bluuebunny/crossref_metadata_2025_split huggingface dataset:
Dance, Difference, and Racial Dualism at the Turn of the Century
Authors: Perpener John 
Published: May 2006

Standing at the beginning of a new century, but still faced with what was referred to at the end of the old one as the “politics of difference,” I find myself struggling with the daunting task of discussing extremely complex issues associated with dance scholarship. The issues I refer to revolve around the—all too familiar—divisions of class, gender, race, and other central signifiers of identity that have dominated a substantial part of scholarly discourse in various disciplines over the past two decades.It is unrealistic to think that the change of the millennium clock has ushered in a new age of enlightenment that will ameliorate the kinds of confrontations over group identity that have, by now, become routine in American society. But it does not seem unrealistic to hope that a new level of clarity can be achieved in scholarly debates involving issues of racial identity and the arts—debates that, in the past, have elicited reactions ranging from indifference, to defensiveness, to volatility.As an individual who has begun to take an active part in the divisive dialogues surrounding identity, art, and culture in turn-of-the-century America, and as an African American scholar involved in the growing field of dance studies, I have chosen to place issues of race at the forefront of the various identity markers that divide the human family into more circumspect sub-groups. In spite of the progress toward inclusiveness that dance as a performing art and as a field of intellectual pursuit has made, I believe that racially proscriptive thinking still exerts its presence with surprising force in different aspects of our discipline. My realization of the significant role that racial divisiveness plays in our society, our art, and our scholarship greatly shaped the direction of my research and is, indeed, reflected in much of the dance research undertaken by African American scholars today (1).
Deconstructivists Frank Gehry and William Forsythe: De-Signs of the Times
Authors: Mattingly Kate 
Published: May 2006

Why choreography and architecture? Both are visual art forms based on three-dimensional design. Both create vocabularies in space in order to express or communicate. Both are highly collaborative: in architecture there is the marriage of site and structure, in choreography, of music and movement. Perhaps these intertwined relations are seen most clearly in Fallingwater's majestic cantilever over Bear Run Creek, and in Martha Graham's powerful response to Aaron Copland's score, Appalachian Spring. Both Fallingwater and Appalachian Spring are bound to their settings, yet each enriches the site or score immeasurably.The similarities between choreography and architecture oscillate between the obvious and the contrived. Unlike architecture, dance is ephemeral and subject to human variables which are, by nature, unpredictable. Choreography is dependent on the human dancer and therefore subject to multitudinous interpretations and manifestations. The architect's product is as solid as the building, but the architect's design is no less spontaneous than the choreographer's. Both art forms are subject to gravity, to expression and to structure—for the choreographer, structure involves both the dancer's individual body and the group's compositional organization. Both are collaborative forms: music and dance, costume and movement partner one another as structural engineering must support the design, the site, the building.
Participatory and Presentational Dance as Ethnochoreological Categories
Authors: Nahachewsky Andriy 
Published: May 2006

SummaryTypologies are tools to help us understand the range of observed phenomena. Many typological categories are useful in dance research, contrasting various features in the data. Based on the identity of the recipient of the danced message, four types of dance can be identified: reflexive, participatory, sacred, and presentational. The conceptual axis between participatory and presentational dance is proposed as potentially significant for ethnochoreologists. Differences in the intended recipient of the communicated message affect the other components of the dance event, including the movement “text.”At least in our example of two Ukrainian dances, participatory dances carry their communicative message over short distances, and utilize microscopic movement elements for this purpose. The message in presentational dances must be carried over a greater span, and macroscopic movement units tend to carry this communicative value. In both types of dance, the movement content is most complex at the structural levels which are most used in communication. Conversely, participatory dances are often simple on the macroscopic level, while presentational dances tend to have uncomplicated microscopic content.The participatory-presentational axis can clarify important differences in activities often lumped together under the problematic category of “folk” dance. These conceptual categories may be of use for anyone studying dance in its cultural context.
Annual International Bibliography of Dance History: The Western Tradition. Works Published in 1978. Part I.
Authors: Ruyter Nancy Chalfa 
Published: May 2006

