bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dance and the “Women's War”
Authors: Hanna Judith Lynne 
Published: May 2006

What lever of power do Ubakala women have when their society traditionally requires them to leave their birthplace to live among strangers in a situation which excludes them from formal political and religious decision-making? The answer is dance! And when the messages of the dance go unheeded, the women have been known to resort to less peaceful persuasion. The Nigerian Women's War of 1929, which I describe later, is the most notable case.The Ubakala people of eastern Nigeria (now Imo State) trace family descent on the father's side. Women leave their natal home upon marriage to live among their husband's kin, many of whom may be strangers. Another indicator of apparent male domination is the exclusion of women from the formal, traditional political and ritual decision-making bodies. Most women's activities center on the domestic scene, agricultural fields, and the market network. However, Ubakala women are not merely subordinate domestic creatures of exchange and family alliances. They also provide men with mates, privileges in a new group (husbands gain special support from a wife's family), and labor. Ubakala recognize that female fertility and energies complement male virility and strength in human and economic production. Furthermore, women have prestige and power apart from that of their husbands: achieving wealth, developing persuasive verbal eloquence, and bearing many offspring are indicators of a woman's success. With these assets women past menopause may even attend men's political meetings if they choose. Women have their own groups and leaders which are considered powerful amongst both themselves and the men. Moreover, women may assert themselves and become especially visible in dance-play performance.
Issues in Labananalysis Research: Using the Humphrey Scores
Authors: Jordan Stephanie 
Published: May 2006

The accessibility of notation scores and film provides a unique opportunity for examination of the relationship between existing music and dance in the work of Doris Humphrey. Nine of her pieces to existing musical scores have been notated in Labanotation and at least fourteen have been filmed in their entirety or in part. Nine are recorded in notation and on film. The Humphrey films and scores span her choreographic career and illustrate a wide range of musical scores from the eighteenth to the twentieth century. In this paper, I will suggest various ways in which the Labanotation scores have been useful for analysis and have contributed to my understanding of Humphrey's work.So far I have studied three pieces, each of which has been filmed and notated, Passacaglia in C minor (1938), Partita in G major (1942) the four movements that remain, and the first movement of Brandenburg Concerto No. 4 in G major (1959), created with Ruth Currier. All three employ scores and titles by Bach and all make oblique reference to the music visualization tradition from which Humphrey emerged.
“I Feel Like I'm Going to Take Off!”: Young People's Experiences of the Superordinary in Dance
Authors: Bond Karen E. , Stinson Susan W. 
Published: May 2006

Work by children in every art form has been both romanticized and criticized by adults. Child art has been emulated as “natural” by artists seeking to free themselves from social and historical conventions (Lowenfeld and Brittain 1987; Read 1957, 1973) and to reconnect with qualities of purity and simplicity (Coleman 1998). Such values have been challenged by those seeking a rationale for instructional programs in the arts (Clark, Day, and Greer 1987). It often seems that educators view children as incomplete adults, in need of education and training to make them mature as well as civilized (Torgovnick 1990). This may be why the ideas and opinions of children are rarely found in research literature, even in education.Similarly, books about how to teach young people rarely include the perspective of the student. Except in child-centered programs for young children, teachers and educational administrators generally decide what children should learn and then, at least sometimes, assess to see if it has been learned. Very little is known about how young students experience the educational activities designed by adults or construct meaning from them.
Grand Union: The Presentation of Everyday Life as Dance
Authors: Banes Sally 
Published: May 2006

The Grand Union was a collective of choreographer/performers which during the years 1970–76 made group improvisations embracing dance, theater, and theatrics in an ongoing investigation into the nature of dance and performance. Grand Union's identity as a group had several sources: some of the nine who have been its members had known each other for as long as ten years when the group formed; they had seen and performed in each other's works since the Judson Church days. Most had studied with Merce Cunningham, and three had danced in his company.One important and rich source for the group's genesis was Yvonne Rainer's work Continuous Project-Altered Daily (CP-AD). To understand the course of Grand Union's activities, it is useful to look first at the changing nature of CP-AD. Rainer began the piece in 1969, and in March 1970 presented a definitive version at the Whitney Museum. The performers were Becky Arnold, Douglas Dunn, David Gordon, Barbara Lloyd (now Dilley), Steve Paxton, Yvonne Rainer and various readers.
Stravinsky's Les Noces
Authors: Reeder Roberta , Comegno Arthur 
Published: May 2006

