DOCSLIB.ORG

Dancing Christian from Ruth St. Denis to Pole Dancing for Jesus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dancing Christian from Ruth St. Denis to Pole Dancing for Jesus UNIVERSITY OF CALIFORNIA RIVERSIDE White Soul/Forbidden Body: Dancing Christian From Ruth St. Denis to Pole Dancing for Jesus A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Lindsey Michelle Timmons Summers August 2014 Dissertation Committee: Dr. Jacqueline Shea Murphy, Chairperson Dr. Anthea Kraut Dr. Jennifer Hughes Copyright by Lindsey Michelle Timmons Summers 2014 The Dissertation of Lindsey Michelle Timmons Summers is approved: Committee Chairperson University of California, Riverside Acknowledgments I owe my gratitude to many people and organizations for their support. The University of California’s Graduate Division offered fellowship and grant support, and the Graduate Student Association helped to fund multiple conference trips to present my research and ideas. I am thankful for the AAUW’s Dissertation Year Fellowship, which enabled me to fully dedicate my time and energy to completing this document. Also I am grateful to the CCI for a Creative Capacity Grant, to the Kappa Alpha Foundation for several supporting grants and scholarships, and to the Sacred Dance Guild for a scholarship enabling me to attend their festival. Finally, a big thank you to the Department of Dance at the UC Riverside who enabled my completion of this document through a BYPED grant and multiple other levels of support. I am indebted to many participants in this study who made this research possible. These include Kathryn Mihelick and Andrea Shearer, Wendy Morell and all of the members of the Sacred Dance Guild, Carla DeSola, Marilyn Green and the Trinity Movement Choir, the staff and all of those associated with Ballet Magnificat!, and the directors and members of Omega Liturgical Dance East and West. I am also thankful for the archival help of many including those at the New York Library for the Performing Arts, and especially David Stiver at the Graduate Theological Union’s special collections, and the manuscripts curator, Roland Goodbody, at the University of New Hampshire. I would like to also thank many colleagues and advisors who contributed their intellectual time and energy to this project. These include those in the UCR Dance Department, such as Priya Srinivasan, Linda Tomko, Marta Savigliano, and Jens iv Giersdorf, who were all fundamental to my development in this field. Also, my peers in the UCR critical dance studies program and from NYU’s performance studies program whose thoughtful ideas and feedback were integral to this project’s creation. And to the Mellon Dance Studies seminar participants who helped to shape my thinking on sacred dance in the field of the humanities and fine arts. Two groups I would like to recognize that are fundamental to the completion of this project are my dissertation committee and my writing group. To Jacqueline Shea Murphy, thank you for your supportiveness and dedication to helping me figure out my ideas and put them into writing. And to Jennifer Hughes and Anthea Kraut, thank you for your tireless support and advocacy for my project. Finally, to my writing group, Hannah Schwadron, Rachel Carrico, and J Dellecave – I could not have gotten through this time in my life without people like you believing in me, encouraging me, and struggling through the trenches with me in this frustrating yet rewarding process. Finally, I would like to recognize the unspoken heroes of this project – my family. This project is dedicated to my parents. To my mom, who modeled a working women in academia who could have it all – writing dissertations and teaching classes, while pulling her kids out of the university fountains! To my dad, who has always been my hero, who taught me how to challenge everyone and everything, play devil’s advocate, and made me believe in my ability to achieve great things. And finally, most of all I would like to thank my husband. Cameron, I cannot begin to outline all of the ways you have supported and loved me throughout the years. You are my sounding board, my best friend, and the love of my life. Thank you for traveling with me on this journey. v ABSTRACT OF THE DISSERTATION White Soul/Forbidden Body: Dancing Christian From Ruth St. Denis to Pole Dancing for Jesus by Lindsey Michelle Timmons Summers Doctor of Philosophy, Graduate Program in Critical Dance Studies University of California, Riverside, August 2014 Dr. Jacqueline Shea Murphy, Chairperson The Western Christian tradition, particularly in the U.S. Protestantized religious landscape, has often denied dance as a legitimate form of worship, and many view Christianity and dance to be contradictory pursuits. White Soul/Forbidden Body: Dancing Christian From Ruth St. Denis to Pole Dancing for Jesus builds upon this tension in order to understand the strategies and tactics that Christian dancers in the U.S. employ to negotiate the power structures that function to forbid dancing bodies from occupying Christian spaces. This dissertation theorizes this tension as rooted in the politics of white