As the literature of dance proliferates, it becomes increasingly difficult to keep track of what is available. The need for current bibliographies of dance materials has been addressed during the past few years at meetings of both CORD and the Dance History Scholars; this first installment of a western dance history bibliography is the direct result of such discussions. At the historians' meeting held during the August 1978 ADG-CORD Dance Conference in Hawaii, plans were formulated and a number of people offered to contribute to the project in one way or another. A report was made at the February 1979 history conference in New York City, and again the response was positive. A few months later, CORD offered to help support the project.This is the first installment of materials published in 1978. It includes books and articles in twelve categories. An index in seven sections guides the reader to time, place, and area of subject matter; people, dance works, and institutions named in titles; and to authors. Part I of the bibliography is far from complete and only minimally international in coverage since most of the collecting has been done by one person located in the United States. Some periodicals have not yet been searched at all, and some categories of materials that may be included in the future – book and performance reviews, for example – have generally been omitted here.
Form as the Image of Human Perfectability and Natural Order
Authors: Jowitt Deborah 
Published: May 2006

In 1954, when I was dancing in Harriette Ann Gray's company, Doris Humphrey (with whom Harriette had danced in the 1930s) invited us to see a run-through of the reconstruction of With My Red Fires she had staged with Juilliard students. Karen Kanner was an astounding six-foot-tall Matriarch. I remember sitting in a cramped studio of International House feeling not as if I were watching dance, but as if I were surrounded by forces on the verge of slipping out of control. The following year, Day on Earth was presented on one of the mixed bills Bethsabée de Rothschild sponsored at the ANTA theater. I think I remember (could it have happened?) Day on Earth and Cave of the Heart back to back! José Limón, Letitia Ide, and Ruth Currier performed; I thought it was the best modern dance I had ever seen (although I hadn't seen much and vastly preferred doing to watching).Humphrey's Dawn in New York in 1956 galvanized me into auditioning for Juilliard Dance Theater—then a semi-professional company under Doris's direction, open to anyone. Accepted, I took Doris's composition course—her last, it would turn out. I had studied Modern Forms with Louis Horst, but I had also been taught to think of composing a dance in terms of locating a great emotional eruption within and running with it. Harriette Ann Gray had shown me the impulsive, ecstatic side of Humphrey-Weidman dancing and its potential for communicating feeling. Doris's guidelines for composing dances were refreshingly objective. I later came to see a slight rigidity in her viewpoint; much 1960s vanguardism would have fallen beyond her pale. At the time, I found it liberating.
Mental and Psychophysiological Tension at Professional Ballet Dancers' Performances and Rehearsals
Authors: Helin Pertti 
Published: May 2006

SummaryThe purpose of this study was to examine basic psychophysiological response levels in professional ballet dancers and the effects of different performances on these responses. Electrical activity of the trapezius muscle, blood pressure, heart rate, and skin-conductance level were measured during a resting state and before, during, and after rehearsals, first-night performances, and shows performed from 10 to 50 times. Subjective mental tension during performance was evaluated, as was performance success. The influence of sex, age, experience, artistic level, role, and the type of performance were studied.Principals had less tension in the trapezius muscle in the resting state than corps de ballet dancers and soloists. Principals' psychophysiological activation during performances was increased more than that of soloists and corps de ballet dancers as compared with baseline values. The type of performance influenced subjective mental tension and physiological responses. During the last general rehearsals (with an audience) physiological activation was higher than during first-night and other performances. Age and experience did not affect physiological activation. Sex differences in subjectively estimated success and mental tension, as well as in physiological measurements, were small.
Early Modern Dance in Spain: Tórtola Valencia, Dancer of the Historical Intuition
Authors: Garland Iris 
Published: May 2006

