bluuebunny/crossref_metadata_2025_split huggingface dataset:
A Month in the Country: The Organization of a Score
Authors: Jordan Stephanie A. 
Published: May 2006

Choreographers have always found difficulty in fitting stories to existing musical scores and there have been few occasions when such music has fitted the dramatic structure entirely satisfactorily at every instance. There are two solutions to the problem: either to commission new music or to manipulate an existing score so that it suits the choreographer's purpose, by editing, changing the order of events or the orchestration, even by finding a composer to write a few bars here and there ‘in the style of’ the main body of the music. Such manipulation is by no means the property of story dances; Balanchine altered the order of events in Serenade for instance.Frederick Ashton has more often than not chosen the ‘welding’ approach, as he calls it, and this is the method he and John Lanchbery used in A Month in the Country. The two men spent a week in September, 1975, working out action to music before any of the dance was choreographed. Before A Month in the Country, Ashton had already collaborated with John Lanchbery in a similar fashion, on La Fille mal gardée (1960), The Two Pigeons (1961) and The Dream (1964), and, much earlier in his career, he had worked with Constant Lambert who introduced the approach to him and was on hand to arrange and orchestrate pieces, even to suggest which music Ashton should use.
Systemic Aesthetics: Kiowa-Apache Ritual
Authors: Beatty John 
Published: May 2006

The Kiowa-Apache are a small group of Apachean speakers living in the area in and near Anadarko, Oklahoma. Many anthropologists believe they separated from the other Apachean speakers, who now live in the Southwest, about 400 years ago, when they moved out onto the plains and began to function as a band of the linguistically unrelated Kiowa. Some of the early literature (Mooney 1895,1907), dismisses the Kiowa-Apache as simply being a band of the Kiowa, and in no way different than their Kiowa neighbors. This view has been refuted in some detail by McAllister (1937), Bittle (1954,1960,1962), Opler and Bittle (1962), Brant (1949, 1950,1953,1969) and Beatty (1974). There still seems to remain, nonetheless, some confusion among many people as to whether the Kiowa-Apache should be classified as Kiowa or Apache. Although the Kiowa-Apache themselves are quite clear on the fact that they are Apaches and not Kiowas, the surrounding population frequently holds that they are Kiowa. Bittle (1962) suspected that the continued confusion over the identity was in part responsible for the revitalization of the Manatidie society and the accompanying ceremonial dance.The Manatidie is one of the Kiowa-Apache societies as well as the name of the dance performed by that society. McAllister (1937) discusses it in some detail although he had never seen the ceremony. Bittle (1962), who was present during the revitalization also describes it, as does Beatty (1974) who saw it after revitalization. Beatty's study of Kiowa-Apache music implies that although the music is generally in a “typical” Plains Indian style, it deviates occasionally into the musical style associated with their linguistic relatives (the south-western Apache and Navajo). The deviation is especially interesting in the Manatidie songs which tend to have more characteristics of the southwestern music style than might be expected. The Kiowa-Apache seem to borrow easily musical forms such as peyote songs, which stem from the Southwest and tend to have typical Southwest music patterns (Roberts 1936; Nettl 1954; McAllester 1949). The Manatidie society, on the other hand, seems not to be a southwestern institution as is peyote, and hence the appearance of southwestern music patterns in the Manatidie is somewhat surprising. The patterns can also be found in some of the more recently composed songs as well.
José Limón's The Moor's Pavane: An Interview with Lucas Hoving
Authors: Mindlin Naomi 
Published: May 2006

