers sound drums – Japanese and Okinawan Ancestor Festival dances (bon-odori in Japan, eisā in Okinawa), the Korean “monk's drum” dances (puk-chum) and hourglass drum dances (sol-changgo), to name a few. In these dances, however, the “drummer” is more readily identifiable as a “dancer.” He or she moves through space; the striking of the drum is but one of the activities which the audience beholds and may not be the primary one. Usually these dances are accompanied by music performed by “non-dancing” musicians, whose ensemble may include drums other than those played by the dancing drummer.
Anti-Geneticism and Critical Practice in Dance
Authors: Van Camp Julie
Published: May 2006

Dance critics often use information external to a performance to identify and separately evaluate the creative aspects of dance (composition of music and movement; design of scenery and costumes) and the interpretive aspects (performance by dancers and musicians; execution of scenery and costume designs). Their evaluation may also take into account production factors not directly perceivable in a performance, including the type of floor, rehearsal time, illness, and injury.

These critical practices are problematic for an anti-geneticist theory of aesthetic value, the best-known of which is that of philosopher Monroe Beardsley. As a way of legislating against irresponsible criticism, such as describing Schubert's music as “pathetic” solely because one “sympathizes with his poverty,” Beardsley will “…count as characteristics of an aesthetic object [the proper object of criticism] no characteristics … that depend upon knowledge of their causal conditions, whether physical or psychological.” Even some who consider this position too strict, excluding as illegitimate certain important critical discourse, agree that it contributes to a desirable goal, the exclusion of “clearly irresponsible criticism,” or “‘fantastic’ criticism that finds in the work any property whatever suggested by biographical information.”

The apparent conflict between anti-geneticism and these critical practices in dance can be resolved by distinguishing evaluation of perceivable performances from assessments of the continuing skills of performing and creative artists.
Soviet Choreographers in the 1920s: Kasian Yaroslavich Goleizovsky
Authors: Souritz Elizabeth
Published: May 2006

In Moscow, Goleizovsky was the leader who attracted the younger generation to experiment. Kasian Yaroslavich Goleizovsky had been a student at the Petersburg School; he was accepted in 1902 and spent seven years there along with the future participants in Diaghilev's Ballets Russes abroad. At that time, Fokine was already working in the Maryinsky Theater with students and young dancers. In the school, he conducted the women's class parallel to the one in which Goleizovsky was studying. For the examination performance, Fokine presented Les Saisons, to the music of Tchaikovsky, in which Goleizovsky appeared partnering Fokine's student Elena Lyukom.
Ida Rubinstein: A Twentieth-Century Cleopatra
Authors: Mayer Charles S.
Published: May 2006

… to see Mme. R. stand on the stage before the curtain goes up and be wrapped in yards of mummy bandage for her role in Cléopâtre is an incomparable sight… a respectful, silent circle of stage hands and extras form around her, diminishing as she disappears beneath her veils. One night I had the honor of helping Mme. Rubinstein on stage for her bandaging — she is unable to walk alone because of the height of her clogs — and as I felt the tremulous pressure of her palm on my shoulders, I thought of the Cleopatra of Flaubert.

Ida Rubinstein made her first Western European appearance in the title role of Cléopâtre at the Théâtre du Châtelet on June 2, 1909. It was the second evening of Diaghilev's dance programs of that memorable first Paris season, and Ida Rubinstein would have to compete not only with Vaslav Nijinsky and Tamara Karsavina, both of whom had created a furor on the opening program, but also with Anna Pavlova, whose reputation as a dancer had preceded her to Paris.
Why Not Dolmetsch?
Authors: Pugliese Patri J.
Published: May 2006