Spain's contribution to the evolution of theatrical dance is acknowledged within the categories of ballet and ethnic dance. Spanish folk dance elements have been incorporated into the classical ballet vocabulary, and exotic adaptations of dances from Spain have enriched the established ballet repertory: Fanny Ellsler's Cachucha, Petipa's “Spanish Dance” divertissement in Swan Lake, and Leonide Massine's Tricorne (The Three Cornered Hat) are wellknown examples. Soloists such as Pastora Imperio, La Argentina, José Greco, and Carmen Amaya have popularized around the world what has become known as the Spanish style of dance (for example, fandango, bolero, seguidillas, flamenco). However, Spain has not been associated with the history of early modern dance, a phenomenon largely attributed to a handful of American and German dancers.Tórtola Valencia (1882–1955) claimed Spain as her country of origin, and made a flamboyant contribution to early modern dance in western Europe, Spain, and Latin America from 1908–1930. Her vast, eclectic repertory of Oriental, classical, and Spanish themes echoed the preoccupations of her contemporaries with whom she was favorably compared—in particular, Isadora Duncan, Maud Allan, Ruth St. Denis, Mikhail Fokine, and Anna Pavlova (1). In her time she received critical acclaim as one of the most famous dancers in Europe, yet she is not cited in the English language history of dance (2). This is only part of the mystery that weaves through the fabric of Tórtola Valencia's intriguing life and career.
The Sleeping Princess: an Analysis of Her Failure to Charm
Authors: Sticklor Susan Reimer 
Published: May 2006

The Diaghilev Ballets Russes introduced its startled audiences to a revolutionary dance theatre. History recognizes Diaghilev and his collaborators as an indelible influence on the course of twentieth century dance; an influence re-orienting ballet's goals as well as audience expectations. It is difficult to chart the progressive re-education of the public over a twenty-year period (1909–1929). London, however, in the year 1921, provides an excellent vantage point for a retrospective evaluation of the Ballet Russe's impact.The year 1921 found Serge Diaghilev in a difficult predicament. Massine, his productive and inventive choreographer, left the company ending “a period that for length and the fertility may be compared with the first period of Fokine.” Diaghilev now faced the opening of a new London season without fresh choreographic talent. He turned to unprecedented recourse—the presentation of a full length Petipa ballet, never before seen in the West. His choice was La Belle au Bois Dormant, the pride of Petipa's reign, unveiled in London as The Sleeping Princess. A summary glance at historical backgrounds reveals how uncharacteristic a venture this was.
Body Composition and the Comparison of Measurement Techniques in Different Levels and Styles of Dancers
Authors: Chmelar Robin D. , Fitt Sally S. , Schultz Barry B. , Ruhling Robert O. , Shepherd Terry 
Published: May 2006

The physical appearance required in dance, particularly in terms of body weight and fat, is often a demand that hovers over the aspiring and professional dancer's career (Vincent, 1979). This investigation was intended to measure various aspects of body composition in different types of dancers, as well as use various methods. Measurements of percent body fat and lean weight may serve as a means of quantifying appearance in dance so that dancers may be guided towards appropriate body composition goals. This may be more reflective of the dancer's true physique than relying simply on total body weight, which does not take proportions of muscle and fat into account. Kirkendall and Calabrese (1983) have noted that attention must be paid to lean mass in dancers as well as percent fat. A method of evaluating the relationship between height, lean mass (fat free weight), and total weight was developed for this study to address the issue of proportion (i.e., a dancer who perhaps has a low percent fat level but is still considered too “heavy” because of a large muscle mass).Although hydrostatic weighing has been noted as “the gold standard” in body composition measurements (Nash, 1985), such methods are often unavailable or impractical for professional dancers or university dance departments. Anthropometric (or “skinfold”) methods have greater practicality, but may lack the individual accuracy of hydrostatic methods (Nash, 1985). Recently, electrical impedance has been cited as a convenient alternative to both underwater and skinfold techniques (Harrison & Van Italli, 1982; Presta, et al. 1984).
The “New Learning”: a Semantic Note
Authors: Chester Allan G. 
Published: May 2006

