bluuebunny/crossref_metadata_2025 huggingface dataset:
Dehydrogenation of Cyclohexanol to Cyclohexanone on Supported Nickel Catalysts
Authors: Uemichi Yoshio , Sakai Takeshi , Kanazuka Takaji
Published: May 2006

Nickel supported on activated carbon was highly active as a catalyst for the dehydrogenation of cyclohexanol to cyclohexanone. The activity of nickel catalysts strongly depended on the support; activated carbon was most efficient, while silica, alumina and magnesia were much less effective.
Strain-Assisted, Unusually Facile Hydrolysis of the Nitrogen-Bridge of a Tricyclic Uracil N-Cyclonucleoside
Authors: Minamoto Katsumaro , Azuma Kishiko , Hoshino Yorihisa , Eguchi Shoji
Published: May 2006

With respect to “up” amination of the sugar part of nucleosides through an appropriate N-cyclonucleoside, 5′,N-anhydro-2,2′-imino-1-(2′-deoxy-β-D-arabinofuranosyl)uracil proved to be easily hydrolyzed to 1-(2′,5′-N-anhydro-5′-amino-2′,5′-dideoxy-β-D-arabinofuranosyl)uracil (2) in dilute alkaline or acidic medium. 2 was characterized as its acetylimino analogue or hydrochloride, and proved to trans form to 5′,N-anhydro-6,2′-imino-1-(2′-deoxy-β-D-arabinofuranosyl)-5,6-dihydrouracil spontaneously.
Photoinduced Cross Coupling Reaction of Covalently Linked Tyrosine-Pyropheophorbide a and Tyrosine-9-Desoxomesopyropheophorbide a to 1,4-Benzoquinone
Authors: Maruyama Kazuhiro , Yamada Hiroko , Osuka Atsuhiro
Published: May 2006

Irradiation of tyrosine-linked pyropheophorbide a and 1,4-benzoquinone (BQ) in benzene led to a clean formation of a quinone-linked product, while photoreaction of 9-desoxomesopyropheophorbide a and BQ produced a quinone-linked 9-desoxomesopyropheophorbide a and a quinone-linked 9-desoxophylloerythrin a.
Conductive Langmuir–Blodgett Film Containing Mesogenic Unit. Phase Transition Accompanied with the Change in Conductivity
Authors: Tachibana Hiroaki , Komizu Hideo , Nakamura Takayoshi , Matsumoto Mutsuyoshi , Tanaka Motoo , Manda Eiichiro , Kawabata Yasujiro , Kato Teiji
Published: May 2006

Conductive Langmuir–Blodgett films of charge transfer complex containing azobenzene group in the hydrophobic part exhibited a sharp discontinuity in the temperature dependent conductivity. This discontinuity was accompanied with the change in the aggregation form and the morphology of the films.
Preparation and Properties of Thallium Ferrite with β-Alumina Structure
Authors: Nariki Shinya , Ito Shigeru , Uchinokura Katsumi , Yoneda Noboru
Published: May 2006

Thallium ferrite with β-alumina structure was prepared by exchanging K+ ions in K+-β-ferrite crystals with Tl+ ions into TlNO3 melt. The lattice constants were a = 0.5931 nm and c = 2.389 nm. The ionic conductivity of Tl+-β-ferrite was 3 × 10−2 S·cm−1 at 300 °C.
Optical Resolution of Pantolactone by Inclusion Crystallization with (R,R)-(−)-trans-2,3-Bis(diphenylhydroxymethyl)-1,4-dioxaspiro[4.5]decane, and Crystal Structure of the Resulting 1:1 Complex
Authors: Toda Fumio , Sato Atsushi , Tanaka Koichi , Mak Thomas C W
Published: May 2006

Pantolactone was resolved very efficiently by complex formation of its (S)-(−) isomer with the title host compound. The structure of the 1:1 complex was elucidated by X-ray crystallography.
Convenient Synthesis of Disubstituted Cyclic Ethers. Syntheses of (−)-cis-Rose Oxide and (cis-6-Methyltetrahydropyran-2-yl)acetic Acid
Authors: Homma Koichi , Mukaiyama Teruaki
Published: May 2006

Disubstituted cyclic ethers are stereoselectively prepared on the successive treatment of δ or ε-lactones with t-butyldimethylsiloxy-1-ethoxyethene and silyl nucleophiles in the presence of a catalytic amount of trityl hexachloroantimonate or a catalyst system of antimony pentachloride, chlorotrimethylsilane and tin(II) iodide. The present procedure is effectively applied to short syntheses of (−)-cis-rose oxide and (cis-6-methyltetrahydropyran-2-yl)acetic acid, a constituent of civet.
Orientation and Distribution of the Carbazole Unit in Monolayers and Their Fluorescence Characteristics
Authors: Kimizuka Nobuo , Tsukamoto Masashi , Kunitake Toyoki
Published: May 2006

Double-chain ammonium amphiphiles that contain the carbazole ring formed stable monolayers on water. Their fluorescence patterns indicated different packing modes of the chromophore which depended on chemical structure and component distribution.
Interglucosyl Attack of Hydroxyl Group to Epoxy Ring of 2A,3A-Anhydro-(2AS)-α-cyclodextrin. Selective Preparation of 3A,2B-Anhydro-α-cyclodextrin
Authors: Fujita Kahee , Tahara Tsutomu , Sasaki Hideaki , Egashira Yoshimitsu , Shingu Tetsuro , Imoto Taiji , Koga Toshitaka
Published: May 2006

