bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dance and Cultural Identity Among the Paiwan Tribe of Pingtung County, Taiwan
Authors: Kwok Madeline 
Published: May 2006

The field work for this study was conducted in Pingtung County, Taiwan over a five-month period in 1976 from February to July. The Paiwan tribe is one of the nine existing tribes in Taiwan; most of these people live in Pingtung County in the south (Fig. 1). Of the 300,000 Taiwan aborigines on the island today, approximately 45,000 are Paiwan. The methods employed in the collection of the data were: 1) observing and recording dances roughly in Labanotation, 2) participating in dancing, 3) filming dances, and 4) interviewing informants. Dances were observed in two ways – in their actual context, or especially elicited. Those elicited included some which are still performed today but were demonstrated for me by request apart from their natural context, and some which are no longer performed but were recalled by my informants. After my return from the field, Labanotation was refined and checked against films, and the raw data was then categorized and analysed. The purpose of the categorization was to identify the characteristics of Paiwan dances based on the data collected.A total of 62 dances were witnessed in 12 villages of the 8 townships visited. Not all dance types were observed in each village (Figure 2). Some informants remember and can reconstruct more than others, so that data collected in each village may not necessarily represent the entire village repertoire of the present or the recent past. In many cases, the same movements were executed in dances of the same or different dance types. It is the associated song and song text rather than the movements that differentiates the dances.
Havelock Ellis's Essay “The Art of Dancing”: A Reconsideration
Authors: Alter Judith B. 
Published: May 2006

Since its publication in 1923 Havelock Ellis's essay, “The Art of Dancing,” found in his book The Dance of Life (pp. 34-63), has had a special place in the hearts of dance lovers from all walks of dance life. In the past several years Ellis's essay has been reprinted in three anthologies: Dance, in the quarterly periodical Salmagundi (1976:5-22), edited by Martin Leonard Pops; The Dance Anthology (1980:238-254), edited by Cobbett Steinberg; and What Is Dance? (1983:478-496), edited by Roger Copeland and Marshall Cohen. Their collections, claim the anthologists, contain the best available writing on dance; thus, they include Ellis's essay. In their introductory remarks Steinberg as well as Copeland and Cohen emphasize Ellis's comprehensive view of dance. Both their books contain a section entitled “Dance and Society” where Ellis's essay is presented. Only Pops accurately identifies Ellis, along with most of the other authors in his collection, as an enthusiastic amateur.Since its publication, ideas from Ellis's essay have been quoted by many writers on dance: critics Walter Terry in The Dance in America (1971), Walter Sorell in Dance Through the Ages (1967), John Martin in America Dancing (1936), and Carl Van Vechten in his essays “The Land of Joy” and “Spain and Music” (1974:135-167); educators Margaret H'Doubler in Dance: A Creative Art Experience (1940), Elizabeth Selden in A Dancer's Quest (1935), Roderyk Lange in The Nature of Dance: An Anthropological Perspective (1975), Frederick Rand Rogers in Dance: A Basic Educational Technique (1941), Richard Kraus in History of Dance in Art and Education (1969), and Sondra Fraleigh in Dance and the Lived Body: A Descriptive Aesthetic (1987); historian Selma Jeanne Cohen in Next Week Swan Lake (1982); and philosophers Theodore M. Greene in The Arts and Art Criticism (1940) and Francis Sparshott in Off the Ground: First Steps in a Philosophical Consideration of Dance (1988). Early modern dance pioneers Ruth St. Denis and Ted Shawn imply in their writings that, because Ellis once again identified dance as an art, his status and erudition validated their own ideas about the value of dance (Terry 1976:43). These artists and authors regard Ellis as an authority. To introduce this reconsideration of Ellis's ideas about dance, the ideas these authors select to quote or cite from Ellis's essay will be examined.
Dance Audiences: Answered and Unanswered Questions
Authors: Sussmann Leila 
Published: May 2006

The study of audiences is rarely at the forefront of dance scholarship. When the social composition of an audience is studied, it is usually market research—material to be used by the development staff of a dance company for audience-building.Such studies are indeed indispensable for audience-building, but quantitative and qualitative studies of audiences are also indispensable for dance scholars. It is not necessary to argue here that the dance and the audience shape each other.A superb example of a qualitative audience study, though not of dance audiences, is Joseph Horowitz's Wagner Nights: An American History. In his postlude he writes:Wagnerism's residual reach, into the early twentieth century, was subtle and complex. One area that deserves study is its relationship to modern dance. Most American Wagnerites were women. Some…were New Women. Wagner addressed buried emotional needs [in these women.] Brünnhilde and Isolde were influences en route to liberation. After 1900, Ruth St. Denis and Isadora, Duncan, …self-created solo dancers, consummated this opportunity.
Katherine Dunham's Southland: Protest in the Face of Repression
Authors: Hill Constance Valis 
Published: May 2006