Modern scholars are well aware of the inexactitude and ambiguity of the terms “Renaissance” and “humanism”. We continue to find the words useful, but we have adopted the practice of employing them cautiously, with precisely stated qualifications. It is the purpose of this paper to point out, especially to students of the cultural history of England, that contradiction and ambiguity also lurk in the equally useful term “the new learning” and to urge a similar caution in employing it.Historians of English literature commonly identify the New Learning (usually capitalized) with the revival of classical learning in the fifteenth and sixteenth centuries. They may use the term narrowly to mean the revival of interest in the language and literature of ancient Greece, or somewhat more broadly to include the revival of “classical” Latin. Some writers will also include the Biblical scholarship of such men as Erasmus and Reuchlin.
The Paradox of Money Imagery in English Renaissance Poetry
Authors: Blum Irving D. 
Published: May 2006

The standard opinion about poetic images involving money is that they are conventional devices to depict the crass, prosaic details of existence. Robert B. Heilman, for instance, in ‘The Economics of Iago and Others', writes of such words as riches, gold, buy, and gain that these economic terms ‘constitute a precise, unsentimental vocabulary for keeping before us the problem of values, especially in terms of an always possible gain and loss’.W. L. Clemen, another student of Shakespeare's imagery who examines the figures of speech used by Iago, makes this observation: ‘lago's imagery teems with repulsive animals of a low order; with references to eating and drinking and bodily functions and with technical and commercial terms.’ Here we see the language of commerce placed in a vocabulary of metaphors that shouts of earthy things.
Who Read Gianfrancesco Pico della Mirandola?
Authors: Schmitt Charles B. 
Published: May 2006

Among the philosophers of the sixteenth century who deserve wider attention than they have hitherto received is Gianfrancesco Pico della Mirandola (1469- 1533).x As nephew and near contemporary of the more famous member of the Pico family, Giovanni (1463-1494), he has often been obscured by his uncle's brilliance and originality in the eyes of later scholars. His own work as a philosopher, however, is not without interest, both for its content and for its historical importance.Gianfrancesco Pico was a man of many interests and his personal life was filled with enough exciting episodes to make it sometimes seem more like fiction than fact. Widely praised by his contemporaries as a poet, humanist, and scholar, he was friend and correspondent to some of the foremost figures of his time.2 It will be my purpose here to determine what, if any, philosophical influence his works had on thinkers of the sixteenth and early seventeenth century.
The Scale of Man
Authors: Knowlton Edgar C. 
Published: May 2006

The present study extends a series of articles dealing with the history of the doctrine of Nature and Genius. From Greek times on the doctrine was illustrated—often allegorically—in literature and other arts, and manifested various phases of culture.In the Detroit Institute of Arts hangs a magnificent sixteenth-century Flemish tapestry labeled “Hilly Landscape”. It has been provisionally described by Mrs. Ardèle Coulin Weibel, Curator Emeritus of Textiles and Islamic Art. The accompanying plate describes it as a landscape with staffage by Franz Geubels, Brussels. It is dated about 1560.The main scene, which is framed by a border, is more than a landscape. In the foreground lies an area of undergrowth including bracken, blackberry brambles, clover, and other plants, as well as decaying remnants of former vegetation.
Lodrisio Crivelli of Milan and Aeneas Silvius, 1457-1464
Authors: Smith Leslie F. 
Published: May 2006