2A,3A-Anhydro-(2AS)-α-cyclodextrin was isomerized exclusively to 3A,2B-anhydro-α-cyclodextrin by the reaction with aqueous alkali. This implies the selective and interglucosyl attack of 3F-OH to the epoxy ring.
Synthesis of Novel Tetraazapentalene Derivatives with Fused Cyclic Systems
Authors: Matsumura Noboru , Tomura Masaaki , Chikusa Hisashi , Mori Osamu , Inoue Hiroo
Published: May 2006

Tetraazapentalene derivatives (R = CH3, CH2=CHCH2) reacted with ω-halogenoalkyl isothiocyanates to give novel tetraazapentalene derivatives with fused cyclic systems in good yields.
A Facile and Convenient Synthesis of (E,E)-4-Trifluoroacetyl-1,3-butadienyl Sulfides by Acid Catalyzed Reaction of 2,4-Diethoxy-6-trifluoromethyl-3,4-dihydro-2H-pyran with Thiols
Authors: Hojo Masaru , Masuda Ryoichi , Okada Etsuji
Published: May 2006

(E,E)-4-Trifluoroacetyl-1,3-butadienyl sulfides are prepared from 2,4-diethoxy-6-trifluoromethyl-3,4-dihydro-2H-pyran with thiols in the presence of acid catalysts.
Electron Energy-Loss Spectrum of Methanol. Observation of Singlet-Triplet Transitions at Low Incident Energy
Authors: Ogawa Teiichiro , Yoshidome Toshifumi , Kawazumi Hirofumi
Published: May 2006

The electron energy-loss spectrum of methanol was measured at incident electron energies from 100 to threshold +2 eV. There were several intense bands assignable to the Rydberg transitions. Three singlet-triplet transitions were observed at 5.7–7.0, 7.3–7.6 and 8.8–9.5 eV at low incident electron energies.
Synthesis of a Negatively-charged Porphinatoiron(II) Having a Phosphoserine Group and Oxygenation in Phospholipid Bilayer
Authors: Hasegawa Etsuo , Fukuzumi Masaki , Nishide Hiroyuki , Tsuchida Eishun
Published: May 2006

A new tetraphenylporphinatoiron(II) having only one amphiphilic chain with a phosphoserine group as a hydrophilic end group was synthesized. The complex with 1-dodecyl-2-methylimidazole embedded in phospholipid bilayer formed an oxygen adduct and the oxygen-binding rate constant was much smaller than that of the heme having four amphiphilic chains.
Catalytic Asymmetric Aldol Reaction of Silyl Enol Ethers with Aldehydes by the Use of Chiral Diamine Coordinated Tin(II) Triflate
Authors: Mukaiyama Teruaki , Kobayashi Shu , Uchiro Hiromi , Shiina Isamu
Published: May 2006

Highly enantioselective aldol reaction of silyl enol ethers with aldehydes is performed by the use of a catalytic amount of chiral diamine coordinated tin(II) triflate according to a slow addition procedure.
Nitro–Nitrito Isomerization Induced by Oxidation-Reduction of Central Metal Site: [RuII(NO2)(H2O)(py)4]+ →← [RuIV(ONO)(O)(py)4]+
Authors: Nishimura Hisatoshi , Nagao Hirotaka , Howell F Scott , Mukaida Masao , Kakihana Hidetake
Published: May 2006

Nitro–Nitrito isomerization occurs reversibly when a formal oxidation state of the central metal atom is changed; a nitro complex of Ru(II) gives a nitrito complex of Ru(IV), which is capable of being returned to the original complex by a moderate reduction.
Facile Synthesis of 1,1′-Binaphthyl-2-carboxylates via Nucleophilic Aromatic Substitution of 1-Methoxy-2-naphthoic Esters by 1-Naphthyl Grignard Reagents
Authors: Hotta Hiroki , Suzuki Takatsugu , Miyano Sotaro
Published: May 2006

Grignard reagents formed from 1-bromonaphthalenes smoothly displaced the 1-methoxyl group of 1-methoxy-2-naphthoic esters to provide a facile route to 1,1′-binaphthyl-2-carboxylic acids in excellent yields; the reaction of (S)-1-phenylethyl esters caused asymmetric induction in the joining of the two naphthalene rings in up to 51% optical yield.
A Short Synthesis of (±)-3-Oxosilphinene
Authors: Ue Masaki , Ohnishi Yutaka , Kobiro Kazuya , Kakiuchi Kiyomi , Tobe Yoshito , Odaira Yoshinobu
Published: May 2006

A total synthesis of (±)-3-oxosilphinene was achieved stereoselectively in five steps from the known enone.
A Key Intermediate for the Chiral Synthesis of Elemanoids, Synthesis of (+)-β-Elemenone
Authors: Kato Michiharu , Vogler Bernhard , Tooyama Youichi , Yoshikoshi Akira
Published: May 2006

(1R,5S)-3-Phenylsulfenyl-6,6-dimethylbicyclo[3.1.1]heptanone obtained from (+)-nopinone was transformed into (1R,4S,5S)-4-methyl-4-vinylbicyclo[3.1.1]heptan-2-one, whose cyclobutane ring was cleaved with BF3·EtO2–Zn(OAc)2 in acetic anhydride to provide (4S,5S)-1-acetoxy-4-isopropenyl-5-methyl-5-vinyl-1-cyclohexene (5), the key intermediate, in a highly regio- and stereoselective manner. Regioselective introduction of a three-carbon unit to 5 with acetone followed by dehydration yielded (+)-β-elemenone.
Three New Germacranolide Glycosides from Pittosporum tobira Ait
Authors: Nozaki Hiroshi , Takaoka Daisuke , Nakayama Mitsuru
Published: May 2006