José Limón's The Moor's Pavane, subtitled “Variations on the theme of Othello,” premiered on August 17, 1949, at the American Dance Festival in New London, Connecticut. The original cast consisted of José Limón as The Moor, Lucas Hoving as His Friend, Pauline Koner as His Friend's Wife, and Betty Jones as The Moor's Wife. With costumes by Pauline Lawrence and music arranged by Simon Sadoff (conductor and pianist for the José Limón Dance Company) from Henry Purcell's Abdelazar, The Gordian Knot Untied, and The Pavanne and Chaconne for Strings, the work was quickly recognized as a major modern dance classic. Now more than forty years old, The Moor's Pavane continues in the repertory of the Limón Dance Company, as well as in that of many ballet companies throughout the world.John Martin, reviewing the premiere in The New York Times, declared that Limón had “definitely made a place for himself among the best of them” with his latest work. And Louis Horst wrote in The New London, Conn., Evening Day, “With a quartet of dancers… José Limón has, within the strict limitations he has set himself, produced a gripping and absorbing composition.” Horst also praised the dancers, noting that ”[t]he performance by the quartet was on a very high level, especially the stunning portrayal of the Iago role by Lucas Hoving, which was one of unforgettable malevolent intensity”.
Les Noces: the American Premiere
Authors: Sullivan Lawrence 
Published: May 2006

More than fifty years have passed since the American premiere of Stravinsky's Les Noces, which opened on April 25, 1929 at the Metropolitan Opera House in New York City. Generally overshadowed by the Bronislava Nijinska version (Paris, 1923) and by the later Jerome Robbins version (New York, 1965), the 1929 production presented a significantly different interpretation of the Stravinsky piece. The choreographer was Elizaveta Anderson-Ivantzova (1890–1973), former prima ballerina at the Bolshoi, whose life span parallels almost exactly that of Nijinska (1891–1972) and whose career intersects with that of Nijinska by virtue of her choreographing the second version. Of concommitant interest is that the first two versions of Les Noces were choreographed by women in an age when women were less than likely to be engaged as choreographers, a fact not unnoticed in 1929. Yet, little is known of this and other aspects of the production today. An examination, therefore, of the background, the production itself, and the choreography in particular is needed to describe, as clearly as the evidence will allow, what the 1929 production was like and how it differed from the better known version of 1923.The little attention given to the New York premiere seems to have had less to do with its original performance than with a subsequent indifference to it.
The Maximum O2 Consumption in Dance Majors
Authors: Rimmer James H. , Rosentswieg Joel 
Published: May 2006

Dancing has been an intrinsic segment of life for almost every nation in the world. Throughout every race, or creed, dance has symbolized the expression of a custom, tribe, religion or personal reflection. Dance has long been considered a part of the arts and looked at very closely from this perspective; however, when turning to the physiological nature of dance, there is very little information to be found.Dancers are usually not considered highly trained aerobic athletes. One reason for this may be due to the fact that few in the dance world have taken the initiative to study the physiology of dancers. Most dancers themselves are more concerned with other aspects of dance than with the physiological components.
Searching for the Sylph: Documentation of Early Developments in Pointe Techninque
Authors: Hammond Sandra Noll 
Published: May 2006

The development of pointe technique rightly can be viewed as a “technical revolution” in the history of ballet, but its origins and early manifestations are among the intriguing mysteries of this ephemeral art. The discussion that follows will explore those mysteries by examining sources heretofore largely ignored: the technical treatises about dancing written by ballet masters of the late-eighteenth through the early nineteenth centuries. These books and manuscripts reveal the most frequently taught steps and positions performed on full pointe, the dance phrases in which those movements occurred, and the exercises deemed necessary to “gain strength on the points of the toes.” Such an examination suggests that early pointe work was not an exclusively feminine activity, nor was the earliest exponent of this phenomenon a ballerina of the nineteenth century.It would seem reasonable to expect dance technique notebooks and manuals to yield clear documentation and definitions of such a “revolutionary” phenomenon as pointe work. At the very least it would seem that the authors of those treatises would call attention to the new “discovery” which soon was to become “one of the prime features of the Romantic ballet.” But, that view of the revolutionary nature of dancing on pointe comes from our own twentieth century hindsight, not from those who first experienced the phenomenon. Rather, the earliest nineteenth century accounts by dancing masters treat pointe work in a casual manner, thus suggesting they were depicting a quite logical, but hardly remarkable, development. For example, E.A. Théleur's book on technique, Letters on Dancing (London, 1831), describes and illustrates poses corresponding to second, fourth, and fifth positions that can be made either “on the balls of the feet or on the points of the toes.” Théleur, in an even more nonchalant manner, uses his only two illustrations of dancers on the tips of their toes as examples of proper positions for the arms rather than as depictions of positions on the points of the toes.
Annual International Bibliography of Dance History: The Western Tradition. Works Published in 1979. Part III
Authors: Benson-Talley Lois 
Published: May 2006