Christian embodiment, which is created through the practice of constructing a particular relationship between the body and the soul. I argue that dance gives these dancers, who are primarily white women, the opportunity to creatively inhabit Christian power structures that privilege certain forms of embodiment over others. Through dance, this women are able to engender small pockets of religious leadership that allow them and others to experience religion through the body and vi explore dance’s spiritual, meaning-making capacities. Methodologically, I rely on ethnography, archival research, and performance analysis in order to explore the multiple locations where Christian dance emerges in the U.S. – sanctuaries, dance fitness classes, dance studios, stages, etc. The chapters are organized around the dancers’ use of embodied strategies such a “high art” framing, confrontations with the aging body, the rhetoric of health, the invocation of humor, and the development of community. By analyzing the contemporary and historical politics of Christian sacred dance, this dissertation research sheds new light on the neglected topic of dance as religious embodiment. While debates are ongoing about dance’s appropriateness as a sacred art form, Christian dance continues not only to exist, but it also plays an integral role in understanding the relationship between bodily practice and religious identity formation. This research, therefore, models a critical, interdisciplinary approach essential to those who study dance history and theory as it intersects with American religion, critical race theory, and women’s studies. vii TABLE OF CONTENTS Introduction: White Women, Dancing Religious Leadership 1 Cartesian Dualism and Christian Dance Historiographies 5 Passing and Confessing 17 Embodiment 31 Strategies and Tactics 40 I ART: MODERN DANCE/SACRED DANCE 48 Reading the Christian Back into the Modern 51 Psychological or Universal Themes? 51 Spiritual-Not-Sexual 61 De-Universalizing Expressive Theory 66 Christian Sacred Dance Pioneers 74 Always Margaret 75 The Mother of Liturgical Dance 81 A Liturgical Dance Advocate 94 Conclusion 101 II AGING: BLUE-HAIRED BUTOH, BUDDING BALLERINAS 103 Blue-Haired Butoh 108 The Laban Movement Choir Model 111 Butoh, Aging, and Christian Sacred Dance 121 Female Sexuality and the Aging Body 129 Budding Ballerinas 132 Testifying 145 Parables 151 The Story Ballet 155 Conclusion 160 III HEALTH: YOUR BODY IS A TEMPLE 164 Dance, Fitness, and Christianity in the U.S. 165 Pole Dancing for Jesus 175 The Perfectible Body 179 Healthy Sexuality 189 The Politics of Empowerment 198 viii IV HUMOR: WHITE AND UPTIGHT 205 A Theory of White Patriarchal Stiffness 205 “Primitive” vs. “Civilized” 207 Natural Women, Built Men 217 Homosexuality and the “Loose” 222 Latent Humor and a Body Manifest 225 Manly Men at the Sacred Dance Guild Men’s Forum 231 Stephen Colbert, Liturgical Dancer 240 Doug Adams: Unstiffing the Stiff 264 Epilogue: Community – An Encounter with Embodied Prayer 275 The Shadow of the Theological Soul 276 Techniques of the Body as Disciplinary Apparatus 283 Church Community and the Imagining of Collectivity 290 Bibliography 303 ix Introduction: White Women, Dancing Religious Leadership In Livermore, California, after participating in an annual Good Friday worship service, anti-nuclear activists dance a circle dance in front of the guarded gates of Lawrence Livermore Laboratory before peacefully crossing the gated line to be arrested by awaiting police. Online, a viral video of the comedian Stephen Colbert circulates as a liturgical dance spoof of his Vatican II upbringing in South Carolina. In Holland, Michigan, participants in the Sacred Dance Guild Festival contemplatively dance through a lumiere labyrinth made of cloth in the gym of Hope College. In Jackson, Mississippi, hundreds of aspiring ballerinas gather during the sweltering summer months to learn the art of Christian ballet from the company members and directors of Ballet Magnificat! In New York City, members of the Trinity Movement Choir and Sacred Dance Guild join together at the Trinity Church on Wall Street to learn and perform a butoh-inspired piece to the Aldous Huxley quote: “There are things that are known and things that are unknown. In between there are the doors.” In a basement near Akron, Ohio, liturgical dance advocate Kathryn Mihelick shows old videos of Leaven Dance Company performing in a nearby Catholic parish before the practice was disallowed. In the quaint town of Spring, Texas, the national media swarms to report on Crystal Deans, who is offering a Pole Dancing for Jesus class for local churchgoing ladies. These diverse geographies of Christian dance practice in the current U.S. religious landscape exemplify the tremendous breadth and variety of contemporary dancers who claim dance as a method for Christian worship, prayer, and contemplation. These dancers 1 range in terms of age, race, gender, class, denominational affiliation, political identification, technical dance training and approach, but all of them are working in some manner against the predominate, public conception in the U.S.
