bluuebunny/crossref_metadata_2025 huggingface dataset:
An Expeditious Synthesis of the (2R,3S)- and (2S,3R)-3-Amino-2-hydroxycarboxylic Acids, the Key Components of a Renin Inhibitor and Bestatin, from (S)- and (R)-Phenylalanine
Authors: Matsuda Fuyuhiko , Matsumoto Teruyo , Ohsaki Masako , Ito Yoshio , Terashima Shiro
Published: May 2006

The title synthesis could be achieved by featuring highly diastereoselective formation of a cyanohydrin acetate from an aldehyde under the phase-transfer conditions.
Iodohydrin Synthesis from Simple and Functionalised Olefins on Treatment with Periodic Acid and Sodium Bisulfite
Authors: Ohta Hirofumi , Sakata Yasuyuki , Takeuchi Toshiyuki , Ishii Yasutaka
Published: May 2006

Periodic acid (H5IO6) in combination with sodium bisulfite was found to be a prominent reagent to convert simple and functionalised olefins into the corresponding iodohydrins in fair to good yields under mild conditions. Allylic alcohols gave iodohydrins whose orientation obeyed anti-Markovnikov rule in contrast to olefins which gave Markovnikov products.
Enzymatic Preparation of Specifically Modified Linear Maltooligosaccharides through Porcine Pancreatic Amylase-Catalyzed Hydrolyses of Substituted γ-Cyclodextrins
Authors: Fujita Kahee , Tahara Tsutomu , Koga Toshitaka
Published: May 2006

Specifically modified linear oligosaccharides were prepared by enzymatic hydrolyses of modified γ-cyclodextrins with porcine pancreatic amylase.
Ruthenium-catalyzed Reductive Alkylation of Active Methylene Compounds with Aldehydes under Synthesis Gas
Authors: Abe Fujio , Hayashi Teruyuki , Tanaka Masato
Published: May 2006

Active methylene compounds undergo reductive alkylation with aldehydes when heated at 135–230 °C under synthesis gas of 100 atm in the presence of ruthenium carbonyl.
A Novel Stability Sequence of Lanthanoid Complexes with 1,2-Bis(o-aminophenoxy)ethane-N,N,N,N-tetraacetic Acid
Authors: Yuchi Akio , Hirai Manabu , Wada Hiroko , Nakagawa Genkichi
Published: May 2006

Higher stability for lighter lanthanoid ions found in the complexation with 1,2-bis(o-aminophenoxy)ethane-N,N,N′,N′-tetraacetic acid is ascribed to its relatively large cavity size and structural rigidity.
Chiral Synthesis of (−)-Nupharamine
Authors: Shimizu Isao , Yamazaki Hiroyuki
Published: May 2006

Reaction of the optically active alkenyloxirane with formic acid in the presence of palladium(0)-phosphine catalyst gave the homoallylic alcohol selectively, which was converted to (−)-nupharamine.
A Convenient Trifluoroacetylation of Arenes with 2-(Trifluoroacetoxy)pyridine
Authors: Keumi Takashi , Shimada Masakazu , Takahashi Masahiro , Kitajima Hidehiko
Published: May 2006

2-(Trifluoroacetoxy)pyridine (TFAP) is useful for trifluoroacetylating arenes under the Friedel–Crafts conditions. Benzene, alkylbenzenes, naphthalene, and dibenzofuran have reacted with TFAP in the presence of aluminum chloride in dichloromethane to give the corresponding trifluoromethyl aryl ketones in good isolated yields.
An Expedient Synthesis of Natural Diarylheptanoids Using the Organoselenium-mediated Reduction of Epoxy Ketone
Authors: Miyashita Masaaki , Hoshino Masahide , Yoshikoshi Akira
Published: May 2006

The total synthesis of diarylheptanoids isolated from the male flowers of Alnus sieboldiana, yashabushiketol, yashabushiketodiol A, yashabushiketodiol B, and yashabushitriol, has been achieved in short steps by employing the organoselenium-mediated reduction of epoxy ketone as key steps.
Selective Ring-opening Reaction of Epoxides with Sodium Borohydride in the Presence of Cyclodextrins in Aqueous Media
Authors: Hu Ying , Uno Mitsunari , Harada Akira , Takahashi Shigetoshi
Published: May 2006

In the presence of cyclodextrins, the ring-opening reaction of epoxides with NaBH4 in aqueous media proceeded smoothly with high regio-selectivity, and kinetic resolution of racemic epoxides was observed.
Facile Carbon–Carbon Bond Heterolysis. SN1–E1 Reactions of t-Cumyl and t-Butyl Substituted Tricyanomethanes
Authors: Hirota Hiroshi , Mitsuhashi Tsutomu
Published: May 2006

The tricyanomethanide ion C(CN)3− was found to serve as an efficient leaving group anion to generate unstable carbocations such as t-cumyl and t-butyl cations, the ability of carbon-terminated leaving groups so far examined being in the order C(CN)2N=NC6H4NO2-p << C(CN)3 << C(CN)2NO2.
An Efficient Asymmetric Synthesis of Atropisomeric 1,1′-Binaphthyls via Nucleophilic Aromatic Substitution Reaction
Authors: Suzuki Takatsugu , Hotta Hiroki , Hattori Tetsutaro , Miyano Sotaro
Published: May 2006