Three new germacranolide glycosides, pittosporanoside B1, B2 and B3, have been isolated from Pittosporum tobira Ait, and their structures have been determined by spectral and X-ray crystallographic analyses.
Preparation of Silica Fibers from Sodium Silicate Solution
Authors: Tada Akio , Yaginuma Hiromi , Itoh Hidenobu , Hirota Tamotu , Maeda Toshiyuki
Published: May 2006

Silica fibers were prepared from sodium silicate solution. A spinnable sol was obtained by the reaction of a sodium silicate solution with ethyl acetate, and gel fibers obtained by dry spinning of this sol were converted to silica fibers by treating in an acid bath followed by drying at 100 °C and heating at 600 °C.
Neighbouring Group Participation in the Biogenesis of the Vinyl Bromide Moiety of Chamigrene Metabolites
Authors: Darias José , San-Martin Aurelio , Rovirosa Juana
Published: May 2006

A neighbouring group promoted a biomimetic-type transformation of pacifenol into a bromo vinyl metabolite isolated from a red alga of Laurencia sp.
Mechanism of Second-Order Buffer Catalysis in the Hydrolysis of Methoxymethyl Benzenesulfenate
Authors: Okuyama Tadashi , Gandour Richard D , Fueno Takayuki
Published: May 2006

Hydrolysis of methoxymethyl benzenesulfenate is catalyzed by both acid and base. Rates depend on a second order of buffer concentration, which results from general acid-promoted nucleophilic attack by the base at the proformyl carbon.
A Selective Formation of Styrene by Oxidative Methylation of Toluene with Methane over a PbO/MgO Catalyst
Authors: Osada Yo , Okino Nobutaka , Ogasawara Sadao , Fukushima Takakazu , Shikada Tsutomu , Ikariya Takao
Published: May 2006

The oxidative methylation of toluene with methane to styrene was studied using a lead oxide supported on magnesia catalyst. Although coke deposits were observed on the catalyst, it was found that a high selectivity of 41% for styrene was stably obtained at 40% toluene conversion over 1 g of 20 wt% PbO/MgO catalyst at 973 K.
Selective Hydrogenation of 9-Aminoacridine over Supported Noble Metal Catalysts
Authors: Sakanishi Kinya , Mochida Isao , Okazaki Hiroshi , Soeda Mahito
Published: May 2006

The selective hydrogenation of 9-aminoacridine(1) into 1,2,3,4-tetrahydro-derivative(2) was searched using noble metal catalysts(Pd, Rh, Pt, and Ru) at around 80 °C and 60 °C atm of H2. The Pd/Al2O3 catalyst was found most selective to produce 2 in a higher yield of 60% at a conversion of 97%. The hydrogenation pathway of 1 is discussed in comparison with that of acridine.
Magnetic Properties and Crystal Structure of Binuclear Copper(II) Complexes with 1,3-Bis(hydroxymethyl)-2-imidazolidinethione
Authors: Tokii Tadashi , Nakashima Michio , Furukawa Takahiro , Muto Yoneichiro , Lintvedt Richard L
Published: May 2006

Reaction of copper(II) carboxylates with 1,3-bis(hydroxymethyl)-2-imidazolidinethione (H2L) gives a new series of binuclear copper(II) complexes, [Cu(RCOO)(HL)]2 (where R = methyl and substituted phenyl). The magnetic data for the complexes conform to the usual dimer equation with values of −2J ranging from 227–1023 cm−1.
6-Propionyllumazines from the Marine Polychaete, Odontosyllis undecimdonta
Authors: Inoue Shoji , Okada Kunisuke , Tanino Hideo , Kakoi Hisae , Horii Naojiro
Published: May 2006

6-Propionyllumazine and its 3-methyl and 1,3-dimethyl derivatives have been isolated from the swimming polychate, Odontosyllis undecimdonta.
Evidence for Equilibration of 1,3-Alkyl Migration in Silyl(silylene)iron Intermediates
Authors: Ueno Keiji , Tobita Hiromi , Ogino Hiroshi
Published: May 2006

Photolysis of deuteriomethyl-substituted disilanyliron complex CpFe(CO)2Si2Me5−m(CD3)m (m = 1, 2) resulted in the formation of a mixture of silyliron complexes CpFe(CO)2SiMe3−n(CD3)n (n = 0–m). Distribution of the produced silyliron complexes indicates that the reaction accompanies alkyl scrambling between two silicon atoms and the scrambling is fast enough to attain an equilibrium.
Dissimilar Stereo-Anisotropy of the CN* (B,A) Radical Formation in the Reaction of Ar(3P) and CD3CN as Compared with CH3CN
Authors: Che Dock Chil , Kasai Toshio , Ohashi Kazuhiko , Fukawa Tohru , Kuwata Keiji
Published: May 2006

Dissimilar orientation-dependence of the CN* chemiluminescence as compared with the CH3CN system was observed in the reaction of Ar(3P) with the oriented CD3CN. The ratio of ≈1.8 of the CN*(B,A) emission cross sections for the head-on to the tail-end attacks was obtained by use of the hard-sphere model, indicating isotope effects on the branching ratio in the deuteration of CH3CN.
Novel Furocoumarin Derivatives as a Model Related to DNA-Intercalating Molecules. Synthesis and Photochemical Reactivity
Authors: Hager Alicia J , Evans Sheryl P , Otsuki Tetsuo
Published: May 2006

The synthesis and the photochemical reactivity of novel furocoumarins are studied. The formation of intramolecular photoaddition product suggests the importance of proximity effect in promoting the reactivity of the furocoumarin’s 4′,5′-double bond in the biological environment.
Palladium-Catalyzed Desulfonylative Homo-Coupling of Arylsulfonyl Chlorides in the Presence of Titanium(IV) Isopropoxide
Authors: Miura Masahiro , Hashimoto Hideo , Itoh Kenji , Nomura Masakatsu
Published: May 2006