Stravinsky's first ideas for Les Noces date from 1913, when mention of the ballet first appears in his correspondence, yet they did not come to fruition until the ballet's premiere in 1923. This protracted gestation, the longest for any of his compositions, was largely caused by the impositions and consequences of World War I and the revolution in Russa. Both Stravinsky and the Ballet Russes, the company he had been associated with since 1909, experienced economic difficulties. Without any promised performance of Les Noces, Stravinsky concentrated his efforts on other compositions.During the genesis of the ballet, Stravinsky reformulated his musical philosophy. Before the war; Stravinsky was composing large-scale works for sizable orchestras, with plots derived from Russian folktales and customs, and melodies borrowed from Russian folk music; a few years after the war, he began composing works for smaller forces that borrowed features from eighteenth- and nineteenth-century European music, rather than Russian elements. Both styles — “Russian” and “neoclassical” — are present in Les Noces.
Fedor Lopukhov: A Soviet Choreographer in the 1920s
Authors: Souritz Elizabeth , Visson Lynn , Banes Sally 
Published: May 2006

Elizabeth Souritz's book Soviet Choreographers in the 1920s (first published in the U.S.S.R. as Khoreograficheskoe iskusstvo dvadtsatykh godov [Moscow: Iskusstvo, 1979) is presently in preparation for publication by Dance Horizons. The book focuses on one particular aspect of Soviet choreography in the 1920s – the changes within the ballet institution, that is, the state lyric theaters. Although her main purpose is to excavate the choreography itself, and especially the work of three key artists (Alexander Gorsky, Kasian Goleizovsky, and Fedor Lopukhov), in the course of reading about the ballets, we also learn a great deal about the dance and theater life on the periphery, about who was included and who excluded from the mainstream and why, about the aesthetic and political debates that brought some of the projects to fruition and buried others, and about the ways in which the period served as a kind of linchpin in the history of ballet. We see in Souritz's account a microcosm both of the larger Soviet dance world of the 1920s and of the larger picture of state cultural institutions.The book sheds a welcome light on an era, a group of choreographers, and a series of ballets that have previously been little known in the West. We have been tantalized by brief references in the available literature to the revolutionary ballets celebrating the October Revolution of 1917, to the revisions of the classics that remain in the Soviet repertory, to the remarkable innovations inspired by modernist experiments in all the arts of the period, and to the “model ballet” The Red Poppy. These topics fascinate us not only for their own sake, for they have been a missing chapter in our knowledge of dance history, but also because they illuminate the history of American ballet, and in particular the early roots of George Balanchine's oeuvre.
Introduction
Authors: Ingber Judith Brin 
Published: May 2006

The most exuberant example of dance among the Jews is the dance at weddings. For this rejoicing, Jews have paid the most attention to how they danced in order to celebrate the new couple and also to enhance many different aspects of the marriage process. Written sources have recorded examples of wooing and wedding dances from the biblical period through all the vagaries of more than two thousand years of Jewish life. Today countless examples of wedding dances of the Jews still exist, but relatively little scholarship has focused on them.Outstanding is the remarkable variety of all these dances and the paradoxical fact that they are all unified by the single Jewish phenomenon of a mitzvah. A mitzvah is a commandment of Jewish life; one of these is the commandment that one must dance at a Jewish wedding. This commandment has been honored through the centuries in all the diverse places Jews have been forced to live—the ghettoes, the Pale of Settlement, the mellah, imposed exile or changes through immigration and through choice.
“Tantsn Is Lebn”: Dancing in Eastern European Jewish Culture
Authors: Friedland LeeEllen 
Published: May 2006

The study of Jewish wedding dances, as represented in this volume, is a new and exciting endeavor. There are untold riches of dance customs and wedding celebrations to be found among the Jewish peoples of the world. A better understanding of these customs will help illuminate the complex nature of Jewish dance traditions and the importance of dancing in Jewish social life.This paper will discuss the wedding dances performed by the Jews of Eastern Europe. It is ironic that although the majority of Jews in North America are of East European heritage, this dance tradition is probably the one about which we know the least. The reasons for this are complicated, but one of the most important factors is that the dance tradition did not adapt very well to Jewish life in the New World, unlike, for example, food traditions. The foodways of East European Jewish culture have persisted voraciously in New World communities. In fact, in many parts of the country, Jewish foodways have had a profound influence on the culinary repertoire of non-Jewish America. In contrast, the dancing that was part of traditional Jewish social life in Eastern Europe has dwindled, surviving primarily in the Jewish wedding and other rites of passage.
Darshan and Abhinaya: An Alternative to the Male Gaze
Authors: Coorlawala Uttara Asha 
Published: May 2006