High levels of asymmetric induction (up to 98% optical yield) were achieved in the joining of two naphthalene rings by the nucleophilic displacement of 1-menthoxyl group of 1-(−)-menthoxy-2-naphthoates (1) with 1-naphthyl Grignard reagnts. Also reported is a convenient preparation of the prerequisite 1 via treatment of methyl 1-methoxy-2-naphthoate with sodium (−)-menthoxide in DMF.
Facile Synthesis of S,S-Dialkyl Dithiocarbonates from Water, Sulfur, Carbon Monoxide, and Alkyl Halides
Authors: Mizuno Takumi , Yamaguchi Takitaro , Nishiguchi Ikuzo , Okushi Tsuneo , Hirashima Tsuneaki
Published: May 2006

S,S-Dialkyl dithiocarbonates were easily synthesized in good to excellent yields by the reaction of carbon monoxide with sulfur in the presence of water and triethylamine, followed by alkylation of the resulting salts with alkyl halides.
The Polymer-Protected Pd–Pt Bimetallic Clusters Having Catalytic Activity for Selective Hydrogenation of Diene. Preparation and EXAFS Investigation on the Structure
Authors: Toshima Naoki , Yonezawa Tetsu , Harada Masafumi , Asakura Kiyotaka , Iwasawa Yasuhiro
Published: May 2006

The colloidal dispersions of the palladium–platinum bimetallic clusters were prepared by refluxing their salts in water/ethanol in the presence of poly(N-vinyl-2-pyrrolidone) under nitrogen. They work as catalysts for partial hydrogenation of diene. The highest activity was achieved by the bimetallic clusters with the molar ratio of Pd/Pt = 4/1, the EXAFS spectra and the TEM photographs of which strongly suggest the alloy formation with a core structure.
New Polymers Containing Pendant Metalloporphyrins. Radical Polymerization of 2-Acryloyloxymethylene-5,10,15,20-tetraphenylporphinatometals
Authors: Aota Hiroyuki , Fujii Hirofumi , Harada Akira , Kamachi Mikiharu
Published: May 2006

Polyacrylates having tetraphenylporphinatocopper(II) or tetraphenylporphinatovanadyl(II) as their pendant groups have been prepared by the radical polymerization of the corresponding acrylates. The decrease in the molar extinction coefficient of the Soret band and Q-band was observed, and in addition, new absorption band at 638 nm appeared in the visible spectra of the polymers. This shows that porphyrin moieties bound to a polymer chain are probably forced to make some electronic interactions due to their connection with a polyacrylate chain.
Reaction of Dichlorocarbene with Phosphaethylenes. Preparation of Phosphaallene from Phosphaethylene via Dichlorophosphirane
Authors: Yoshifuji Masaaki , Yoshimura Hideki , Toyota Kozo
Published: May 2006

The reaction of dichlorocarbene with (E)- and (Z)-2-phenyl-(2,4,6-tri-t-butylphenyl)phosphaethylenes gave trans-dichlorophosphirane which was converted to phosphaallene with t-butyllithium, while 2,2-diphenylphosphaethylene gave a vinylphosphaindane derivative.
Metal Selectivity of Conformational Isomers Derived from p-t-Butylcalix[4]arene
Authors: Shinkai Seiji , Otsuka Toshio , Fujimoto Kiyosi , Matsuda Tsutomu
Published: May 2006

“Cone” and “partial cone” isomers of 25,27-bis(2-pyridylmethoxy)-26,28-bis(ethoxycarbonylmethoxy)-p-t-butylcalix[4]arene (3) were isolated by a TLC method and the structures were identified by 1H NMR. From two-phase solvent extraction of alkali picrates, the size of the ionophoric cavities was estimated to be in the order, partial-cone-3 > tetrakis(ethoxycarbonylmethoxy)-p-t-butylcalix[4]arene (cone) > cone-3. This is the first quantitative estimation of the ionophoricity of conformationally-isomeric calix[4]arenes.
Synthesis and Properties of 3-Substituted 8H-3-Azaheptalen-8-ones
Authors: Nakazawa Tomoo , Ishihara Mariko , Yamaguchi Masakazu , Sugihara Yoshikazu , Murata Ichiro
Published: May 2006

3-Substituted 8H-3-azaheptalen-8-ones were synthsized in good yields by photoirradiation of corresponding 7-substituted 7-azanorbornadienes fused with tropone in ethanol with a 450-W Hg lamp through pyrex filter.
Co-intercalation of Tetrahydrofuran with Lithium in β-ZrNCl Layered Crystal
Authors: Ohashi Masao , Uyeoka Koji , Yamanaka Shoji , Hattori Makoto
Published: May 2006

Tetrahydrofuran (THF) is co-intercalated with lithium in β-ZrNCl. Two highly crystalline co-intercalation phases were obtained as single phases by the reaction of the chemically transported β-ZrNCl and lithium-naphthalene in THF. The molecular arrangements in the interlayer spaces were estimated on the basis of the one-dimensional electron-density distribution maps.
Computation of the z-radical in C(X)
Authors: Tressl Marcus
Published: May 2006