The desulfonylative homo-coupling of arylsulfonyl chlorides efficiently proceeds on treatment with titanium(IV) isopropoxide in the presence of a catalytic amount of PdCl2(PhCN)2 to give the corresponding biaryls in good yields.
Novel 1:1 Complex of Rhodium(III)porphyrins with Nucleobases
Authors: Ogoshi Hisanobu , Hatakeyama Hitoshi , Yamamura Kazuo , Kuroda Yasuhisa
Published: May 2006

Axial ligation behaviors of nucleobases to Rh(III)porphyrins were investigated. Except the case of TPP·Rh(III)-1-methylthymine system, tight 1:1 complexations were observed between Rh(III)porphyrins and nucleobases and their binding constants were determined by spectroscopic titration.
2,3-Dimethyl and 2,3,6,7-Tetramethyl Derivatives of Anthra[1,9-cd:4,10-c′d′]bis[1,2]dichalcogenoles as New Electron Donors
Authors: Takimiya Kazuo , Miyamoto Hisakazu , Aso Yoshio , Otsubo Tetsuo , Ogura Fumio
Published: May 2006

The title compounds involving all chalcogen heterecycles of sulfur, selenium, and tellurium were synthesized as new electron donors, in which the introduced methyl groups served to improve not only the donor character but also the solubility. They with TCNQ, DMTCNQ, or TCNQF4 formed various charge–transfer complexes, some of which were electrically high-conductive.
A High Temperature(1200 °C) Probe for NMR Experiments and Its Application to Silicate Melts
Authors: Shimokawa Shigezo , Maekawa Hideki , Yamada Eiji , Maekawa Takashi , Nakamura Yoshio , Yokokawa Toshio
Published: May 2006

A high temperature NMR probe was developed and applied to the measurement of 29Si nucleus in sodium silicate glasses and melts. The highest temperature attained was 1200 °C. The observed 29Si NMR spectra show narrowing above the glass transition temperature, due to the increase of the rate for exchange reaction among various structural species constructing the network structure.
Preparation of Porous Material by Replacing Microstructure of Anodic Alumina Film with Metal
Authors: Masuda Hideki , Tanaka Hideki , Baba Nobuyoshi
Published: May 2006

A new type of preparing method of submicron scale porous conducting materials was demonstrated. A microporous structure of anodic alumina film was replaced with metal by using a two step molding technique. The procedure and condition of the fabrication process of the porous film was described.
The Potential Energy Calculation for Conglomerate Crystals
Authors: Kimoto Hiroki , Saigo Kazuhiko , Hasegawa Masaki
Published: May 2006

The potential energy calculation for the hypothetical crystal structures of two chiral salts was carried out by using the program WMIN. The calculation revealed that the most stable structure of the chiral salts belonged to the space group P212121, which was in agreement with the real structure.
New Optically Active Perfluoro(2-dialkylamino-propionic acids)
Authors: Hayashi Eiji , Fukaya Haruhiko , Abe Takashi , Omori Kota
Published: May 2006

Some new optically active nitrogen containing perfluorocarboxylie acids, (+)- and (−)-perfluoro(2-dialkylamino propionic acids), have been obtained by the optical resolution of perfluoro(2-dialkylamino-propionic acids).
Tetraphenylphosphonium Salts-Grafted Copolymers as Catalysts for Halogen-Exchange Fluorinations
Authors: Yoshida Yasuo , Kimura Yoshikazu , Tomoi Masao
Published: May 2006

Cross-linked styrene/2-(4-chlorophenyl)propene copolymergrafted tetraphenylphosphonium salt was an effective and reusable catalyst for the reaction of aromatic chlorides with anhydrous potassium fluoride to afford the corresponding aromatic fluorides in good yields.
Stereocontrolled Synthesis of (22R)-22-Hydroxycholesterol Guided by α-Silyl Radical Stabilization
Authors: Koreeda Masato , George Irene A
Published: May 2006

The synthesis of (22R)-22-hydroxycholesterol, featuring formation of three contiguous chiral centers (C-17, 20, and 22) in a single step by the use of a 6-endo α-silyl radical-mediated cyclization is presented. Additionally, an interesting protiodesilylation used to activate a cyclic siloxane towards C–Si bond oxidation, and a modified, bulky aryl thionocaronate reagent for regioselective diol-monodeoxygenation are described.
Ferromagnetic Hetero–Metal Assemblies, {NBu4[CuCr(ox)3]}x and {[{Cu(bpy)}2Cr(ox)3]NO3}x
Authors: Zhong Zhuang Jin , Matsumoto Naohide , Okawa Hisashi , Kida Sigeo
Published: May 2006

Two types of hetero–metal assemblies {NBu4CuCr(ox)3]}x (1) and {[{Cu(bpy)}2Cr(ox)3]NO3}x (2)(NBu4 = tetrabutylammonium ion, ox = oxalate ion, bpy = 2,2′-bipyridine, x = infinite number) have been synthesized and their cryomagnetic properties (4.2–300 K) have been examined. The compound 1 has an oxalate-bridged three-dimensional lattice and show a ferromagnet-like property (Curie point 7 K): the moment (per CrCu) increases from 4.37 μB at 300 K to 14.80 μB at 9 K and diverges below 9 K. The compound 2 also shows a ferromagnetic interaction and its moment (per CrCu2) increases from 4.82 μB at 300 K to 8.78 μB at 5 K.
Radii minimal projections of polytopes and constrained optimization of symmetric polynomials
Authors: Brandenberg René , Theobald Thorsten
Published: May 2006

We provide a characterization of the radii minimal projections of polytopes onto j-dimensional subspaces in Euclidean space