In 1949, Mabel Dolmetsch first published her work on dance history, Dances of England and France from 1450 to 1600, with their music and authentic manner of performance. Five years later, her companion volume, Dances of Spain and Italy from 1400 to 1600, appeared. Recently, both volumes have been reprinted by Da Capo Press, New York (1975), and they are thus readily available to anyone interested in the reconstruction of dances of the fifteenth and sixteenth centuries. While Da Capo Press is to be applauded for providing these classic works with a renewed distribution, the absence of a modern preface discussing the progress which has been made in historical dance reconstruction since the original composition of these books may well mislead readers into believing that they represent the current state of the art.
Dance is the Cure: The Arts as Metaphor for Healing in Kelantanese Malay Spirit Exorcisms
Authors: Wright Barbara S.
Published: May 2006

Spirit exorcism among Kelantanese Malays speaks as much to the mundane world of village society as to the world of the spirits. Within these exorcisms, called Main Peteri, dance serves both as a strategy for healing and a sign of health. Main Peteri dance is taken from other types of Kelantanese theatre, which together form a recognized complex of arts. Within the Main Peteri this complex represents Kelantanese society as a whole, and the patient's trance-dance, through which he participates in this complex, symbolizes his re-entry into society and reaffirms his status as a Kelantanese.

The psychological aspects of magical dance in Southeast Asia have been described in some detail, especially in regard to the dances of Bali (see Bateson and Mead 1942). Specifically pertaining to the Main Peteri, Raybeck (1974), Rosemary Firth (1966), Raymond Firth (1967), and Kessler (1976), have offered more sociological interpretations of the Main Peteri and its role in Kelantanese society. These anthropological analysts of Kelantanese life recognized the ability of the Main Peteri to deal with mental disorders particularly when caused by stressful situations.
The Influence of Francis W. Parker on Doris Humphrey's Teaching Methodology
Authors: Hausler Barbara
Published: May 2006

Modern dance pioneer Doris Humphrey (1895–1958) is remembered today primarily for her dances and her theory of choreography, but her contributions to the dance extend far beyond the development of repertory and composition. She was a beautiful and accomplished performer, velvety and strong. She was a gifted educator, who influenced recreational students as well as professional dancers and teachers. She was also a brilliant technical innovator who, using the natural movements of the human body as the basis of her technique, developed a unique language of movement with which to communicate her experiences as an artist living in twentieth-century America.

Based on principles of movement, Humphrey's technique is less idiosyncratic than the technique of other modern dancers. Systematic in its practice, if not in its curriculum, the technique was never codified into a syllabus of repeatable exercises. The way in which it was taught by Humphrey and others is distinctive, and is as important an aspect of the technique as the movement principles upon which it was founded. Humphrey's teaching methodology grew from a progressive philosophical perspective towards education to which she had been exposed during her years as a student at the Francis W. Parker School. This paper will examine the Parker approach and trace its influence on Humphrey's emerging technique and teaching methodology.
Doris Humphrey and the 92nd Street Y: A Dance Center for the People
Authors: Finkelstein Joan
Published: May 2006

In this article, I will speak about a subject I hold very dear—the 92nd Street Y. Besides the coincidence of its being my current place of employment, the Y has long been part of my life. I knew it both as a member of Don Redlich's company when we rehearsed there as the Y's resident dance company, and as an audience member thrilling to the likes of Pearl Lang in Kaufmann Concert Hall. It is my hope to enlighten you about the nature of this extraordinary institution, its importance in the development of modern dance, and Doris Humphrey's deep involvement in its history.

Why the Y? Or, to use the Passover phrase of inquiry, “Why is this Y different from all other Y's?” What were the convergences that would bring together a Jewish Community Center and the foremost practitioners of the developing modern dance? What benefit could the institution and the artists mutually realize? To unravel this complex fabric of relationships, it is useful to have as background a brief overview of the origins of the Y and the philosophy expressed by its founders.