The man who truly loves his country is the man who is able to see it in the bad as well as the good and seeing the bad declaim it, at the cost of liberty or life. (Katherine Dunham, Prologue to Southland)In 1951, at the dawning of a decade that would be known by some for its suffocating conformity and political intolerance, Katherine Dunham created Southland, a dramatic ballet Americana about what was by then the century-long practice of lynching. In the program notes to the ballet that premiered at the Opera House in Santiago de Chile, Dunham wrote, “This is the story of no actual lynching in the southern states of America, and still it is the story of every one of them”. She spoke the Prologue onstage, in Spanish:Though I have not smelled the smell of burning flesh, and have never seen a black body swaying from a southern tree, I have felt these things in spirit.… Through the creative artist comes the need to show this thing to the world, hoping that by exposing the ill, the conscience of the many will protest.”
Dance With Us: Virginia Tanner, Mormonism, and Humphrey's Utah Legacy
Authors: Dils Ann , Pierson Rosalind 
Published: May 2006

Dance critic Walter Terry was in the audience the evening of Rosalind Pierson's last, glorious performance with Virginia Tanner's Children's Dance Theatre (CDT). In his review for the New York Herald Tribune of that July 1953 Jacob's Pillow performance, Terry discussed the girls' connections to the Church of Jesus Christ of Latter-day Saints, described the outdoor performance setting, the program, and the children as “wonderfully disciplined yet gloriously free in movement.” He concluded his performance description with this paragraph:Other children have danced such themes and there are other children … who have performed with … far more precociousness of a technical nature but none, I think, have conveyed so perfectly the bright (not pallid) purity of child dance. It is difficult to describe even the most potent intangibles and the best I can do is to say that the children danced as if they had faith in themselves, had love for those of us who were seeing them, actively believed in their God and rejoiced in all of these. (Terry 1953)
Remembering Virginia
Authors: Pierson Rosalind 
Published: May 2006

I don't remember my first dancing lesson; I only remember begging my mother to send me to tap class with my best friend Kenny. I wanted a pair of shiny tap shoes and I wanted to be as special as he was. My mother, a dean's wife and an admitted theatrical snob, found tap dancing “inappropriate.” After surveying a number of university wives, she sent me to a young woman who was to make history in the teaching of creative dance for children. Her name was Virginia Tanner.At that time, Tanner's school was in a Victorian building perched high on a hill just north of Temple Square in Salt Lake City. The McCune School of Music and Arts was a very spooky place to a six-year-old who was scared of almost everything, but I braved the dark staircase with its marble busts and dark red carpeting as I climbed to the sunny top floor. In time, I learned to bypass the busts by taking the spiral servants' staircase at the back of the building, which seemed a much safer route. My climb was always rewarded with an hour's bliss.I wish now that I could remember in detail what we did in those classes. I remember learning rhythm patterns from sized and colored pieces of paper and dancing them out. I remember making “toe toast” and sailing to far off places in a sailboat made of my rocking body and my unfurling arms. I remember being a “cute little grub,” a stalk of wheat swaying in the wind, a donkey hee-hawing. I remember dancing out my name and feeling that the movement version defined me far better than words ever could.
Moving in Harmony with the Body: The Teaching Legacy of Margaret H'Doubler, 1916–1926
Authors: Hagood Thomas K. 
Published: May 2006

During the course of a summer dance workshop I attended many years ago, I learned a section of Doris Humphrey's Passacaglia and Fugue in C Minor. Later, on occasion, I would “teach” this section to students thinking I was adding to their understanding of dance and its practice. As luck would have it, I was teaching this section again to students at the University of Wisconsin when one of my mentors, Claudia Melrose, stopped by to observe my work. Following class Claudia approached me and said, “That was very nice Tom, but what were they learning?” I replied, “They were learning a section of Humphrey's Passacaglia.” Claudia responded, “No, Tom. What were they learning?” In a flash I realized that I couldn't answer her; I hadn't really thought about the “what.” I realized the need to make a personal search for substance in dance education. Being at Wisconsin— “ground zero” for dance in higher education—I turned to the writings of Margaret H'Doubler and found in them a way of thinking that continues to inform my professional development. In many respects, H'Doubler's lifework acts as my point of departure in educational dance. As time has distanced me from my moment of epiphany, I find myself ever more in debt to the legacy of this remarkable woman.This essay looks closely at the first stage of H'Doubler's development as a dance educator. Between the years 1916 and 1926, only a ten-year span, H'Doubler evolved from a women's basketball coach, admittedly ignorant of dance as art or in education, into the nation's foremost academic authority on the subject. Her vision of dance matured quickly and with amazing clarity; the moment of epiphany, while lying on her back in a studio in Carnegie Hall, served as the source for what she called a “way of thinking” that would serve her for the rest of her professional life. An assessment of H'Doubler's evolution as a dance educator during this period, and an analysis of her development along with her peers and colleagues in the field, provides important contexts from which to evaluate her subsequent contributions to dance in American education.
Music and Dance in Boccaccio's Time: Part I: Fact and Speculation
Authors: Marrocco W. Thomas 
Published: May 2006