. Applied to simplices this characterization allows to reduce the computation of an outer radius to a computation in the circumscribing case or to the computation of an outer radius of a lower-dimensional simplex. In the second part of the paper, we use this characterization to determine the sequence of outer (n – 1)-radii of regular simplices (which are the radii of smallest enclosing cylinders). This settles a question which arose from an error in a paper by Weißbach (1983). In the proof, we first reduce the problem to a constrained optimization problem of symmetric polynomials and then to an optimization problem in a fixed number of variables with additional integer constraints.
Definition of Community in Old Time Dancing in Rural Southwest Virginia
Authors: Spalding Susan
Published: May 2006

A string band strikes up a rhythmic tune and a circle of dancers, one hundred or more, falls into the beat together. “All join hands and circle to the left,” directs the caller, beginning an old time square dance each Friday and Saturday night in several communities across Southwest Virginia. Old time square dancing is one of the two oldest regional forms of dance which continue to change through community participation. The other form is a dance of “rhythm-making with the feet” (Hall 1984–85,201), a solo dance known variously as clogging, flatfooting, or buck dancing. Old time square dancing typically begins with one large circle and with patterns for the whole group; proceeds to a middle section of one or more patterns for two couples, who form the “square;” and ends with one large circle or patterns for the whole group. Dancers use the term “old time square dance” to differentiate this community-based form from western club square dancing, which was popularized mid-century and is taught, with classes of increasing levels of difficulty, through a national organization. Both forms of old time dancing have evolved since the eighteenth century through the interaction of European-Americans, African-Americans, and Native Americans, and are performed to music of the old-time, bluegrass, country, or country-rock variety, depending upon the community.
Personal Style as a Mediator of Engagement in Dance: Watching Terpsichore Rise
Authors: Bond Karen
Published: May 2006

In a world where symbolic discourse may be the hallmark of a dominant species, certain human beings stand out for their social isolation. Six nonverbal children, ages six to nine, with dual impairments of vision and hearing, formed one such cluster of humanity within a residential educational setting. This article reports on some features of a study that analyzes the influence of an intensive dance program (Dance) on social and task engagement in these children (Bond 1991). A multi-faceted inquiry was undertaken that combined a two-group experimental design with participant observation and cumulative theorizing. In this “art-science duet” (Bond 1987), qualitative procedures were adopted to interpret patterns of engagement uncovered through quantitative analysis. Results clearly show that Dance was an effective mode of expression, communication and learning for the six children.
The Claire Holt Collection
Authors: Holt Claire , Shawcross Nancy
Published: May 2006

The Claire Holt Collection of Indonesian dance materials is one of those special chronicles of a time and place long since changed. Accumulated mostly during the 1930s, the collection comprises approximately 9,000 photographic prints; 3,500 photographic negatives; several reels of 16mm motion picture film; and a small but significant group of manuscripts. These documents present a rich and sensitive account of the cultural life of five islands of Indonesia. The islands, then part of the Dutch East Indies, include Java, Bali, Sulawesi (known in the 1930s as the Celebes), Nias, and Sumatra. In addition to the pre-World War II material are photographic prints, negatives, and slides of artists working in Java and Bali in the mid-1950s.

Claire Holt's first exposure to Indonesia, in 1930, left her with an overwhelming and enduring impression of a complete integration of art in the spiritual and daily lives of its people. It was this pervasive interplay that held Holt there for ten years, brought her back twice, and kept her researching, advising, teaching, and writing about Indonesia for the remainder of her life. In the 1930s she formally studied Javanese dance at the Krida Beksa Wirama in Surakarta, and she also assisted Rolf de Maré in preserving on film the dance of Java, Bali, Sulawesi, Nias, and Sumatra. She was a devoted friend of Mankunagara VII of Surakarta and welcome at his court. The result was first-hand experience observing and considering Indonesian dance, the production of visual and written records of the dance, and the gathering of additional source materials from colleagues and the Mankunagaran archive.
Voices of Young Women Dance Students: An Interpretive Study of Meaning in Dance
Authors: Stinson Susan W. , Blumenfield-Jones Donald , Van Dyke Jan
Published: May 2006

What is dance and what is the experience of dancing? What does dancing mean for those who do it?

Dance scholars and critics have written many words in response to these questions. Choreographers give their answers to “what is dance?” in the work they create and, often, in commentary about it. Professional dancers have also spoken, primarily in biographies and autobiographies, of what dance and dancing mean to them. Not all voices are heard in dance literature, however. In particular, the voices of children and adolescents, especial ly those not enrol led in professional schools, are silent. What is the dance experience like, and what does it mean, for them? What do their experiences—and the meanings they make of them—say to us, who work with young people in dance?

These were the questions that propelled three researchers into this study focusing on a group of 16–18 year old young women. In particular we were interested in finding out what young women dancers thought of their place within dance and dancing. This research focused initially on young adolescents and, as such, represents only a beginning of what we view as an important area of investigation.
The Beseda: The Czech National Dance in Cedar Rapids, Iowa
Authors: Chadima Helen
Published: May 2006

The nineteenth century brought a tidal wave of immigrants from many European countries to the United States. The immigrants tended to cluster in various areas across the country. One group came from what is now known as Czechoslovakia and settled in an area of eastern Iowa. Today, Cedar Rapids has the largest Czech community in the state. The population of the town and its metropolitan area is 125,000 and the Czech population is estimated at 30%, counting third and fourth generation Czechs.