The lack of bibliographic indexing services devoted exclusively to the field of dance has allowed a large body of literature to remain virtually inaccessible to the scholar and interested reader. Indexes and current bibliographies are sorely needed in this field.This selected bibliography, covering 1979, is a continuation of the effort begun in 1978 by those who attended the ADG-CORD Dance Conference in Hawaii. Discussions on the need for bibliographic tools led to the compilation of the first “Annual International Bibliography on Dance History: The Western Tradition” (DRJ 12(2), Spring/Summer 1980), compiled by Nancy Chalfa Ruyter.The 1979 bibliography has been compiled in much the same way as the 1978 one. An additional category has been added for references to materials on music as it relates to dance. There are thirteen categories in total. The seven indexes guide the reader to materials by time, geographic location, and subject matter; to individuals, dance works, and companies or schools named in titles; and to authors, editors or translators of materials.
Intentionalism, Anti-Intentionalism, and Aesthetic Inquiry: Implications for the Teaching of Choreography
Authors: Lavender Larry 
Published: May 2006

One of the most heated debates in modern literary and aesthetic theory concerns the relevance to criticism in general, and to interpretation specifically, of information about an author/artist's intentions in creating a particular work. This intentionalist/anti-intentionalist debate is an important one for dance educators to examine and discuss with students, since teachers' beliefs about the relevance of an artist's intentions determine in large part the way they interpret and judge dances (and other works of art), and mentor student choreographers and critics. The critical advice of mentors who hold intentionalist assumptions naturally tends to be quite different from the input of those holding anti-intentionalist views.The debate over artists' intentions began in earnest in 1946 with the publication of a provocative and now famous essay entitled “The Intentional Fallacy” by W.K. Wimsatt and Monroe Beardsley. In this work the authors attacked the intentionalist idea that to achieve a valid, or true, interpretation of a work we must ascertain whatever meaning its maker intended it to possess. The essay laid the groundwork for a rigorous anti-intentionalism, which held that works of art and literature are autonomous entities whose meanings are carried entirely by their internal structures and do not depend on the so-called meaning-intentions of their creators.
Dance to Song in Japan
Authors: Hoff Frank 
Published: May 2006

Although there are dance types in Japan where movement is unaccompanied by song, dance to song comprises a major part of the various traditions of dance in its classical theaters and is widely found in the countryside as well. In some cases, of course, song includes meaningless words, or the voice is used like an instrument, simply to provide a musical element or beat to which to dance. But it has seemed to me that a unique aesthetic underlies a full appreciation of dance to song. What I have in mind is an associational process in operation when the movement of a dance is seen while one simultaneously hears and understands the verbal meaning of its song.It may be true that since Japanese is not my native language I directed more attention, while watching dance of this sort, to the meaning of the song than a native speaker might.
The Grand Jeté En Tournant Entrelacé (Tour Jeté): An Analysis Through Motion Photography
Authors: Hinson Marilyn , Buckman Susan , Tate Judith , Sherrill Claudine 
Published: May 2006

The medium of dance can refine its own instrument; the dancer gains fuller possession and utility of the body, of sensibilities, the uniqueness of total self. The rational and intuitive begin to flow freely into each other; the equipment becomes more subtle. Dance can thus be one more way, and a potent one, of enabling a human being to command more fully his powers.Philosophical statements such as this exemplify the emphasis the dancer must put upon the ideal as well as upon the practical application of the real. Dance technique, how-ever, exhibits the gap between fact and theory. Today, the dance instructor has available literature related to kinesiology and research methods that could be of help to improve the theory underlying dance technique; but it appears that full advantage has not been taken of these resources to correct existing errors in technique.
Critical Evaluation in the Choreography Class
Authors: Lavender Larry 
Published: May 2006