Load more

Recommended publications
  • University of California Riverside
    UNIVERSITY OF CALIFORNIA RIVERSIDE Choreographers and Yogis: Untwisting the Politics of Appropriation and Representation in U.S. Concert Dance A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Jennifer F Aubrecht September 2017 Dissertation Committee: Dr. Jacqueline Shea Murphy, Chairperson Dr. Anthea Kraut Dr. Amanda Lucia Copyright by Jennifer F Aubrecht 2017 The Dissertation of Jennifer F Aubrecht is approved: Committee Chairperson University of California, Riverside Acknowledgements I extend my gratitude to many people and organizations for their support throughout this process. First of all, my thanks to my committee: Jacqueline Shea Murphy, Anthea Kraut, and Amanda Lucia. Without your guidance and support, this work would never have matured. I am also deeply indebted to the faculty of the Dance Department at UC Riverside, including Linda Tomko, Priya Srinivasan, Jens Richard Giersdorf, Wendy Rogers, Imani Kai Johnson, visiting professor Ann Carlson, Joel Smith, José Reynoso, Taisha Paggett, and Luis Lara Malvacías. Their teaching and research modeled for me what it means to be a scholar and human of rigorous integrity and generosity. I am also grateful to the professors at my undergraduate institution, who opened my eyes to the exciting world of critical dance studies: Ananya Chatterjea, Diyah Larasati, Carl Flink, Toni Pierce-Sands, Maija Brown, and rest of U of MN dance department, thank you. I thank the faculty (especially Susan Manning, Janice Ross, and Rebekah Kowal) and participants in the 2015 Mellon Summer Seminar Dance Studies in/and the Humanities, who helped me begin to feel at home in our academic community.
    [Show full text]
  • University of California, Los Angeles. Department of Dance Master's Theses UARC.0666
    http://oac.cdlib.org/findaid/ark:/13030/c8833tht No online items Finding Aid for the University of California, Los Angeles. Department of Dance Master's theses UARC.0666 Finding aid prepared by University Archives staff, 1998 June; revised by Katharine A. Lawrie; 2013 October. UCLA Library Special Collections Online finding aid last updated 2021 August 11. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections UARC.0666 1 Contributing Institution: UCLA Library Special Collections Title: University of California, Los Angeles. Department of Dance Master's theses Creator: University of California, Los Angeles. Department of Dance Identifier/Call Number: UARC.0666 Physical Description: 30 Linear Feet(30 cartons) Date (inclusive): 1958-1994 Abstract: Record Series 666 contains Master's theses generated within the UCLA Dance Department between 1958 and 1988. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Conditions Governing Reproduction and Use Copyright of portions of this collection has been assigned to The Regents of the University of California. The UCLA University Archives can grant permission to publish for materials to which it holds the copyright. All requests for permission to publish or quote must be submitted in writing to the UCLA University Archivist. Preferred Citation [Identification of item], University of California, Los Angeles. Department of Dance Master's theses (University Archives Record Series 666). UCLA Library Special Collections, University Archives, University of California, Los Angeles.