From their earliest arrival in the community around 1852 the Czechs congregated in an area that became known as “Little Bohemia,” where they formed their own community life. They continued their traditional hobbies of lace-making, egg-painting, theater, music, gymnastics, and dancing.
Alaskan Eskimo Dance in Cultural Context
Authors: Johnston Thomas F.
Published: May 2006

This is a preliminary study of Alaskan Eskimo dance, the first findings of a three-year comprehensive survey of Alaskan Eskimo and Indian musical systems, funded by the National Science Foundation. The study is primarily synchronic; limited diachronic comparison may be made by consulting a recent study of nineteenth century Alaskan Eskimo dance (Johnston 1974a: 17–26). The populations investigated are the Inupiaq-speakers of Northwest Alaska, numbering about. 11,000, the Central Yupik-speakers of Southwest Alaska, numbering about 17,000, and the Siberian Yupik-speakers of St. Lawrence Island (Alaska), numbering about 1,000. A prime finding is that stylistic differences in Alaskan Eskimo dance coincide approximately with Alaskan Eskimo language (not dialect) areas, with the exception of St. Lawrence Island Eskimo dance, which follows Northwest Alaskan tendencies. The study presents both emic and etic information concerning dance elements, symbolism, functions, and accoutrements.

Alaska Eskimo music has a relatively homogeneous style centering around use of the shallow frame-drum, unison singing, glottal pulsation, pentatonism (but with the additional use of microtones), asymmetrical rhythm, and sectionalized repetition. Intentionally rhythmic, patterned sequences of nonverbal body movement and gesture form an integral part of this musical system, for each complete dance routine (particularly of the sayuun category) is permanently associated with a specific melody, drum rhythm, and set of meaningful songwords. More significantly (from the anthropological point of view), each song-dance pairing is associated with and re-enacts either some recent, significant, true event in cultural history (such as a heroic or comic whaling incident), or a story involving a legendary figure or culture hero. Each song-dance pairing is associated with a specific Eskimo dancer, the latter usually being the creator. If the original creator of the dance is deceased, then the dance is associated with the present-day owner, usually the namesake, partner, or offspring of the creator.
The Aesthetics Of Dance
Authors: Best David
Published: May 2006

In considering dance, the arts generally, human movement and physical education from a philosophical point of view, it has increasingly struck me that perhaps the biggest single area of confusion in the theoretical literature on these important aspects of human experience concerns the relationship of body to mind. This is, of course, a very large issue in contemporary philosophy, which I have tried to consider rather more fully in a recent book. But I want now to concentrate on one aspect of that issue, and to suggest that much popular talk and many theories of expression and meaning in the arts, especially dance, are vitiated by an underlying confusion about the emotions generally. In this paper I want to try to show just how a fallacious theory of the emotions creates insuperable difficulties for an understanding of any of the arts. It can, I suggest, be shown that though it is commonly accepted without question, this theory implies a position which few would want to accept, for a consequence would be that the arts, like the emotions in general, could not be intelligibly discussed. And even those who hold this traditional dualist view of the emotions usually contradict that consequence pragmatically, in that they exchange opinions about the arts as freely as anyone else.

As an example, consider the dilemma in which a teacher of dance, imbued with such a theory, would find herself if she were to trace out the consequences of it, though we should remember that the same issue of principle would apply in other art forms and to discussion of expression in other physical activities.
A Characterization of Dance Teacher Behaviors in Technique and Choreography Classes
Authors: Lord Madeleine
Published: May 2006

Very little is known about the process of teaching dance as it naturally occurs in daily classes at university level (Lunt, 1974). In the actual context of research on teaching, the identification of significant variables necessitates the systematic description of teaching activities as they naturally occur in class. The present study is a systematic observation of two types of dance classes: choreography and technique. It seeks to characterize the behaviors of two experienced teachers observed in their regular classes at the university level. This characterization is made in terms of (a) the proportion of verbal and nonverbal behaviors (b) the directness or indirectness of the instructional approach, and (c) the dominant teaching patterns. The study is regarded as a first attempt to gather valid descriptive data to be used as basis for identifying significant issues in the teaching of dance and eventually in dance teacher education.

Observational studies conducted in movement classes reveal that few systems specifically designed to objectively describe movement classes (Anderson and Barrette, 1978; Costello and Laubach, 1978; Fishman and Tobey, 1978) have satisfied standards of research objectivity and reliability. They show, on the other hand, that numerous valid observational instruments have been developed by adapting systems designed for academic settings to make them compatible with the particularities of the movement setting.
Conditioning for Dancers: Investigating Some Assumptions
Authors: Fitt Sally
Published: May 2006

There are many assumptions about dance conditioning which are thought to be “myths” and have no basis in fact. The use of kinesiological analysis is relatively new to dance and many of the “old wive's tales” of dance conditioning are still passed on in some dance studios. Following are listed four assumptions about dance conditioning:

1. The dancer who works with weights will develop excessive muscle bulk.

2. If a dancer increases strength of a given area or muscle group, there will be a reduction of the range of motion of that area.

3. If a dancer increases range of motion at a given joint in one direction (for example: inward rotation of the hip joint), there will be an equal reduction of the range of motion in the opposite direction (in this case, outward rotation).