On March 22, 1874, a group of German-Jewish businessmen and professionals signed a charter creating a new organization in New York City. The wording of that document is as follows: “We the undersigned, desiring to promote harmony and good fellowship among Hebrew young men and to unite them in an organization tending to improve their social, moral and mental condition, do form an association under the name and style of the ‘Young Men's Hebrew Association’” (1). Thus was born the first YMHA, with the express aim of serving the Jewish community, in particular the cultural and intellectual advancement of Jewish young men.
“Let the Punishment Fit the Crime”: The Vocal Choreography of Cholly Atkins
Authors: Malone Jacqui
Published: May 2006

From the Twenties through most of the Forties, American tap dance in the jazz/rhythm tradition experienced its heyday. Suddenly in the late Forties, the bottom dropped out for many rhythm tap dancers who had established successful careers in vaudeville, musicals, and with big bands. The great chronicler of jazz dance, Marshall Stearns, died wondering whether or not American vernacular dance was vanishing forever. Even today, many still believe that tap absolutely ended with the advent of rock-and-roll, or that it remained in a deep freeze until its revival in the late Sixties. However, the existence of black vocal groups such as those in the Motor Town Revue helped retain and preserve much of the vocabulary of American vernacular dance, including that of tap. The man largely responsible for this retention and cultural transference was Cholly Atkins, who worked as choreographer for Motown Records from 1965-1971.
Ramist Method and the Commercial Mind
Authors: Ong Walter J.
Published: May 2006

One of the persistent puzzles concerning Peter Ramus and his followers is the extraordinary diffusion of their works during the sixteenth and seventeenth centuries. The general pathway of this diffusion has been well known since Waddington's Ramus in 1855. It proceeds chiefly through bourgeois Protestant groups of merchants and artisans more or less tinged with Calvinism. These groups are found not only in Ramus’ native France, but especially in Germany, Switzerland, the Low Countries, England, Scotland, Scandinavia, and New England. Perry Miller's work, The New England Mind: the Seventeenth Century, is the most detailed study of Ramism in any such group. Such groups were moving into more openly influential positions socially and were improving themselves intellectually, and Ramism appeals to them as they move up.
‘I Was But an Inverted Tree’: Notes toward the History of an Idea
Authors: Chambers A. B.
Published: May 2006

One brief section of Marvell's ‘Upon Appleton House’ describes the flooding of a nearby meadow. The inundation is clearly literal, but beneath the surface of these waters lurks a submerged meaning. An examination of it yields a fuller understanding of Marvell's retreat to the higher and safer ground of a wooded hill, for the flood is perceived to be the final scene in a symbohc enactment of England's civil wars. The meadow had seemed ‘A Camp of Battail newly fought’, a plain ‘quilted ore with Bodies slain’ (stanza LIII). When the waters appear ‘to conclude’ what—with fine irony—Marvell calls ‘these pleasant Acts’, and to make ‘the Meadow truly be (What it but seem'd before) a Sea’ (LX), then truly is the time for thoughtful men to meditate upon what they and their revolutionary world have become.
John Morer's Will: Thomas Linacre and Prior Sellyng's Greek Teaching
Authors: Bennett Josephine W.
Published: May 2006

In spite of the thorough and detailed studies of humaism in fifteenth-century England by Walter Schirmer and especially by Roberto Weiss, die significant will of John Morer (or Moeer) has been overlooked. It is of considerable importance because it gives support to the tradition that Thomas Linacre began the study of Greek before he went to Italy, and also to the tradition that his studies were encouraged by Prior Sellyng of Christ Church, Canterbury, although it gives none to the often repeated statement that Sellyng was Linacre's teacher. But, in addition to its importance in the biography of Linacre, it adds one more name to the slender roll of fifteenth-century Englishmen known to have been active in humanistic studies; and it is perhaps unique in its suggestion of the personality of the author and of the intellectual milieu of a country vicar at the beginning of Henry VII's reign—certainly not a typical vicar, but probably not a unique one either.
A Notice of the Epigrammata of Francesco Patrizi, Bishop of Gaeta
Authors: Smith Leslie F.
Published: May 2006