We say that a Tychonoff space X has computable z-radicals if for all ideals

of C(X), the smallest z-ideal containing

is generated as an ideal by all the s ○ f, where f is in

and s is a continuous function ℝ → ℝ with s
-1(0) = {0}. We show that every cozero set of a compact space has computable z-radicals and that a subset X of ℝ
n
has computable z-radicals if and only if X is locally closed.
Three-Dimensional Computer Graphics for Surgical Procedure Learning: Web Three-Dimensional Application for Cleft Lip Repair
Authors: Kobayashi Masahiro , Nakajima Tatsuo , Mori Ayako , Tanaka Daigo , Fujino Toyomi , Chiyokura Hiroaki
Published: May 2006

Objective

In surgical procedures for cleft lip, surgeons attempt to use various skin incisions and small flaps to achieve a better and more natural shape postoperatively. They must understand the three-dimensional (3D) structure of the lips. However, they may have difficulty learning the surgical procedures precisely from normal textbooks with two-dimensional illustrations. Recent developments in 3D computed tomography (3D-CT) and laser stereolithography have enabled surgeons to visualize the structures of cleft lips from desired viewpoints. However, this method cannot reflect the advantages offered by specific surgical procedures. To solve this problem, we used the benefits offered by 3D computer graphics (3D-CG) and 3D animation.

Design and Results

By using scanning 3D-CT image data of patients with cleft lips, 3D-CG models of the cleft lips were created. Several animations for surgical procedures such as incision designs, rotation of small skin flaps, and sutures were made. This system can recognize the details of an operation procedure clearly from any viewpoint, which cannot be acquired from the usual textbook illustrations. This animation system can be used for developing new skin-flap design, understanding the operational procedure, and using tools in case presentations. The 3D animations can also be uploaded to the World Wide Web for use in teleconferencing.
Towards A Testable Hypothesis of Training Principles for the Neuromuscular Facilitation of Human Movement
Authors: Chatfield Steven J. , Barr Sherrie
Published: May 2006

Recent scientific research provides evidence to suggest that it is more than coincidental that principles of training are held in common by Tai Chi, Sweigard's Ideokinesis, and Bartenieff's Fundamentals. The reason that principles of training for the neuromuscular facilitation of human movement can be found to cross diverse methods and forms of training is, quite simply, that they work. This statement comes as no surprise to individuals who have utilized these principles of training. However, only recently has objective scientific evidence been published that suggests the potential efficacy of this kind of training. Beyond comparing principles of training and current scientific research, the purpose of this paper is to build a testable hypothesis that can provide a focus in dance science for the beginnings of experimentation in neuromuscular facilitation training.
An Analysis of Turns in Dance
Authors: Laws Kenneth L.
Published: May 2006

Turns are an important part of dance vocabulary. Turns in place on one foot — pirouettes, attitude turns, and turns in arabesque, for instance — form a category of ballet movements that are difficult to learn well, and require considerable skill in control of the body.

Three characteristics of turns are important in the proper execution of the movement: body form, rate of turn, and balance. The aesthetic body form can be learned only by example and by careful criticism from a dance teacher. Turnout of the supporting foot or a straight horizontal leg in anarabesque turn are important aspects of a good turn in a purely artistic sense. But other properties of a turn, the most important of which are rate of turn and balance, are open to physical analysis, an understanding of which may give the dancer and dance teacher a better sense of the turning process.

Three considerations addressed here are the importance of the distribution of body mass around the rotation axis, the way the torque for the turn is exerted and angular momentum generated, and the way a dancer maintains balance over a supporting point. In order to investigate more carefully the way a dancer initiates a turn by exerting a torque on the floor, experiments were carried out in which this torque, and the resulting angular momentum of the dancer, could be measured.
Dance and Cultural Identity Among the Paiwan Tribe of Pingtung County, Taiwan
Authors: Kwok Madeline
Published: May 2006

The field work for this study was conducted in Pingtung County, Taiwan over a five-month period in 1976 from February to July. The Paiwan tribe is one of the nine existing tribes in Taiwan; most of these people live in Pingtung County in the south (Fig. 1). Of the 300,000 Taiwan aborigines on the island today, approximately 45,000 are Paiwan. The methods employed in the collection of the data were: 1) observing and recording dances roughly in Labanotation, 2) participating in dancing, 3) filming dances, and 4) interviewing informants. Dances were observed in two ways – in their actual context, or especially elicited. Those elicited included some which are still performed today but were demonstrated for me by request apart from their natural context, and some which are no longer performed but were recalled by my informants. After my return from the field, Labanotation was refined and checked against films, and the raw data was then categorized and analysed. The purpose of the categorization was to identify the characteristics of Paiwan dances based on the data collected.