4. The cardiovascular conditioning received in technique class is sufficient to achieve high physical performance levels.
Using Nineteenth-Century American Social Dance Manuals
Authors: Schneider Gretchen
Published: May 2006

Descriptions of nineteenth-century American social dances from which to make reconstructions are readily available. They are present in those neat, usually palm-sized, dance manuals and miscellaneous pamphlets which bounce out of a card catalogue or present themselves on library shelves: The names of Thomas Hillgrove, Elias Howe, Thomas Wilson, Henri Cellarius, and John Ferrero are familiar to those of us – folk dancers, teachers, and revivalists – who work with these books in our variety of ways. The questions that concern me are: What is the nature of the material in these “little” books from which we can begin to make reconstructions of nineteenth-century social dances? Can we make reliable reconstructions using them alone? What else do we need to consider when using these sources?
Post-Historical Dance Criticism
Authors: Lavender Larry
Published: May 2006

Since the early years of the twentieth century it has gradually come to pass that virtually anything, anything at all, can be considered a work of art. A sliced up cow can be art, and so can a pile of bricks or a hole in the ground. In the domain of dance, a choreographer having difficulty creating a dance work may, for example, simply walk onstage and describe for the audience how her work might have looked had she completed it. Or she can list the work in the concert program with an explanation that it will not be performed because it does not actually exist. The most advanced theories of art in circulation today would, without hesitation, confer the status of art upon either of these options as easily as upon an actual dance.

How did it come to be that such things as these could be art? The quick answer is that it is one of the legacies of aesthetic modernism to have made it possible for virtually anything to be art. As Thomas McEvilley explains:

To be art is to be called art, by the people who supposedly are in charge of the word—artists, critics, curators, art historians, and so on. There is no appeal from the foundation of usage, no higher court on the issue. If something (anything) is presented as art by an artist and contextualized as art within the system then it is art, and there is nothing anybody can do about it. (1985, 289)
Dance as an Expression of Islamic Culture
Authors: al Faruqi Lois Ibsen
Published: May 2006

What, if anything, relates the dances of the Muslim peoples to the other arts produced by the culture to which they belong? Is there a community of belief and an aesthetic identity strong enough among the Muslim peoples, despite their wide geographic dispersion, that would result in a homo-geneous community of artistic production and appreciation? Is dance among the Muslims an art which, like the visual and aural arts, shares characteristics which reveal a consistency and unity despite regional differences? Or, on the contrary, is “Islamic” only a convenient label for an amorphous body of dance phenomena existing among peoples who share religious beliefs, but among whom little penetrating cultural affinity is revealed in their dance?

Before attempting to answer the above questions, we must call attention to the fact that dance did not play the important aesthetic role in Islamic civilization that it played in some other civilizations (e.g., in Hindu culture, among the Amerindians, and in Western Europe-America during the last few centuries). The Muslims were never able to quite resolve the uncertainty which they, as a people, felt over the legitimacy of dance. There are various explanations for this problem regarding dance. Perhaps all of them can claim some validity.
Bazi-ha-ye Nameyeshi: Iranian Women's Theatrical Plays
Authors: Shay Anthony
Published: May 2006

Iranian women's comic improvised traditional theatre is a rich and important, but little-known, source of performative and textual material that has been rarely documented or discussed by serious students of folklore and dance, either in Iran or in the West. I argue that this amateur theatrical form performed and created by women for other women is the single most important source representing the multivocality of traditional Iranian women of all classes. Both in content and performance, these theatrical plays or games are a unique form of expression that needs several analytic approaches to elucidate its meaning and place in women's lives as well as in the wider area of traditional Iranian performance practices.

The term coined by S. A. ‘Enjavi-Shirazi, the Iranian folklorist and literary scholar, to describe the theatrical plays performed by and for women, bazi-ha-ye namayeshi, is probably best rendered in English as ‘theatrical’ or ‘dramatic’ plays. The bazi-ha (ha denotes the inanimate plural in Persian) are basically folk or traditional plays and games (bazi can mean either play or game, namayeshi translates as dramatic) that are primarily created and performed domestically by women throughout many parts of Iran, Afghanistan, and Tajikistan.
Nijinsky's Choreographic Method: Visual Sources from Roerich for Le Sacre du printemps
Authors: Hodson Millicent
Published: May 2006

Nicholas Roerich, the scenarist and designer of Le Sacre du printemps for the original production, by Diaghilev's Ballets Russes, in 1913, built the ballet around the sacrifice of a young maiden. As the climax to a series of ritual tasks by members of an archaic tribe, the Chosen Maiden dances herself to death to assure the return of Spring. In the logic of the rite her sacrifice is seen as a marriage with Yarilo, the sun deity of pre-Christian Slavic mythology. The composer of the ballet, Igor Stravinsky, claimed from the outset that he had conceived the idea for Sacre as he was finishing Firebird in 1910. But an interview with Roerich in the St. Petersburg press and other documentation show that he had already written a scenario when Stravinsky approached him with the notion of a ballet about archaic Russia. Roerich's scenario was entitled “The Great Sacrifice,” and it survives as the second act of what we know as Le Sacre du printemps. Contrasted with the somber tasks and grave tone of the second act are the vigorous games and ceremonies which Roerich and Stravinsky together planned for the first act. Stravinsky marked the score for Act I “Day” and Act II “Night,” a polarity that is carried out in all aspects of the music, decor and choreography.
Dance Notation Preserved at Mōtsuji (An addendum to “Dance to Song in Japan”1)
Authors: Hoff Frank
Published: May 2006

In the northeastern part of the main island of Japan at the temple of Mōtsuji, documents survive which show notational practices used to preserve the choreography of dances performed there as part of the Buddhist ceremony of Ennen. I have discussed the Ennen of Mōtsuji in the section called “Ennen: Dance to a Buddhist Text” in my article on “Dance to Song in Japan” and would like to explore here the records of some of its dances since they exemplify a notational concept specially appropriate to the documentation of a tradition of dance to song.

According to Professor Honda Yasuji of Waseda University in his book Ennen the original documents date to the early part of the nineteenth century, although some go back to the middle of the eighteenth century, and one item contains elements which date to 1706. The dances themselves, however, go back much further. With a few exceptions, the diagrams published in Ennen are Honda's own drawings based on the older material preserved by various priestly families associated with the temple and the performances which are part of the Buddhist ceremony there.