    [Show full text]
  • Stephen Colbert's Super PAC and the Growing Role of Comedy in Our
    STEPHEN COLBERT’S SUPER PAC AND THE GROWING ROLE OF COMEDY IN OUR POLITICAL DISCOURSE BY MELISSA CHANG, SCHOOL OF PUBLIC AFFAIRS ADVISER: CHRIS EDELSON, PROFESSOR IN THE SCHOOL OF PUBLIC AFFAIRS UNIVERSITY HONORS IN CLEG SPRING 2012 Dedicated to Professor Chris Edelson for his generous support and encouragement, and to Professor Lauren Feldman who inspired my capstone with her course on “Entertainment, Comedy, and Politics”. Thank you so, so much! 2 | C h a n g STEPHEN COLBERT’S SUPER PAC AND THE GROWING ROLE OF COMEDY IN OUR POLITICAL DISCOURSE Abstract: Comedy plays an increasingly legitimate role in the American political discourse as figures such as Stephen Colbert effectively use humor and satire to scrutinize politics and current events, and encourage the public to think more critically about how our government and leaders rule. In his response to the Supreme Court case of Citizens United v. Federal Election Commission (2010) and the rise of Super PACs, Stephen Colbert has taken the lead in critiquing changes in campaign finance. This study analyzes segments from The Colbert Report and the Colbert Super PAC, identifying his message and tactics. This paper aims to demonstrate how Colbert pushes political satire to new heights by engaging in real life campaigns, thereby offering a legitimate voice in today’s political discourse. INTRODUCTION While political satire is not new, few have mastered this art like Stephen Colbert, whose originality and influence have catapulted him to the status of a pop culture icon. Never breaking character from his zany, blustering persona, Colbert has transformed the way Americans view politics by using comedy to draw attention to important issues of the day, critiquing and unpacking these issues in a digestible way for a wide audience.
    [Show full text]
  • The Role of Dance in Haitian Vodou Dancing, Along with Singing And
    The Role of Dance in Haitian Vodou Camille Chambers, University of Florida Dancing, along with singing and drumming, is a fundamental part of Haitian Vodou ritual ceremonies. Just as how the songs and the drums have a spiritual function and reflect a creolized heritage, dance holds a similar value in Vodou. As a religion that is kinesthetic in nature, dance is part of the physical manifestation of serving the lwa. Dance is not only an important part of Haitian Vodou but also of Haitian culture, in which there are two types of dance: secular and sacred (Dunham 1947: 15). For the purpose of this paper, the sacred dance will be addressed. Many anthropologists have studied ritual dances in the African diaspora of the Caribbean. Through the studies of dance in Haitian Vodou, the connection to spirituality and memory provided to the community through dance and music in Vodou ceremonies is evident. The community is a key element in Vodou ceremonies. Hebblethwaite argues that Vodou songs are important because they are the “living memory of a Vodou community” (2012: 2). Dance holds the same importance in preserving this “living memory.” Vodou songs educate about the lwa and the philosophy of Vodou and they signal the transitions between phases of the ceremony. Dance in Vodou also educates about the lwa and philosophy and through careful study of the different dances, one may also understand how dances change in the different phases of the ceremony. Before getting into the study of dances, the importance of drums must be addressed. Wilcken (2005) describes the drums as providing the fuel and guidance to the dance participants.
    [Show full text]
  • Katherine Mansfield Gurdjieff's Sacred Dance
    Katherine Mansfield and Gurdjieff’s Sacred Dance James Moore First published in Katherine Mansfield: In From the Margin edited by Roger Robinson Louisiana State University Press, 1994 The facts are singular enough: Katherine Mansfield, a young woman who could scarcely walk or breathe, absorbed in sacred dances that lie on the very cusp of human possibility. Some ideal of inner conciliation—neighbourly to the dancers’ purpose there— seems to have visited Katherine almost precociously. At twenty, she had written, “To weave the intricate tapestry of one’s own life, it is well to take a thread from many harmonious skeins—and to realise that there must be harmony.” i The tapestry she had achieved in the ensuing years had been a brave one: on a warp of suffering she had imposed a woof of literary success. Slowly, implacably, her body but not her spirit of search had failed her, and in her final extremity she arrived at a resolution: “Risk! Risk anything!” 2 So determined, she entered the gates of the Château du Preiuré, at Fontainbleau-Avon, on Tuesday, October 17, 1922, and there, at George Ivanovitch Gurdjieff’s Institute for the Harmonious Development of Man, she lived out her last, intense three months. There, on January 9, 1923, she died. Katherine Mansfield and Gurdjieff’s Sacred Dance. Copyright © James Moore 1994, 2006. 1 www.Gurdjieff-Biblography.com No one imagines that Mansfield’s fundamental significance lies outside her oeuvre, her individuality, and her life’s full spectrum of personal relationships; no one would claim some mystical apotheosis at Fontainebleau that overrode all that.