A total of 62 dances were witnessed in 12 villages of the 8 townships visited. Not all dance types were observed in each village (Figure 2). Some informants remember and can reconstruct more than others, so that data collected in each village may not necessarily represent the entire village repertoire of the present or the recent past. In many cases, the same movements were executed in dances of the same or different dance types. It is the associated song and song text rather than the movements that differentiates the dances.
Havelock Ellis's Essay “The Art of Dancing”: A Reconsideration
Authors: Alter Judith B.
Published: May 2006

Since its publication in 1923 Havelock Ellis's essay, “The Art of Dancing,” found in his book The Dance of Life (pp. 34-63), has had a special place in the hearts of dance lovers from all walks of dance life. In the past several years Ellis's essay has been reprinted in three anthologies: Dance, in the quarterly periodical Salmagundi (1976:5-22), edited by Martin Leonard Pops; The Dance Anthology (1980:238-254), edited by Cobbett Steinberg; and What Is Dance? (1983:478-496), edited by Roger Copeland and Marshall Cohen. Their collections, claim the anthologists, contain the best available writing on dance; thus, they include Ellis's essay. In their introductory remarks Steinberg as well as Copeland and Cohen emphasize Ellis's comprehensive view of dance. Both their books contain a section entitled “Dance and Society” where Ellis's essay is presented. Only Pops accurately identifies Ellis, along with most of the other authors in his collection, as an enthusiastic amateur.

Since its publication, ideas from Ellis's essay have been quoted by many writers on dance: critics Walter Terry in The Dance in America (1971), Walter Sorell in Dance Through the Ages (1967), John Martin in America Dancing (1936), and Carl Van Vechten in his essays “The Land of Joy” and “Spain and Music” (1974:135-167); educators Margaret H'Doubler in Dance: A Creative Art Experience (1940), Elizabeth Selden in A Dancer's Quest (1935), Roderyk Lange in The Nature of Dance: An Anthropological Perspective (1975), Frederick Rand Rogers in Dance: A Basic Educational Technique (1941), Richard Kraus in History of Dance in Art and Education (1969), and Sondra Fraleigh in Dance and the Lived Body: A Descriptive Aesthetic (1987); historian Selma Jeanne Cohen in Next Week Swan Lake (1982); and philosophers Theodore M. Greene in The Arts and Art Criticism (1940) and Francis Sparshott in Off the Ground: First Steps in a Philosophical Consideration of Dance (1988). Early modern dance pioneers Ruth St. Denis and Ted Shawn imply in their writings that, because Ellis once again identified dance as an art, his status and erudition validated their own ideas about the value of dance (Terry 1976:43). These artists and authors regard Ellis as an authority. To introduce this reconsideration of Ellis's ideas about dance, the ideas these authors select to quote or cite from Ellis's essay will be examined.
Dance Audiences: Answered and Unanswered Questions
Authors: Sussmann Leila
Published: May 2006

The study of audiences is rarely at the forefront of dance scholarship. When the social composition of an audience is studied, it is usually market research—material to be used by the development staff of a dance company for audience-building.

Such studies are indeed indispensable for audience-building, but quantitative and qualitative studies of audiences are also indispensable for dance scholars. It is not necessary to argue here that the dance and the audience shape each other.

A superb example of a qualitative audience study, though not of dance audiences, is Joseph Horowitz's Wagner Nights: An American History. In his postlude he writes:

Wagnerism's residual reach, into the early twentieth century, was subtle and complex. One area that deserves study is its relationship to modern dance. Most American Wagnerites were women. Some…were New Women. Wagner addressed buried emotional needs [in these women.] Brünnhilde and Isolde were influences en route to liberation. After 1900, Ruth St. Denis and Isadora, Duncan, …self-created solo dancers, consummated this opportunity.
Katherine Dunham's Southland: Protest in the Face of Repression
Authors: Hill Constance Valis
Published: May 2006

The man who truly loves his country is the man who is able to see it in the bad as well as the good and seeing the bad declaim it, at the cost of liberty or life. (Katherine Dunham, Prologue to Southland)

In 1951, at the dawning of a decade that would be known by some for its suffocating conformity and political intolerance, Katherine Dunham created Southland, a dramatic ballet Americana about what was by then the century-long practice of lynching. In the program notes to the ballet that premiered at the Opera House in Santiago de Chile, Dunham wrote, “This is the story of no actual lynching in the southern states of America, and still it is the story of every one of them”. She spoke the Prologue onstage, in Spanish:

Though I have not smelled the smell of burning flesh, and have never seen a black body swaying from a southern tree, I have felt these things in spirit.… Through the creative artist comes the need to show this thing to the world, hoping that by exposing the ill, the conscience of the many will protest.”
Critiquing Student Performance in Ballet
Authors: Kassing Gayle , Mortensen Lynn
Published: May 2006

Training in dance is a long and arduous process, and classical ballet is one of the most exacting and demanding of all the arts. The student must master the movement vocabulary, develop a high degree of technical skill, execute movements with utmost clarity and an appropriate sense of style. In the university, it is usually the teacher who evaluates the student's progress in these areas and determines how the individual should proceed in his/her development. Evaluation takes place in the form of daily feedback and as a final grading exercise.
Dance With Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy
Authors: Dils Ann , Pierson Rosalind
Published: May 2006

Dance critic Walter Terry was in the audience the evening of Rosalind Pierson's last, glorious performance with Virginia Tanner's Children's Dance Theatre (CDT). In his review for the New York Herald Tribune of that July 1953 Jacob's Pillow performance, Terry discussed the girls' connections to the Church of Jesus Christ of Latter-day Saints, described the outdoor performance setting, the program, and the children as “wonderfully disciplined yet gloriously free in movement.” He concluded his performance description with this paragraph:

Other children have danced such themes and there are other children … who have performed with … far more precociousness of a technical nature but none, I think, have conveyed so perfectly the bright (not pallid) purity of child dance. It is difficult to describe even the most potent intangibles and the best I can do is to say that the children danced as if they had faith in themselves, had love for those of us who were seeing them, actively believed in their God and rejoiced in all of these. (Terry 1953)
Remembering Virginia
Authors: Pierson Rosalind
Published: May 2006

I don't remember my first dancing lesson; I only remember begging my mother to send me to tap class with my best friend Kenny. I wanted a pair of shiny tap shoes and I wanted to be as special as he was. My mother, a dean's wife and an admitted theatrical snob, found tap dancing “inappropriate.” After surveying a number of university wives, she sent me to a young woman who was to make history in the teaching of creative dance for children. Her name was Virginia Tanner.

At that time, Tanner's school was in a Victorian building perched high on a hill just north of Temple Square in Salt Lake City. The McCune School of Music and Arts was a very spooky place to a six-year-old who was scared of almost everything, but I braved the dark staircase with its marble busts and dark red carpeting as I climbed to the sunny top floor. In time, I learned to bypass the busts by taking the spiral servants' staircase at the back of the building, which seemed a much safer route. My climb was always rewarded with an hour's bliss.

I wish now that I could remember in detail what we did in those classes. I remember learning rhythm patterns from sized and colored pieces of paper and dancing them out. I remember making “toe toast” and sailing to far off places in a sailboat made of my rocking body and my unfurling arms. I remember being a “cute little grub,” a stalk of wheat swaying in the wind, a donkey hee-hawing. I remember dancing out my name and feeling that the movement version defined me far better than words ever could.
Moving in Harmony with the Body: The Teaching Legacy of Margaret H'Doubler, 1916–1926
Authors: Hagood Thomas K.
Published: May 2006

During the course of a summer dance workshop I attended many years ago, I learned a section of Doris Humphrey's Passacaglia and Fugue in C Minor. Later, on occasion, I would “teach” this section to students thinking I was adding to their understanding of dance and its practice. As luck would have it, I was teaching this section again to students at the University of Wisconsin when one of my mentors, Claudia Melrose, stopped by to observe my work. Following class Claudia approached me and said, “That was very nice Tom, but what were they learning?” I replied, “They were learning a section of Humphrey's Passacaglia.” Claudia responded, “No, Tom. What were they learning?” In a flash I realized that I couldn't answer her; I hadn't really thought about the “what.” I realized the need to make a personal search for substance in dance education. Being at Wisconsin— “ground zero” for dance in higher education—I turned to the writings of Margaret H'Doubler and found in them a way of thinking that continues to inform my professional development. In many respects, H'Doubler's lifework acts as my point of departure in educational dance. As time has distanced me from my moment of epiphany, I find myself ever more in debt to the legacy of this remarkable woman.

This essay looks closely at the first stage of H'Doubler's development as a dance educator. Between the years 1916 and 1926, only a ten-year span, H'Doubler evolved from a women's basketball coach, admittedly ignorant of dance as art or in education, into the nation's foremost academic authority on the subject. Her vision of dance matured quickly and with amazing clarity; the moment of epiphany, while lying on her back in a studio in Carnegie Hall, served as the source for what she called a “way of thinking” that would serve her for the rest of her professional life. An assessment of H'Doubler's evolution as a dance educator during this period, and an analysis of her development along with her peers and colleagues in the field, provides important contexts from which to evaluate her subsequent contributions to dance in American education.
Music and Dance in Boccaccio's Time: Part I: Fact and Speculation
Authors: Marrocco W. Thomas
Published: May 2006

The fourteenth-century Italian lived during turbulent and catastrophic times. Internecine warfare between Guelphs and Ghibellines, reprisals against foraging neighbors, conflict between church and state, and, as though political and religious dissension were not enough, the dreaded black plague, which descended over Europe periodically with devastating results, added to human misery.

Yet, in the face of such calamities Italy covered herself with glory, for in that century the arts blossomed as never before. In musical productivity no other country could boast of over 700 compositions during the period known as the Ars Nova (1330–1420). Francesco Landini, the most famous composer and organist, and a contemporary of Boccaccio, alone has left us over 150 compositions. The composition of music was encouraged by advances in musical notation, such as those described by Marchettus da Padua in his treatise Pomerium (1314), which made possible the precise recording of a much wider range of rhythmic figures.
The Dance with the Separating Kerchief
Authors: Friedhaber Zvi
Published: May 2006

Ever since the question was first posed during the time of the House of Hillel and Shammai, there has always been an issue about how one dances before the bride. The action of Rabbi Aha who took the bride on his shoulders and danced with her exacerbated the problem seventyfold for other rabbis asked if they too could dance with a bride on their shoulder. Rabbi Aḥa actually reawakened the question and raised it to a new level: Does one even dance before or with the bride at all?