The coming to light of a manuscript of the unpublished Epigrammata of Franciscus Patricius (Francesco Patrizi) of Siena (1413-1494) provides insights into the practical blank which was the history of this humanist from his settling in his diocese of Gaeta in 1465 until his death. For his life up to that point D. Bassi in an article, which is still fundamental, painstakingly gathered the facts. For the years 1461-1464, when Patrizi was governor of Foligno, his own Epistolae are a valuable and interesting source but only a few have ever been printed. Felice Battaglia recapitulated the known facts and added some documentation but, like Bassi, had little to say about the period 1465-1494.
Symonds and De Sanctis: a Study in the Historiography of the Renaissance
Authors: Orsini G. N. G.
Published: May 2006

Je. Spingarn was the first to observe the considerable influence exercised by Francesco De Sanctis (1818-1883), the Italian critic and literary historian, upon the work of John Addington Symonds. Reviewing in 1908 the new edition of De Sanctis’ study of Petrarch published by Benedetto Croce in 1907, Spingarn said:

The name of Francesco de Sanctis is virtually unknown to English readers. A few casual phrases in Symonds's ‘Renaissance in Italy,’ and a friendly but wholly inadequate notice in Saintsbury's ‘History of Criticism,’ are almost the sole references to his work in our language. But with his ideas English-speaking people are more familiar than they suspect; for from his pages much that is illuminating in Symonds's treatment of Italian literature (including many of the most personal ‘impressions’) seems to have been directly transferred.
‘The Bloody and Cruell Turke’: the Background of a Renaissance Commonplace
Authors: Patrides C. A.
Published: May 2006

'there is no publique calamitie inflicted on man, or other creatures, of which wee may not say as the Prophet of the Assyrian tyrant, that it is the rod of Gods anger.'

James Rowlandson (1623)

The purpose of God, it has been said, ‘is the meaning of history. History is the arena wherein that Divine purpose is being fulfilled and the Divine judgments are made manifest.’ This statement by William Temple is an adequate summary of the Jewish view of history, subsequently adopted by Christianity and developed further by St. Paul, Eusebius of Caesarea, St. Augustine, Paulus Orosius, and numerous others throughout the millennium until the Renaissance. The first significant links in the chain of tradition were the Hebrew prophets, whose ideas, destined to become commonplaces, were forged by their strict and often militant monotheism.
William Harvey and his Methods
Authors: Kimball Plochmann George
Published: May 2006

The statement has been repeated so often as to seem a truism, that science in the time of Galileo and Harvey suddenly came of age, dropping its juvenilities, most of them the heritage of Aristotle. In a word, the measurements which Galileo performed painstakingly and interpreted critically in the Dialogues concerning the Two New Sciences, and the arithmetical suppositions which assisted William Harvey in proving that the blood moves in a circuit through the body, have been taken as the ushers of a bold new age of mathematical method and scientific achievement and integrity. In this paper I hope to do nothing to dim the quite properly effulgent reputations of these men, and what I have to say about Harvey will carry with it high approval. But I shall endeavor to make clear that his advances have been of a different sort from those commonly attributed.
The Compasse of This Curious Frame: Chapman's Ovids Banquet of
Sence and the Emblematic Tradition
Authors: Ribner Rhoda M.
Published: May 2006

Renaissance emblem books constituted ‘manifestations of popularly
accepted esoteric notions which vastly contributed to the formation of the
great post-medieval styles, especially mannerism and baroque’. For some time
the critical commonplace has prevailed that Chapman, particularly in
Ovids Banquet of Sence (1595), is emblematic,
with no explanation of precisely what that means. To understand Chapman's
relation to the emblem writers one must compare their methods and their
shared concerns of subject matter, as well as their individual images. The
relevant question is how Chapman applies the individual emblematic elements
and the method to a thematic concern with art and nature to create a poetic
synthesis in Ovids Banquet of Sence.