    [Show full text]
  • Fake News, Real Hip: Rhetorical Dimensions of Ironic Communication in Mass Media
    FAKE NEWS, REAL HIP: RHETORICAL DIMENSIONS OF IRONIC COMMUNICATION IN MASS MEDIA By Paige Broussard Matthew Guy Heather Palmer Associate Professor Associate Professor Director of Thesis Committee Chair Rebecca Jones UC Foundation Associate Professor Committee Chair i FAKE NEWS, REAL HIP: RHETORICAL DIMENSIONS OF IRONIC COMMUNICATION IN MASS MEDIA By Paige Broussard A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master of Arts in English The University of Tennessee at Chattanooga Chattanooga, Tennessee December 2013 ii ABSTRACT This paper explores the growing genre of fake news, a blend of information, entertainment, and satire, in main stream mass media, specifically examining the work of Stephen Colbert. First, this work examines classic definitions of satire and contemporary definitions and usages of irony in an effort to understand how they function in the fake news genre. Using a theory of postmodern knowledge, this work aims to illustrate how satiric news functions epistemologically using both logical and narrative paradigms. Specific artifacts are examined from Colbert’s speech in an effort to understand how rhetorical strategies function during his performances. iii ACKNOWLEDGEMENTS Without the gracious help of several supporting faculty members, this thesis simply would not exist. I would like to acknowledge Dr. Matthew Guy, who agreed to direct this project, a piece of work that I was eager to tackle though I lacked a steadfast compass. Thank you, Dr. Rebecca Jones, for both stern revisions and kind encouragement, and knowing the appropriate times for each. I would like to thank Dr.
    [Show full text]
  • The Development of Muscular Christianity in Victorian Britain and Beyond
    ISSN: 1522-5658 http://moses.creighton.edu/JRS/2005/2005-2.html The Development of Muscular Christianity in Victorian Britain and Beyond Nick J. Watson York St. John’s College, University of Leeds Stuart Weir Christians in Sport, UK Stephen Friend York St. John’s College, University of Leeds Introduction [1] The development of Muscular Christianity in the second half of the nineteenth century has had a sustained impact on how Anglo-American Christians view the relationship between sport, physical fitness, and religion. It has been argued that the birth of Muscular Christianity in Victorian Britain forged a strong “. link between Christianity and sport” that “. has never been broken” (Crepeau: 2). The emergence of neo-muscular Christian groups during the latter half of the twentieth century (Putney) and the promotion of sport in Catholic institutions, such as the University of Notre Dame, can be seen as a direct consequence of Victorian Muscular Christianity. Modern Evangelical Protestant organizations, such as Christians in Sport (CIS) in England and the Fellowship of Christian Athletes (FCA) in the U.S., have resurrected many of the basic theological principles used to promote sport and physical fitness in Victorian Britain. [2] The basic premise of Victorian Muscular Christianity was that participation in sport could contribute to the development of Christian morality, physical fitness, and “manly” character. The term was first adopted in the 1850s to portray the characteristics of Charles Kingsley (1819- 1875) and Thomas Hughes’ (1822-1896) novels. Both Kingsley and Hughes were keen sportsmen and advocates of the strenuous life. Fishing, hunting, and camping were Kingsley’s favorite pastimes, which he saw as a “counterbalance” to “.