By turning to examples in the different Jewish communities including the Babylonian of the fourth century where Rabbi Aḥa lived, the European communities of the sixteenth through the nineteenth centuries and also in Israel today, several different ideas as to how to dance before the bride emerge. These examples are to be found in various written sources such as the Talmud, the Shulḥan Arukh, Responsa literature and books by rabbis, as well as memoirs. The Talmud, written in the first half of the third century, is of great value for the study of Jewish history, law, theology, ethics and folklore. Examples of dance also appear there. Dance descriptions also appear in other commentaries by later rabbis, such as the definitive sixteenth century code by Rabbi Joseph Caro, the Shulḥan Arukh. Responsa literature too, provides us with dance information though it is a special genre of literature embracing every aspect of Jewish life, usually responses by rabbis to legal questions posed by individuals and communities. It is rarely an organized or systematic body of writings and of the several centuries when this vast body was produced, only a few hundred survive. Nonetheless, dance and questions of behavior during dancing at weddings are in evidence.
Non-Polynesian Dance in Hawai‘i: Issues of Identity in a Multicultural Community
Authors: Zile Judy Van
Published: May 2006

A special Fall 1993 issue of Time magazine titled “The New Face of America. How Immigrants Are Shaping the World's First Multicultural Society” examines the explosion of the immigrant population in the United States. The editors tell us:

the latest immigrants are helping form a new society, a variation and intensification of the great American experiment. Too complicated and diffuse to be described as a melting pot, or even a goulash or a mosaic, that society today is really a collection of intertwining subcultures, each contributing its own character to the nation's life—from food to fashion, from art to politics—while retaining its distinctiveness. (p. 6)

In the small island state of Hawai‘i the intermixing of cultures simultaneous with retaining individual identities has long been a fact of life. At the same time awareness of ethnic identity and native rights is increasing nationwide, Hawai‘i is experiencing a push for sovereignty from some sectors of its population together with a continuation, from other sectors, of public displays of ethnic identity of many different peoples that have been part of daily life for many years. As the strands of this ethnic tapestry continue to weave their way into the fabric of this island state, dance is one cultural manifestation that has become an integral part of the visible pattern and a reflection—or rather, embodiment—of issues relating to identity.
Conventions in the Documentary Recording of Dance: Research Needs
Authors: Brooks Virginia Loring
Published: May 2006

Many creative people have produced films using dance as the main or secondary subject matter. The past decade has brought such major studio productions as The Turning Point (Ross, 1977), Nijinsky (Ross, 1980), Saturday Night Fever (Badham, 1977), Flash Dance (Lyne, 1983), Staying Alive (Stallone, 1983), Breakin' I & II (Silberg 1984), and Dirty Dancing (Ardolino, 1987), and independent films like In a Rehearsal Room (Hahn, 1975), Dune Dance (Brown, 1981), and Space City (Brentano and Horn, 1980), as well as much of the rock-video genre. The directors and/or choreographers of these films have produced dances for the camera that often could not, or at least did not, exist except on the television or movie screen. Angles chosen to frame shots and the rhythm of editing used to determine pace were selected for the cinematic value they produced. They expressed either the creative impulses of the filmmaker, those of the choreographer interpreted by the filmmaker through an active collaboration, or (only rarely) those of the choreographer as filmmaker. In these cases the techniques unique to film and video have been used to create dance events for the screen.

But what of dance works that have been choreographed to be seen on the proscenium stage? It is, perhaps, even more challenging, if not as apparently creative, to try to preserve on film or tape the composition and pattern and inherent rhythm of such choreography; that is, to bring a faithful translation of the choreographer's vision to the audience in front of the screen. Dance film that strives to provide the same aesthetic result as that of the staged choreography is a demanding art form in its own right; it draws upon all our understanding of the principles of documentary film and of visual perception. What makes this such a difficult task? Why is it so hard to maintain the energy, the excitement, and the aesthetic values of the performance when presenting the content of the prescribed space and the specific time of the real world, on the screen? The reason may be that we do not yet fully understand the interactions that occur between that objectively limited space of the world and the subjectively defined space produced by the camera.
The Dancer as Masochist
Authors: Abra Jock
Published: May 2006

What various experiences does dance elicit? And why do people involve themselves in it? Aestheticians have often debated such questions from an audience standpoint, but much less frequently from that of the dancer. Yet many theories, representing mainstream psychology's various subdisciplines, as well as related traditions such as psychoanalysis and existentialism, do suggest, either openly or by implication, reasons for indulging in creative work. Of these, a particularly promising avenue to the dancer's psychology has come from an author who is seldom thought of as a “psychologist” at all. We speak of Jean-Paul Sartre, and his analysis of interpersonal interaction known as the gaze, or the look (le regard).