Choreography classes are structured in a way that places intrinsic value on peer criticism, or the evaluation by students of the works their colleagues present in class. For this reason, a choreography course may be conceived of (as writing courses often are) as a “revisions process” course. But while choreography teachers already devote class time to soliciting students' critical evaluation of each other's dances, approaches to training students in this activity, as documented in the literature on the teaching and learning of choreography, are neither consistent nor intellectually rigorous. The literature concerns itself primarily with the practice of producing dance studies: exploring and making creative choices about movement and structure in the dance.A number of writers do acknowledge and articulate the importance of teaching students to develop a sharp critical eye.
Humphrey's Legacy: Loss and Recall
Authors: Siegel Marcia B. 
Published: May 2006

Until I became involved in dance, I believed that art is public property. It seemed there was a definite connection between the personal, even intimate character of the artist's process and the generosity with which he or she relinquishes a work when it is completed. This interchange might partly define the altruism that people have associated with artists—up to the twentieth century anyway.Since the last millenium, Western culture has undergone many drastic shocks that have redefined the transaction known as artmaking. Mechanical and electronic reproduction techniques have put the uniqueness of the art object into question. They have transformed visual arts and music into commodities—”cheapened” them by diminishing their exclusivity and multiplying the number of people who can enjoy them. Yet dance continues to elude capture by the potent, ever-present media of films, video and computers. A dance is still a singular event—but, it seems to me, one that's even more vulnerable now to disappearance. Dance images submerge almost instantly in the flood of other visual stimuli that's constantly washing over us; dance is everywhere but the choreographic entity has resisted translation to film. As an inherently live phenomenon dance preserves its aura of spontaneity and surprise, but it loses some of the visibility, and the standards and protections, that benefit artworks with a more permanent format.
Reminiscences of the American Dance Festival: Summer 1955
Authors: Genter Sandra 
Published: May 2006

Immersion in the 1955 summer session of the Connecticut College School of Dance was a notable experience in my life. The opportunity to reminisce about Doris Humphrey and other seminal figures in residence in New London takes me on a splendid journey into the past. It was the eighth season of the American Dance Festival and the assembled artists/faculty represented the créme de la créme of modern dance. These teachers who inspired and nurtured approximately 160 students included: Louis Horst, assisted by Doris Rudko; Martha Graham with teachers from her company, David Wood and Alice Uchida; Margaret Dietz, a disciple of Mary Wigman; Pauline Koner, assisted by Lucy Venable; José Limón, assisted by Betty Jones; Lucas Hoving with his wife Lavina Nielsen; and the subject of this Centennial Celebration, Doris Humphrey, assisted by Ruth Currier. Other artists such as Pearl Lang and her company were in residence, but did not teach. In addition to these luminaries were composers, musicians, designers and critics. Norman and Ruth Lloyd, Simon Sadoff, Hazel Johnson, George McGeary, Pauline Lawrence, and George Beiswanger, among others, added their gifts to that summer's harvest.The majority of the faculty not only taught but choreographed, performed, and/or directed work for the American Dance Festival scheduled for 18–20 August. Repertory for five different programs included seven premieres among the eighteen works of that season. Most of the pieces for the festival emanated from the Humphrey/Limón Group. Martha Graham, the other dominant artistic contingent, was not represented. Pearl Lang, long associated with Graham (as a principal soloist) presented her own choreography. The lineup of work by choreographer/performer members of the José Limón and Dance Company included: Limón (two new works); Hoving and Nielsen (two works, one of which was new); Currier (two new works); Koner, Guest Artist with the Limón Company (one new work); and Humphrey (one new work and one revival).
The Nutritional Status of Female Ballet Dancers 15-18 Years of Age
Authors: Bonbright Jane M. 
Published: May 2006