    [Show full text]
  • New Approaches for Moving Upstream
    HEBXXX10.1177/1090198114568304Health Education & BehaviorFreudenberg et al. 568304research-article2015 Article Health Education & Behavior 2015, Vol. 42(1S) 46S –56S New Approaches for Moving Upstream: © 2015 Society for Public Health Education Reprints and permissions: How State and Local Health Departments sagepub.com/journalsPermissions.nav DOI: 10.1177/1090198114568304 Can Transform Practice to Reduce Health heb.sagepub.com Inequalities Nicholas Freudenberg, DrPH1, Emily Franzosa, MPH1, Janice Chisholm, MPH1, and Kimberly Libman, PhD, MPH1 Abstract Growing evidence shows that unequal distribution of wealth and power across race, class, and gender produces the differences in living conditions that are “upstream” drivers of health inequalities. Health educators and other public health professionals, however, still develop interventions that focus mainly on “downstream” behavioral risks. Three factors explain the difficulty in translating this knowledge into practice. First, in their allegiance to the status quo, powerful elites often resist upstream policies and programs that redistribute wealth and power. Second, public health practice is often grounded in dominant biomedical and behavioral paradigms, and health departments also face legal and political limits on expanding their scope of activities. Finally, the evidence for the impact of upstream interventions is limited, in part because methodologies for evaluating upstream interventions are less developed. To illustrate strategies to overcome these obstacles, we profile recent campaigns in the United States to enact living wages, prevent mortgage foreclosures, and reduce exposure to air pollution. We then examine how health educators working in state and local health departments can transform their practice to contribute to campaigns that reallocate the wealth and power that shape the living conditions that determine health and health inequalities.
    [Show full text]
  • October 2014
    Brent ACTCM Bushnell & Get a Job at San Quentin INSIDE Sofa Carmi p. 23 p. 7 p. 3 p. 15 p. 17 p. 20 p. 25 OCTOBER 2014 Serving the Potrero Hill, Dogpatch, Mission Bay and SOMA Neighborhoods Since 1970 FREE Jackson Playground to Receive $1.6 Million, Mostly to Plan Clubhouse Upgrades BY KEITH BURBANK The Eastern Neighborhood Citi- zen’s Advisory Committee (ENCAC) has proposed that San Francisco Recreation and Parks Department invest $1.6 million in developer fees over the next four years to improve Jackson Playground. One million dollars would be directed towards developing designs to renovate the playground’s clubhouse, which Rec and Park estimates will cost $13.5 million to fully execute, with a higher price tag if the building is expanded. The Scents of Potrero Hill ENCAC’s recommendations will be transmitted to the San Francisco BY RYAN BERGMANN Above, First Spice Company blends many spices Board of Supervisors, where they’re in its Potrero location, which add to the fragrance expected to be adopted. According Potrero Hill has a cacophony of in the air, including, red pepper, turmeric, bay to the Committee’s bylaws, ENCAC smells, emanating from backyard leaves, curry powder, coriander, paprika, sumac, collaborates “with the Planning De- gardens, street trees, passing cars, monterey chili, all spice, and rosemary. Below, partment and the Interagency Plan and neighborhood restaurants and Anchor Steam at 17th and Mariposa, emits Implementation Committee on pri- the aroma of barley malt cooking in hot water. bakeries. But two prominent scents oritizing…community improvement PHOTOGRAPHS BY GABRIELLE LURIE tend to linger year-round, no mat- projects and identifying implemen- ter which way the wind is blowing, tation details as part of an annual evolving throughout the day.
    [Show full text]
  • 1St JULY 2017
    11st JUILLET JULY 2017 2017 - - MONACOMONACO From 6pm to 6am PLACE DU CASINO - MONTE-CARLO Free entry PRESS KIT 1 tro CONTentS in DUcTIon Les Ballets de Monte-Carlo, the Monegasque Rétro Dancing, will propose to those who Government and Monte-Carlo Société des appreciate the rock of the 50s and the Dolce Vita Bains de Mer will pull out all the stops, to dance on a elegant music. inviting the public to join them in the wildest There will also be Ballroom Dancing: slow waltz, INTRODUCTION 3 possible dance! On 1 July 2017, Monaco will tango, foxtrot, Charleston, Viennese waltz, samba, host a truly unique event in Les Ballets de rumba, cha-cha, jive, paso doble. No spectators YOUR DANCE PARTNERS 6 Monte-Carlo’s history: the first F(Ê)AITES will be left by the wayside, since pros and amateurs DE LA DANSE! For a full 8 hours, the entire alike will invite them to dance! F(Ê)AITES DE LA DANSE MAP 8 Casino district will become a huge open- air dancefloor: professional and amateur The same principle of “participative demonstration” will reign throughout the night, with REQUEST A PROGRAMME 10 artists and dancers will gather TO MAKE pole dancing SPECTATORS JOIN IN THE DANCE! and outdoor folk dances on Place du Casino. GIANT BARRE 14 General participation is the watchword for F(Ê) F(Ê)AITES DE LA DANSE will occupy the entire AITES DE LA DANSE. This is a priority for Les Ballets urban area of Place du Casino to offer unexpected DANCE MARATHON 15 de Monte-Carlo Choreographer-Director Jean- performances: awesome acrobatic demonstrations Christophe Maillot: “With the diversity of shows, by Les Échassiers Pneumatiques and Les FLASH MOB 16 concerts, activities and performances of all types, Yamakasi; artistic roller skating revolutionised by we will offer the public, the 5,000 participants Le Patin Libre; a Hip Hop Battle with the presence YOUR DANCE PARTNERS 17 awaited will have no excuse not to join in the of the finest dancers along with amateurs and dancing.