In addition to reproducing these historical records, Honda has made his own annotations to document the choreography of dances which he saw performed at the temple, giving a brief verbal description of the dancer's movements for each section of the song. Full texts of the songs and his movement annotations of dances of the sort described in “Dance to Song in Japan” can be found in Ennen; in addition, there are texts, meant to be sung, of four plays in which danced sections served as climaxes. Of these, the one with the earliest date is that of 1761; another, though undated, appears to be even older. The diagrams for movement in certain sections of the play Ominaeshi, which are reproduced and explained here together with a translation, are preserved in two documents. The one in the Hakuōin collection is dated 1822.
Translated Excerpts of Chinese Dance Notation
Authors: Strauss Gloria B. , Wing Camella , Yuen-wah Leung
Published: May 2006

In a society which judged the culture of its members less by the building of cities than by the transforming influence of writing, it is not unexpected to find that written dance notation is of a high quality. And, when it is further understood that the writing of this society is, itself, a form of line drawing, one is not surprised to find that excellent and accurate line drawings accompany the written text.

This is as true for dance description in present-day revolutionary China as it was in traditional China where the accuracy and complete documentation of Ming dynasty (1378–1644) ritual dance anticipated and exceeded Western efforts in this area. Although historical records suggest that dance notations in China may have existed as early as in the first millenium B.C., they appear to have been destroyed by the book-burning Emperor Shih Huang-ti at the end of the third century B.C. In other instances like those of the T'ang dynasty dance tablatures found in the caves of Tun-huang, the notations have not yet been adequately deciphered; thus, fully-documented rituals in China are best known to us from a period of time (circa. 1600), not far in years from the notes made regarding the famed Ballet Comique de la Reine or Arbeau's Orchésographie

One observes in the Ming dynasty records that movements were illustrated as well as described, the descriptions tending to be terse while the illustrations were more complete. In fact, the dance is better understood by studying the complete picture sequence than by following the characters. (Figures 1 and 2 are examples of two movements in sequence as shown in notation of Ming dynasty ritual dance). Regarding the translation of the characters that are found on the illustrations, Figs. 1 and 2: the vertical characters are essentially numerical, roughly equivalant to saying in English, “index number 5 and index number 6.” The larger characters, which are read horizontally from right to left, are descriptive in general terms only, and require a study of the drawings in sequence to be fully understood.
Dance and the New York Times Index
Authors: Uchitelle Daniel
Published: May 2006

New York City is the geographic center for dance in America, and the New York Times is “newspaper of record” for the city. It might be assumed, then, that a researcher looking for historical information about dance in America would find a great deal of it by consulting the New York Times Index. That, at least, is what I thought before beginning to gather documents for a dance bibliography for users of Sterling Memorial Library at Yale University. Yet a few random dips into volumes of the NYT Index yielded confusing and (for my purposes) unuseable citations. I therefore decided to set my bibliography aside for a time and instead conduct a search through the entire NYT Index, tracing its treatment of articles on dance, from the first long-hand edition of 1851 up to the present. This is an examination not of the New York Times' coverage of dance but of the NYT Index's useability as a reference tool for dance researchers.
Evidence for a Grammatical Structure in Javanese Dance: Examination of a Passage from Golek Lambangsari
Authors: Woodard Stephanie
Published: May 2006

There is evidence for the existence of some kind of grammatical structure in a passage from Golek Lambangsari, a Javanese classical court dance for women, composed by Sasmintamardawa of Jogjakarta, Java. In the passage under examination Sasmintamardawa used two different choreographic methods for manipulating the Javanese classical dance material: first, the more usual traditional, multipart variations with their connecting transitions; and second, very short, simple variations which seem not to have transitions between them. An analysis of the boundaries between the phrases in this passage reveals that the boundary conditions are different for each choreographic method, and further, for each level of the structure of the passage. The latter discovery indicates that the structure of the passage (no matter which choreographic method is considered) is different at each of three levels which I define in the boundary analysis—phrase, subphrase, and basic movement unit—and that there is some overall organizing grammatical principle causing this to be so. An explanation of Jogjanese classical female dance style phrase structure precedes the boundary analysis of the passage from Golek Lambangsari.
Dancers as Emissaries in Irigwe, Nigeria
Authors: Sangree Walter H.
Published: May 2006

The Irigwe, numbering around 17,000, are the third largest of several dozen so-called “plateau pagan” tribes on the Jos Plateau in Benue-Plateau State, Nigeria. Situated on the western edge of the Plateau around 20 miles west of the towns of Jos and Bukuru, the Irigwe have their own language and social traditions which clearly distinguish them from the other plateau tribes. They are currently reknowned all over the Plateau, indeed all over Nigeria, as skilled dancers. The focus of this paper will be to describe and analyze briefly the importance of Irigwe dance groups as emissary delegations, traditionally between various Irigwe sub-groups, and nowdays also between Irigwe as a whole and the rest of Nigeria. The maintenance of boundaries between socio-cultural groupings which regularly interact often involves agents of one sort of another who serve (on a de facto if not on an explicit basis) as bridges between the groupings. Dance group members in effect form such bridging agents in Irigwe.

Irigwe is a segmentary society lacking any traditional political chieftaincy. Twenty-five semi-autonomous agnatically based tribal “sections” are bound together on the one hand by each section's having exclusive responsibility for performing one or another ritual felt to be necessary for the tribe, and on the other hand by cross-cuting affinal and cognatic bonds mediated by both primary and “secondary” intersection marriages (Sangree 1972). The Irigwe divide their 25 sections into two geographically discrete clusters: Rigwe, the “parent” division, south of the swiftly flowing Ngell River with 10 sections, and Nyango, the “child” division, north of the river, with 15 sections.