Sheets has used other Sartrian notions to describe the phenomenology of dance from an audience perspective, and the gaze figures prominently in Sartre's own analyses of such creative persons as Baudelaire, Jean Genet, and even himself, but to our knowledge it has not previously been applied to the dancer. So that will be our purpose here. However, an initial clarification, and disclaimer, seems appropriate. We shall describe the gaze more fully later, but essentially it portrays all human interactions, without exceptions, as struggles for power and dominance. Therefore such interactions allow only two reactions: the sadistic, that seeks such power over others, and the masochistic, that submits to others, voluntarily or otherwise. We will argue that dancers almost inevitably must choose the second reaction, which may help us understand some of their typical psychological characteristics. But we must emphasize that in Sartre's usage, and therefore ours, the term “masochism” is not pejorative, nor necessarily suggestive of pathology. Everyone, the psychologically afflicted and all others, must choose one of these two reactions.
Banes and Carroll on Defining Dance
Authors: Scott Gregory
Published: May 2006

In a relatively well-known article, Monroe Beardsley defines dance as a sequence of motions that is designed primarily for the pleasure given through either rhythm or expressiveness (1). In reply, Sally Banes and Noël Carroll graciously, but firmly, reject Beardsley's account by claiming that he further requires a “superfluity of expressiveness” and by arguing that this feature is neither necessary nor sufficient for dance (2). Their reasons for denying the sufficiency option are ones that we can easily accept, it seems to me. However, their reasons for denying the necessity option are problematic. In brief, they invoke post-modern dance practice, and cite as a counterexample to the definition Yvonne Rainer's Room Service (1964), which ostensibly comprised nothing but pedestrian movements and tasks such as mattress carrying (3). Because Room Service for post-modernists is a “task dance,” conveying no more expressiveness than one usually finds in such activities, Banes and Carroll conclude that a superfluity of expressiveness cannot even be a necessary condition of dance, at least from the 1960s onwards. Furthermore, anticipating the retort that Room Service may not really be a dance to begin with and thus not a true counterexample, they offer four different criteria that would cause the work to be categorized positively. My primary intent in this article is to reveal that those criteria misfire and actually cause it to be excluded from dance.
Imagery and Conditioning Practices for Dancers
Authors: Krasnow Donna H. , Chatfield Steven J. , Barr Sherrie , Jensen Jody L. , Dufek Janet S.
Published: May 2006

As western theatrical dance has developed through the centuries, dance educators, artists, and researchers have sought methods to improve dance skills and to refine the quality of dance performance. In the pursuit of ever-increasing technical skills, improved alignment, freedom from injury, and enhanced artistic capabilities such as expanded dynamic and expressive range, dancers have explored numerous training systems developed for these purposes. These systems are often used in conjunction with dance technique classes, and they explore a range of approaches addressing different aspects of the neural and motor mechanisms underlying dance skills. In general, the systems can be seen as operating within two large concerns. The first includes systems using imagery and/or mental practice designed to affect alignment and dance performance on the subcortical or neurological level, with minimal or no physical action (Bartenieff 1980; Dowd 1990; Sweigard 1974; Todd 1937). The second emphasizes consistent and specialized exercise programs designed to encourage muscular strength and endurance, flexibility, and/or cardio-respiratory endurance, with the claim that these physical changes will enhance alignment, dance technique, and performance (Clippinger-Robertson 1990; Fitt 1988; Kravitz 1990; Lauffenburger 1990; Pilates 1945; Russell 1992; Solomon 1990; Stephens 1990; Trepman, Walaszek, & Micheli 1990). While there is often overlap in these two categories, the first group emphasizes neuromuscular repatterning to alter alignment or movement habits, while the second addresses muscular/structural alterations to affect change. For example, the body therapies, including the work of Bartenieff, Alexander, Feldenkrais, and Sweigard, attempt to alter the way muscles pattern themselves, stressing whole body activity, connections, and awareness, not exercises for specific muscles (Myers 1980). Conditioning programs, on the other hand, do engage particular muscles, in order to make gains in muscular strength and range of motion.
The Potential of Movement Analysis as a Research Tool: A Preliminary Analysis
Authors: Bartenieff Irmgard , Hackney Peggy , Jones Betty True , Van Zile Judy , Wolz Carl
Published: May 2006

Scholarly studies explore dance from many points of view. They may focus on the historical development of a dance form, examine the context in which a particular dance event occurs, explore the background of those who dance and how this relates to social structure, or explore the movement process itself—the dancing. While all approaches to the study of dance provide potentially meaningful data and insights relating to the role of dance in its socio-cultural context, the heart of dance is the movement. Dance research that ignores the dancing (except for very broad descriptive statements) ignores a major component that has potential for revealing a great deal about those who create and use dance.

American researchers who have explored the movement process have, on the whole, worked independently (of each other or of other research projects), without working toward developing a widely understood methodology for examining dance movement and exploring its potential uses in other dance research. While such studies contribute to the knowledge of specific dances or dance forms, they overlook the need for common tools necessary for cross-cultural and comparative studies. To allow for the most meaningful research to be carried out, a discipline must develop tools and methodologies that have a certain consensus of validity and broad applicability. Only through use of such research procedures will it be possible to interrelate apparently diverse studies and evolve broad concepts relating to dance as human activity.
A Computerized Editor of Benesh Movement Notation
Authors: Ryman Rhonda , Singh Baldev , Beatty John C. , Booth Kellogg S.
Published: May 2006

Notation plays a very important role in today's society. It acts as a communication medium between inventors and those who will implement their ideas. Without notation our knowledge of the past and present would be limited by our memory and prone to errors in oral transmission. Although we take for granted the existence of a suitable notation in almost all fields of human study, this is not true in the field of human movement. For example, in Western theatrical dance, no adequate means to record masterpieces existed until the twentieth century and thus most works from the past have been lost. In response to the literacy problem in dance, a number of systems have been developed in the past five centuries to record human movement, but most of these have failed to be practical under rigorous working conditions. Only a few have attracted substantial professional interest. The difficulty is that a dance notation must capture on paper a precise record, at each moment in time, of the position of each body part in three dimensions of space, as well as provide comprehensive information about movement dynamics and choreographic intention.
Lester Horton's Salome, 1934–1953 and After
Authors: Bizot Richard
Published: May 2006