In the following study, methods developed within feminist film theory of deconstructing the gaze are applied to “read” abhinaya (the narrational component in Indian classical dancing)(1) and the performer-audience relationship. The study has yielded an alternative model to Kaplan's model of an inevitable male gaze and a performance mechanism for generating transcendence. It also shows that decontextualised readings of dance can yield very different meanings from the readings that consider the religio-aesthetic environment of Indian dance. European-American perceptions informed by Freud and Lacan recognize the power of seeing and its relationship to knowing, so also do yogic theories of perception and the cosmological view of existence that informs the Indian dance. Examining one way of looking through another way of looking may yield fascinating connections and insights, but it also has limitations. The two perspectives cannot be equated. Each view has value-laden socio-cultural orientations which must be considered.According to Indian theories of aesthetics and perception, looking (drishti) as evident in Indian Classical Dance, is integrally linked with cognizing form (rupa) and naming (nāma). Mastery of abhinaya necessarily involves the ability to direct the audience's sensibilities towards a particular perception through the use of eye movements. The eyes are used not just for “looking” at, or responding to another imaginary character. The focused gaze directs attention to an action, a place or a part of the body. This cues observers to “see” what they are supposed to see. Thus the spaces between the sounds of tatkar (rhythmic footwork) of the Kathak performer are emphasized and translated into a visual dimension, by swift directional changes of the performer's head and gaze. Occasionally the hands too will “draw” the pattern of the rhythms (2).
Body Composition and Body Type of Female Dance Majors
Authors: Evans Blanche W. , Tiburzi Antoinette , Norton Candace J. 
Published: May 2006

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

John Forrest's essay, “Here We Come A-Fossiling,” is a refreshing and rare effort by a folklorist to articulate an aesthetic distinction between dancing in the folk tradition and dancing in the folk revival. Since neither “tradition” nor “revival” are clearly defined within the discussion, however, Dr. Forrest's argument may seem a little obscure to any but a folklorist or a folk dance enthusiast. At least to this “revivalist,” it also seems a little harsh to claim that there is a wide chasm rather than at most a delicate line between two types of people who both dance the Morris for the love of it.There is considerable tension between those who engage in formal study of folklife and those who love to sing or dance the materials collected by the field worker. Perhaps one of the most divisive and unwelcome trends emerging out of the development of folklore as an academic discipline has been the quasi-deification of certain performers as “traditional” and a vigorous denigration of “revivalists” or “interpreters.”
Annual International Bibliography of Dance History: The Western Tradition. Works Published in 1978. Part II.
Authors: Ruyter Nancy Chalfa 
Published: May 2006

This second group of works published in 1978 is organized in the same way as Part I (DRJ 12/2, Spring-Summer 1980). There are books and articles in nine categories. The seven indexes guide the reader to time, place, and area of subject matter; to people, dance works, and institutions named in the references; and to authors, editors, translators, etc.Many people have contributed to the 1978 list and for subsequent years as well. I wish to thank Genevieve Oswald and Dorothy Lourdou of the Dance Collection of the Lincoln Center for the Performing Arts, New York Public Library, for providing catalogue work sheets for all relevant items that are processed into that collection. I am also grateful for substantial assistance from the staffs of the Honnold Library at the Claremont Colleges, Claremont, California; Oviatt Library at California State University, Northridge; and the SIRLS Database at the University of Waterloo in Ontario, Canada; and I appreciate very much the references contributed by Ingrid Brainard, Lynn Matluck Brooks, Selma Jeanne Cohen, Daniel Cole, Nancy de Wilde, Roderyk Lange, Alfred E. Lemmon, Irma Vienola Lindfors, Gita Sellman, Mary Grace Swift, Henning Urup, and Kate Van Winkle Keller. Work on the project has been partially supported by research grants from California State University, Northridge, and University of California, Irvine.My original idea was not to stay with this project forever, but to get it started and then turn it over to others. The 1979 list is being completed by Lois Benson-Talley (Reference Center, University Library, California State University, Long Beach, CA 90840), and will be finished within the next few months.
“All the dances have a meaning to that apparition”: Felt knowledge and the Danzantes of Tortugas, New Mexico
Authors: Sklar Deidre 
Published: May 2006