    [Show full text]
  • Luther Gulick: His Contributions to Springfield University, the YMCA
    144 Historical Journal of Massachusetts • Summer 2011 Luther Halsey Gulick II, c. 1900 (Courtesy of the Springfield College Archives) 145 Luther Gulick: His Contributions to Springfield College, the YMCA, and “Muscular Christianity” CLIFFORD PUTNEY Abstract: Based largely on hitherto unpublished archival sources, this article focuses on the early life and career of Luther Halsey Gulick II (1865-1918). Gulick was among America’s most influential educators in the Progressive Era. He is best known today for co- founding the Camp Fire Girls (CFG) with his wife Charlotte. But before his involvement with CFG he taught physical education for the Young Men’s Christian Association (YMCA) at Springfield College, Massachusetts, in the 1890s. As a professor at Springfield, Gulick achieved a great deal, and this article examines his many accomplishments, including his invention of the YMCA Triangle (the organization’s official emblem) and his role in the invention of both basketball and volleyball. The article also analyzes Gulick’s unconventional childhood, when he travelled around the world with his parents. They were Congregational missionaries who fervently hoped Luther would embrace their brand of ascetic Christianity. He preferred a religion that was more corporeal, however. This led to him becoming a leader of the “muscular Christianity” movement. Muscular Christians espoused a combination of religion and sports, although, in the Historical Journal of Massachusetts, Vol. 39 (1 & 2), Summer 2011 © Institute for Massachusetts Studies, Westfield State University 146 Historical Journal of Massachusetts • Summer 2011 end, Gulick ended up emphasizing sports over religion. Historian Clifford Putney has extensively researched the Gulick family and is the author of Missionaries in Hawai‘i: The Lives of Peter and Fanny Gulick, 1797-1883 (2010).
    [Show full text]
  • PAGANISM a Brief Overview of the History of Paganism the Term Pagan Comes from the Latin Paganus Which Refers to Those Who Lived in the Country
    PAGANISM A brief overview of the history of Paganism The term Pagan comes from the Latin paganus which refers to those who lived in the country. When Christianity began to grow in the Roman Empire, it did so at first primarily in the cities. The people who lived in the country and who continued to believe in “the old ways” came to be known as pagans. Pagans have been broadly defined as anyone involved in any religious act, practice, or ceremony which is not Christian. Jews and Muslims also use the term to refer to anyone outside their religion. Some define paganism as a religion outside of Christianity, Judaism, Hinduism, Islam, and Buddhism; others simply define it as being without a religion. Paganism, however, often is not identified as a traditional religion per se because it does not have any official doctrine; however, it has some common characteristics within its variety of traditions. One of the common beliefs is the divine presence in nature and the reverence for the natural order in life. In the strictest sense, paganism refers to the authentic religions of ancient Greece and Rome and the surrounding areas. The pagans usually had a polytheistic belief in many gods but only one, which represents the chief god and supreme godhead, is chosen to worship. The Renaissance of the 1500s reintroduced the ancient Greek concepts of Paganism. Pagan symbols and traditions entered European art, music, literature, and ethics. The Reformation of the 1600s, however, put a temporary halt to Pagan thinking. Greek and Roman classics, with their focus on Paganism, were accepted again during the Enlightenment of the 1700s.
    [Show full text]