The fourteenth-century Italian lived during turbulent and catastrophic times. Internecine warfare between Guelphs and Ghibellines, reprisals against foraging neighbors, conflict between church and state, and, as though political and religious dissension were not enough, the dreaded black plague, which descended over Europe periodically with devastating results, added to human misery.Yet, in the face of such calamities Italy covered herself with glory, for in that century the arts blossomed as never before. In musical productivity no other country could boast of over 700 compositions during the period known as the Ars Nova (1330–1420). Francesco Landini, the most famous composer and organist, and a contemporary of Boccaccio, alone has left us over 150 compositions. The composition of music was encouraged by advances in musical notation, such as those described by Marchettus da Padua in his treatise Pomerium (1314), which made possible the precise recording of a much wider range of rhythmic figures.
The Dance with the Separating Kerchief
Authors: Friedhaber Zvi 
Published: May 2006

Ever since the question was first posed during the time of the House of Hillel and Shammai, there has always been an issue about how one dances before the bride. The action of Rabbi Aha who took the bride on his shoulders and danced with her exacerbated the problem seventyfold for other rabbis asked if they too could dance with a bride on their shoulder. Rabbi Aḥa actually reawakened the question and raised it to a new level: Does one even dance before or with the bride at all?By turning to examples in the different Jewish communities including the Babylonian of the fourth century where Rabbi Aḥa lived, the European communities of the sixteenth through the nineteenth centuries and also in Israel today, several different ideas as to how to dance before the bride emerge. These examples are to be found in various written sources such as the Talmud, the Shulḥan Arukh, Responsa literature and books by rabbis, as well as memoirs. The Talmud, written in the first half of the third century, is of great value for the study of Jewish history, law, theology, ethics and folklore. Examples of dance also appear there. Dance descriptions also appear in other commentaries by later rabbis, such as the definitive sixteenth century code by Rabbi Joseph Caro, the Shulḥan Arukh. Responsa literature too, provides us with dance information though it is a special genre of literature embracing every aspect of Jewish life, usually responses by rabbis to legal questions posed by individuals and communities. It is rarely an organized or systematic body of writings and of the several centuries when this vast body was produced, only a few hundred survive. Nonetheless, dance and questions of behavior during dancing at weddings are in evidence.
Non-Polynesian Dance in Hawai‘i: Issues of Identity in a Multicultural Community
Authors: Zile Judy Van 
Published: May 2006

A special Fall 1993 issue of Time magazine titled “The New Face of America. How Immigrants Are Shaping the World's First Multicultural Society” examines the explosion of the immigrant population in the United States. The editors tell us:the latest immigrants are helping form a new society, a variation and intensification of the great American experiment. Too complicated and diffuse to be described as a melting pot, or even a goulash or a mosaic, that society today is really a collection of intertwining subcultures, each contributing its own character to the nation's life—from food to fashion, from art to politics—while retaining its distinctiveness. (p. 6)In the small island state of Hawai‘i the intermixing of cultures simultaneous with retaining individual identities has long been a fact of life. At the same time awareness of ethnic identity and native rights is increasing nationwide, Hawai‘i is experiencing a push for sovereignty from some sectors of its population together with a continuation, from other sectors, of public displays of ethnic identity of many different peoples that have been part of daily life for many years. As the strands of this ethnic tapestry continue to weave their way into the fabric of this island state, dance is one cultural manifestation that has become an integral part of the visible pattern and a reflection—or rather, embodiment—of issues relating to identity.
Conventions in the Documentary Recording of Dance: Research Needs
Authors: Brooks Virginia Loring 
Published: May 2006