One at a time, the dancers entered the small chapel and crossed the green shag carpet to kneel before the virgin's portrait. For the three days of religious fiesta, her image would be the focus of the dancers' offerings. A faded color reproduction, the portrait was not honored for its aesthetic virtues. Rather, its significance was invocative and evocative: through it, the virgin's presence was invoked and her story evoked.About four feet high, the virgin's portrait rested on a papier maché mountain half its size. On a lower ridge of the mountain was a statue of a kneeling man, cast in plaster. The man's size was equal to the mountain's so that his head reached the level of the virgin's knees. The overall effect was that the virgin on high looked down with compassion on a tiny mountain and a larger-than-life man. It was the opposite of traditional images of Mary looking up at Christ on the cross. Here, the man looked up from below at Mary (figure 1).
An Exercise in Applied Personal Anthropology
Authors: Williams Drid 
Published: May 2006

This paper represents an attempt to raise three points with regard to the study of dance and social anthropology. First, I have stressed the importance of an anthropological perspective in contrast to other perspectives in connection with ethnographies of dance. Second, I have briefly outlined a few ontological and epistemological implications of treating social anthropology itself as a language-based, rather than as a Behavioural science. Third, I have only barely indicated the epistemological consequences involved in accepting the idea of a personal anthropology.In fact, it is the latter point which suffers most from the following brief treatment, for while the subject matter for a deeper analysis is present in this essay (i.e. the parts of texts of articles written before I read anthropology), it has mainly been subjected to a fairly standard anthropological critique. There are those who might say that this could have been done without the benefit of the idea of a personal anthropology.
Drumming in Okinawan Classical Music: A Catalogue of Gestures
Authors: Sutton R. Anderson 
Published: May 2006

In the West, the categories of music and dance are generally thought of as related, but distinct performing arts. Those of us who devote our time to studying and performing music often forget that no sound is produced without physical movement and that in most (if not all) cases performers have learned to move in certain ways in order to produce a desired pattern of sounds. Yet when we attend a piano recital we may very well enjoy the performance without actually seeing the pianist's fingers in motion on the keyboard. The movements of western “classical” musicians are, for the most part, aimed at producing sounds, and it is these sounds that the audience is expected to apprehend and appreciate aesthetically. In Okinawan “classical” music (koten ongaku), however, the “musical aesthetic” relies on a combination of formalized patterns of movement and sound, particularly in the playing of the two drums, collectively called tēku. The movements of the Okinawan drummer are thus more than a means to correct sound production they have aesthetic significance in their own right. Some of these movements, in fact, produce no sound at all. Others, though highly contrastive visually, may produce sounds which are acoustically the same.Interplay of the visual and the aural is found in performance traditions around the globe. In East Asia alone there are numerous genres in which dancers sound drums – Japanese and Okinawan Ancestor Festival dances (bon-odori in Japan, eisā in Okinawa), the Korean “monk's drum” dances (puk-chum) and hourglass drum dances (sol-changgo), to name a few. In these dances, however, the “drummer” is more readily identifiable as a “dancer.” He or she moves through space; the striking of the drum is but one of the activities which the audience beholds and may not be the primary one. Usually these dances are accompanied by music performed by “non-dancing” musicians, whose ensemble may include drums other than those played by the dancing drummer.
Anti-Geneticism and Critical Practice in Dance
Authors: Van Camp Julie 
Published: May 2006

Dance critics often use information external to a performance to identify and separately evaluate the creative aspects of dance (composition of music and movement; design of scenery and costumes) and the interpretive aspects (performance by dancers and musicians; execution of scenery and costume designs). Their evaluation may also take into account production factors not directly perceivable in a performance, including the type of floor, rehearsal time, illness, and injury.These critical practices are problematic for an anti-geneticist theory of aesthetic value, the best-known of which is that of philosopher Monroe Beardsley. As a way of legislating against irresponsible criticism, such as describing Schubert's music as “pathetic” solely because one “sympathizes with his poverty,” Beardsley will “…count as characteristics of an aesthetic object [the proper object of criticism] no characteristics … that depend upon knowledge of their causal conditions, whether physical or psychological.” Even some who consider this position too strict, excluding as illegitimate certain important critical discourse, agree that it contributes to a desirable goal, the exclusion of “clearly irresponsible criticism,” or “‘fantastic’ criticism that finds in the work any property whatever suggested by biographical information.”The apparent conflict between anti-geneticism and these critical practices in dance can be resolved by distinguishing evaluation of perceivable performances from assessments of the continuing skills of performing and creative artists.