The Biblical story of Salome, whose dance before Herod led to the beheading of John the Baptist, has been choreographed and danced in hundreds of versions during the past 85 or 90 years. From Loïe Fuller and Maud Allan at the turn of the century to Maurice Béjart and Flemming Flindt in our own time, important figures in modern dance have interpreted Salome and her story. Perhaps the most interesting, and certainly the most obsessive, involvement with the story was that of California choreographer Lester Horton.

Horton's creative imagination first went to work on Salome in 1934, when he was 28 years old; and he returned to the story again and again, at intervals, until the time of his death in 1953. What follows concerns itself primarily with this period of 19 years. Tracing the course of Horton's involvement with Salome, seeing what he made of her story in many different versions, may be interesting in itself. Doing so may also provide insights into the development of the art and craft of this important choreographer, because the story occupied his attention at so many points during his life-as-an-artist. Choreography outlives the choreographer; Horton's Salome survived Horton. The last section of this article surveys productions of the work in the years since 1953.
Dance, Difference, and Racial Dualism at the Turn of the Century
Authors: Perpener John
Published: May 2006

Standing at the beginning of a new century, but still faced with what was referred to at the end of the old one as the “politics of difference,” I find myself struggling with the daunting task of discussing extremely complex issues associated with dance scholarship. The issues I refer to revolve around the—all too familiar—divisions of class, gender, race, and other central signifiers of identity that have dominated a substantial part of scholarly discourse in various disciplines over the past two decades.

It is unrealistic to think that the change of the millennium clock has ushered in a new age of enlightenment that will ameliorate the kinds of confrontations over group identity that have, by now, become routine in American society. But it does not seem unrealistic to hope that a new level of clarity can be achieved in scholarly debates involving issues of racial identity and the arts—debates that, in the past, have elicited reactions ranging from indifference, to defensiveness, to volatility.

As an individual who has begun to take an active part in the divisive dialogues surrounding identity, art, and culture in turn-of-the-century America, and as an African American scholar involved in the growing field of dance studies, I have chosen to place issues of race at the forefront of the various identity markers that divide the human family into more circumspect sub-groups. In spite of the progress toward inclusiveness that dance as a performing art and as a field of intellectual pursuit has made, I believe that racially proscriptive thinking still exerts its presence with surprising force in different aspects of our discipline. My realization of the significant role that racial divisiveness plays in our society, our art, and our scholarship greatly shaped the direction of my research and is, indeed, reflected in much of the dance research undertaken by African American scholars today (1).
Deconstructivists Frank Gehry and William Forsythe: De-Signs of the Times
Authors: Mattingly Kate
Published: May 2006

Why choreography and architecture? Both are visual art forms based on three-dimensional design. Both create vocabularies in space in order to express or communicate. Both are highly collaborative: in architecture there is the marriage of site and structure, in choreography, of music and movement. Perhaps these intertwined relations are seen most clearly in Fallingwater's majestic cantilever over Bear Run Creek, and in Martha Graham's powerful response to Aaron Copland's score, Appalachian Spring. Both Fallingwater and Appalachian Spring are bound to their settings, yet each enriches the site or score immeasurably.

The similarities between choreography and architecture oscillate between the obvious and the contrived. Unlike architecture, dance is ephemeral and subject to human variables which are, by nature, unpredictable. Choreography is dependent on the human dancer and therefore subject to multitudinous interpretations and manifestations. The architect's product is as solid as the building, but the architect's design is no less spontaneous than the choreographer's. Both art forms are subject to gravity, to expression and to structure—for the choreographer, structure involves both the dancer's individual body and the group's compositional organization. Both are collaborative forms: music and dance, costume and movement partner one another as structural engineering must support the design, the site, the building.
Participatory and Presentational Dance as Ethnochoreological Categories
Authors: Nahachewsky Andriy
Published: May 2006

Typologies are tools to help us understand the range of observed phenomena. Many typological categories are useful in dance research, contrasting various features in the data. Based on the identity of the recipient of the danced message, four types of dance can be identified: reflexive, participatory, sacred, and presentational. The conceptual axis between participatory and presentational dance is proposed as potentially significant for ethnochoreologists. Differences in the intended recipient of the communicated message affect the other components of the dance event, including the movement “text.”

At least in our example of two Ukrainian dances, participatory dances carry their communicative message over short distances, and utilize microscopic movement elements for this purpose. The message in presentational dances must be carried over a greater span, and macroscopic movement units tend to carry this communicative value. In both types of dance, the movement content is most complex at the structural levels which are most used in communication. Conversely, participatory dances are often simple on the macroscopic level, while presentational dances tend to have uncomplicated microscopic content.

The participatory-presentational axis can clarify important differences in activities often lumped together under the problematic category of “folk” dance. These conceptual categories may be of use for anyone studying dance in its cultural context.