The demand for ultra-leanness imposed on today's ballerina has evolved over primarily the last thirty years, and did not characterize the traditional classical ballet that dominated the field during its preceding four hundred years. Evolving public taste has tended to prefer increasingly slender figures, and the more Olympian levels of performance dancers must now exhibit further reinforce the demand for extreme leanness.The author's forty years of dance education experience and performance of classical ballet have made her aware that excellent training has become ever more widely available to the younger members of our society. Their rigorous training— continued well into the high school years—supports the achievement of a high level of technical and aesthetic perfection. Today's elite classical dancers are trained to make ever more revolutions in ever more complex and faster paced turns, and to do quicker and more intricate allegro work. They are trained to execute more complex jumps with greater elevation, and to sustain their balances with less preparation time. Furthermore, as the quality and quantity of professionally-oriented ballet schools have increased dramatically, today's dancer is facing an exponentially increased level of competition.Increasingly demanding techniques and more intense levels of competition require today's dancers to meet what are, in the author's view, extreme standards of leanness. Each year among the hundreds of beautifully trained dancers who audition for the few vacancies available in professional ballet companies, many are rejected on sight because they do not project the proper, or ideal, body image: long legs, long arms, long neck, oval shaped head; a body of excellent proportions; and, perhaps of greatest importance, a “bone-thin” frame. Ballet masters recognize that extreme leanness enables the dancer to become more energy-efficient, physically articulate, and agile; it facilitates partnering and pointe dancing; and projects an aesthetically pleasing athletic, or sylph-like, image to the public that subsidizes the art.
Afro-American Core Culture Social Dance: An Examination of Four Aspects of Meaning
Authors: Hazzard-Gordon Katrina 
Published: May 2006

Most scholarly work on Afro-American social dance has been concerned with its structural aspects, primarily the question of African retentions. The work of Melville Herskovits, Joann Kealiinohomoku, Linda Wharton and Jack L. Daniel, Chadwick Hansen, Robert Farris Thompson, John Q. Anderson, Gertrude P. Kurath, Jan Hertzberg, Lydia Parrish, and others has touched on this issue.Though this approach to the study of Afro-American vernacular dance is far from exhausted, it ignores certain significant aspects of black dance culture. Once it is established that the structural aspects of Afro-American dance are in fact African-derived, the researcher is free to raise questions concerning the function, meanings, and uses of the dance.The anthropologist-dancer Katherine Dunham has stated that dance has greater tenacity than any other cultural form and that it is the most permanent cultural link with the past. Certainly the dance of Afro-Americans is identifiable on the basis of its continuity with both traditional and contemporary African movement. Until recently, most Afro-Americans conducted their lives in relative isolation from whites. Isolation rather than inherent tenacity may explain the similarity between their dance forms and those of contemporary Africans.
Disco: Afro-American Vernacular Performance
Authors: Friedland LeeEllen 
Published: May 2006

“Disco” summons a variety of images to the minds of urban dwellers in the United States today. Many people think of teenagers carrying portable stereo tape players, sometimes called “ghetto blasters,” and recall how their loud and pulsating presence unceremoniously overwhelms all human life along their path. Some think of chic, glittering couples dancing the night away in dark discotheques. Whatever the image, disco is perceived as a style—of dancing, music, clothes. Disco is a social scene, a fad, a craze.Disco is also, undeniably, a multi-media phenomenon, depending not only on the direct contact of social relationships but information and services transmitted by different forms of mass media. The movie Saturday Night Fever (1977) was possibly the single most important mass media event in heightening public awareness of disco dancing in the last several years. But every day, networks of media and entertainment industry ideas are negotiated and guided out to the public at large. These negotiations involve interplay between national and local television, the recording industry and local radio, local radio and the public, and then several levels of inter- and intra-community relationships. Popular images of disco are a conglomerate of data from these myriad sources.