Many creative people have produced films using dance as the main or secondary subject matter. The past decade has brought such major studio productions as The Turning Point (Ross, 1977), Nijinsky (Ross, 1980), Saturday Night Fever (Badham, 1977), Flash Dance (Lyne, 1983), Staying Alive (Stallone, 1983), Breakin' I & II (Silberg 1984), and Dirty Dancing (Ardolino, 1987), and independent films like In a Rehearsal Room (Hahn, 1975), Dune Dance (Brown, 1981), and Space City (Brentano and Horn, 1980), as well as much of the rock-video genre. The directors and/or choreographers of these films have produced dances for the camera that often could not, or at least did not, exist except on the television or movie screen. Angles chosen to frame shots and the rhythm of editing used to determine pace were selected for the cinematic value they produced. They expressed either the creative impulses of the filmmaker, those of the choreographer interpreted by the filmmaker through an active collaboration, or (only rarely) those of the choreographer as filmmaker. In these cases the techniques unique to film and video have been used to create dance events for the screen.But what of dance works that have been choreographed to be seen on the proscenium stage? It is, perhaps, even more challenging, if not as apparently creative, to try to preserve on film or tape the composition and pattern and inherent rhythm of such choreography; that is, to bring a faithful translation of the choreographer's vision to the audience in front of the screen. Dance film that strives to provide the same aesthetic result as that of the staged choreography is a demanding art form in its own right; it draws upon all our understanding of the principles of documentary film and of visual perception. What makes this such a difficult task? Why is it so hard to maintain the energy, the excitement, and the aesthetic values of the performance when presenting the content of the prescribed space and the specific time of the real world, on the screen? The reason may be that we do not yet fully understand the interactions that occur between that objectively limited space of the world and the subjectively defined space produced by the camera.
The Dancer as Masochist
Authors: Abra Jock 
Published: May 2006

What various experiences does dance elicit? And why do people involve themselves in it? Aestheticians have often debated such questions from an audience standpoint, but much less frequently from that of the dancer. Yet many theories, representing mainstream psychology's various subdisciplines, as well as related traditions such as psychoanalysis and existentialism, do suggest, either openly or by implication, reasons for indulging in creative work. Of these, a particularly promising avenue to the dancer's psychology has come from an author who is seldom thought of as a “psychologist” at all. We speak of Jean-Paul Sartre, and his analysis of interpersonal interaction known as the gaze, or the look (le regard).Sheets has used other Sartrian notions to describe the phenomenology of dance from an audience perspective, and the gaze figures prominently in Sartre's own analyses of such creative persons as Baudelaire, Jean Genet, and even himself, but to our knowledge it has not previously been applied to the dancer. So that will be our purpose here. However, an initial clarification, and disclaimer, seems appropriate. We shall describe the gaze more fully later, but essentially it portrays all human interactions, without exceptions, as struggles for power and dominance. Therefore such interactions allow only two reactions: the sadistic, that seeks such power over others, and the masochistic, that submits to others, voluntarily or otherwise. We will argue that dancers almost inevitably must choose the second reaction, which may help us understand some of their typical psychological characteristics. But we must emphasize that in Sartre's usage, and therefore ours, the term “masochism” is not pejorative, nor necessarily suggestive of pathology. Everyone, the psychologically afflicted and all others, must choose one of these two reactions.
The Potential of Movement Analysis as a Research Tool: A Preliminary Analysis
Authors: Bartenieff Irmgard , Hackney Peggy , Jones Betty True , Van Zile Judy , Wolz Carl 
Published: May 2006

Scholarly studies explore dance from many points of view. They may focus on the historical development of a dance form, examine the context in which a particular dance event occurs, explore the background of those who dance and how this relates to social structure, or explore the movement process itself—the dancing. While all approaches to the study of dance provide potentially meaningful data and insights relating to the role of dance in its socio-cultural context, the heart of dance is the movement. Dance research that ignores the dancing (except for very broad descriptive statements) ignores a major component that has potential for revealing a great deal about those who create and use dance.American researchers who have explored the movement process have, on the whole, worked independently (of each other or of other research projects), without working toward developing a widely understood methodology for examining dance movement and exploring its potential uses in other dance research. While such studies contribute to the knowledge of specific dances or dance forms, they overlook the need for common tools necessary for cross-cultural and comparative studies. To allow for the most meaningful research to be carried out, a discipline must develop tools and methodologies that have a certain consensus of validity and broad applicability. Only through use of such research procedures will it be possible to interrelate apparently diverse studies and evolve broad concepts relating to dance as human activity.
Lester Horton's Salome, 1934–1953 and After
Authors: Bizot Richard 
Published: May 2006

The Biblical story of Salome, whose dance before Herod led to the beheading of John the Baptist, has been choreographed and danced in hundreds of versions during the past 85 or 90 years. From Loïe Fuller and Maud Allan at the turn of the century to Maurice Béjart and Flemming Flindt in our own time, important figures in modern dance have interpreted Salome and her story. Perhaps the most interesting, and certainly the most obsessive, involvement with the story was that of California choreographer Lester Horton.Horton's creative imagination first went to work on Salome in 1934, when he was 28 years old; and he returned to the story again and again, at intervals, until the time of his death in 1953. What follows concerns itself primarily with this period of 19 years. Tracing the course of Horton's involvement with Salome, seeing what he made of her story in many different versions, may be interesting in itself. Doing so may also provide insights into the development of the art and craft of this important choreographer, because the story occupied his attention at so many points during his life-as-an-artist. Choreography outlives the choreographer; Horton's Salome survived Horton. The last section of this article surveys productions of the work in the years since 1953.