The primary object of this article is to give the text of six poems by Lodrisio Crivelli (Leodrisius Cribellus), only one of which, no. I, appears to have been printed before and that from a defective manuscript. Secondary objects are to determine what light the texts of the six poems throw on the life of Crivelli from January 1457 to February 1464 and to bring out, principally in notes, any evidence which may tend to add detail to our knowledge of the period.Of these six poems only the first appears in the list of Crivelli's writings given by Dr. Giulio C. Zimolo in the account of Crivelli's life and works with which he prefaces his edition of one of them, De expeditione Pii papae II adversus Turcos.
Thomas More's Use of the Dialogue Form as a Weapon of Religious Controversy
Authors: Pineas Rainer 
Published: May 2006

On 7 March 1528, Cuthbert Tunstall, bishop of London, sent a letter to Thomas More asking him to write against heresy. Tunstall pointed out that heretical literature of both German and English authorship was coming into England in such quantities that, unless good and learned men could be found to confute these heretical books in English, the Catholic faith in England would be in grave danger. He was entrusting More with this task, the bishop concluded, because More was a master of eloquence in English as well as in Latin.When More decided to carry out Tunstall's commission in dialogue form, he was not satisfying the predilections for the dramatic he had already evinced in his Richard the Thirde and Utopia but was availing himself of a weapon proven potent in the art of religious and secular controversy.
Mythe et remous historique: A Lunda Response to De Heusch
Authors: Hoover J. Jeffrey 
Published: May 2006

Oral traditions are the common patrimony of a varied group of scholars. Although professional historians embraced African traditions only in the late 1950s, local -- and usually amateur -- historians had been writing from them throughout the colonial period and occasionally before. Meanwhile, students of anthropology and comparative religion from Frazer on have been studying the same traditions from very different perspectives. They have pointed out the common motifs recurring within the genre in widely scattered and disparate areas, and have related myth to its functions in present-day society, watching how it is molded to fit changing realities.At the same time that academic historians at last began to overcome their doubts about the historical value of African oral traditions and began to use them, a French anthropologist was propounding a new approach to myth, a principle he called “structuralism.” Claude Lévi-Strauss argued that even the seemingly most direct and least stereotyped American Indian traditions he examined were actually philosophical expositions of world-view and religious belief encoded in symbolism. This article tests the structuralist approach through a detailed critique of one particular example of its application.Luc de Heusch, a Belgian disciple of Lévi-Strauss, has recently studied the traditions of Lunda state formation as myth in Le roi ivre, ou l'origine de l'Etat. His aim is to discover the univers intellectuel of the Lunda and the other peoples of the Central African savanna, but his work touches the historian in two crucial respects. First, he highlights dangers in the path of the naive and helps paint parts of the larger human dimension in which historical events and historical records have existed.
Hagiographies and the History of Medieval Ethiopia
Authors: Kaplan Steven 
Published: May 2006

The hagiographic literature of the Ethiopian Orthodox Church may be divided into two major categories: the translated lives of the saints and martyrs of the early Christian church and the lives of local saints. The essentially foreign works, which constitute the first of these groups, will be of only peripheral concern in this paper. While books such asBarlaam and Joasaph, The Life of St. George, andThe Conflict of Severusdid serve as models for the traditions dealing with local saints, they are of little interest to the student of Ethiopian history.The most interesting of these local hagiographies are those about saints who lived between the thirteenth and sixteenth centuries. These traditions, which recount the lives of some kings and many monastic leaders, are of great importance for the reconstruction of the history of medieval Ethiopia. As Conti Rossini has written,The more I preoccupy myself with the history of Ethiopia, the more I realize the importance of the study of local traditions. Only when we are a little more informed of these traditions with their accounts of the movements of peoples, with the advent (even if sometimes legendary) of successive chiefs, will we have an accurate idea of the history of Ethiopia.However, while specialists in Ethiopian literature and history have long realized the potential value of thesegadlāt(singular:gadl) as sources for the study of Ethiopian history, the tendency towards idealization displayed in these works, as well as their abundant miracles and anachronisms, have left historians uncertain as to how to extract reliable information from them.