New Jersey Visual and Performing Arts Curriculum Framework. New
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9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry
9/5/2011-4/21/2012. Letters from a Danceaturg. Neil Baldwin to Lori Katterhenry. No.1 - September 5, 2011 Dear Lori: I am grateful to Ryoko Kudo, Maxine Steinman and our MSU dancers for opening the doors to the studio in Life Hall last week and welcoming me to sit in on three sessions of the setting of excerpts from There is a Time (1956) by Jose Limon. They worked on “Opening Circle,” “Plant and Reap,” “Mourn,” “Laugh and Dance,” and “Hate & War.” Reviewing and editing my on-site notes, I recalled a helpful observation by Doris Humphrey in The Art of Making Dances with regard to this work. She writes, “There is a Time states its thematic material in the opening section and builds all the rest of its many parts on variations of the same movements. Unfortunately, this escapes most people; what they see is a suite form, contrasted ideas of dramatic or lyric significance. This is because the eye is not sufficiently trained to remember movement themes, and will usually miss them completely.” Indeed, the fact that the original title of There is a Time was Variations on a Theme came through powerfully during these sessions. Ryoko’s precisely-planned and at the same time intuitively- executed method was the embodiment of Limon’s preliminary concept notes for the dance, when he said that “the community…form[s] a very close circle which pulsates symbolizing an ovum or womb in travail…[T]he large circle…symbolize[s] time – the great continuity – eternal, unbroken…without hurry and without end.” I was also mindful of a point that Carla Maxwell made in an interview with The New York Times ten years ago about classic modern dance: “What's indispensable is a consistent point of view that relates to the times,'' she said. -
Rudolf Laban in the 21St Century: a Brazilian Perspective
DOCTORAL THESIS Rudolf Laban in the 21st Century: A Brazilian Perspective Scialom, Melina Award date: 2015 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 Rudolf Laban in the 21st Century: A Brazilian Perspective By Melina Scialom BA, MRes Thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2015 Abstract This thesis is a practitioner’s perspective on the field of movement studies initiated by the European artist-researcher Rudolf Laban (1879-1958) and its particular context in Brazil. Not only does it examine the field of knowledge that Laban proposed alongside his collaborators, but it considers the voices of Laban practitioners in Brazil as evidence of the contemporary practices developed in the field. As a modernist artist and researcher Rudolf Laban initiated a heritage of movement studies focussed on investigating the artistic expression of human beings, which still reverberates in the work of artists and scholars around the world. -
A Leap to the West: Barbara Mettler and the Making of the Tucson Creative Dance Center
A Leap to the West: Barbara Mettler and the Making of the Tucson Creative Dance Center The Tucson Creative Dance Center shortly after its completion in 1963. By the time Barbara Mettler decided to leave Boston and venture west in the early 1960s, she had already led an impressive life. Her extraordinary self- discipline and unique vision had resulted in several successive incarnations of her school, a well-received national tour with her company, the publication of her books and films about her radical approach to dance, and a devoted student following. She could have stopped there and felt a justified sense of estimable accomplishment, especially considering what she had endured to achieve that much. The Boston sojourn, however, had never been more than a stopover for her, a time to consolidate her efforts and publish her ideas. When the way finally became clear for her to take her work west, Mettler was ready to leap and explore once again. All of her accomplishments and travails were soon to feed into the glorious second half of her remarkable life. As she contemplated leaving the East behind, future decades of even broader success and fulfillment lay ahead, but how could any artist have possibly known such a thing and counted on it? In her mid-fifties by then, Barbara Mettler, had no doubt felt the new chill that seeps into one’s bones at that age, the realization that, no matter how open-ended and promising everything might have seemed throughout earlier decades of her life, the years remaining were not Dobson /A Leap to the West 2 numberless. -
Model Student Essays
Model Student Essays A Collection of Essays Written Primarily in Introductory Level College Courses 9th Edition, Summer 2002 The Writing Center @ Franklin and Marshall College Lancaster, PA 17604-3003 717.291.3866 P r e f a c e We learn about writing by studying models. Sometimes nothing helps the novice writer so much as the chance to observe the technique of a more skilled one. But even the student who has been successful at writing in one mode may have trouble with another. One student may write exceptional literary analyses, but has not mastered anthropology papers; the student who excels at a laboratory report may struggle with a paper assignment in a TDF class. In all these situations, model essays can perform great instructional service. The “eureka!” moment—“So that’s a specific thesis!” or “That’s how you use and explain supporting evidence!”—is often all it takes to help students begin to raise the quality of their own work. Model Student Essays is intended for the entire Franklin and Marshall College community. Faculty may use it during an in-class workshop or an individual conference to illustrate a principle of effective writing. Writing Center tutors will find these essays helpful in coaching their tutees about the writing process. And, because faculty members have submitted these essays as examples of the best work they received during the past academic year, students can turn to this booklet to gain an understanding of the qualities of writing we value here at F&M. A new feature this year, we have included, wherever possible, a description of the assignment to which the student responded as well as a brief comment from the professor highlighting the exemplary qualities of the student’s writing. -
'There Was Never Anythin'like This!!!'Valeska Gert's Performances
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Kolb, Alexandra (2007) ‘There was never anythin’ like this!!!’ Valeska Gert’s performances in the context of Weimar culture. The European Legacy, 12 (3) . pp. 293-309. ISSN 1084-8770 [Article] (doi:10.1080/10848770701286976) UNSPECIFIED This version is available at: https://eprints.mdx.ac.uk/9000/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. -
Mary Wigman As Writer and Dancer
Studies in 20th Century Literature Volume 27 Issue 2 Article 9 6-1-2003 Restaging Hysteria: Mary Wigman as Writer and Dancer Laura A. McLary University of Portland Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McLary, Laura A. (2003) "Restaging Hysteria: Mary Wigman as Writer and Dancer ," Studies in 20th Century Literature: Vol. 27: Iss. 2, Article 9. https://doi.org/10.4148/2334-4415.1561 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Restaging Hysteria: Mary Wigman as Writer and Dancer Abstract Mary Wigman was not only a leading proponent of the early twentieth-century Expressionist dance movement, but also a writer of poetry and short poetic prose. Despite her assertion that dance was beyond language, she wrote often about dance in an attempt to articulate the kinesthetic experience of dance through languages. This interdisciplinary study explores the intersection of dance and writing for Wigman, focusing on gender coding in writing and dance within the context of early twentieth-century dialogues. Despite the pervasive equation of (feminine) hysteria with dance and (masculine) subjectivity with authorship, Wigman engaged in both activities. I argue that Wigman is able to reclaim and redefine the "hysteria" of the dance experience through writing about dance. -
Dear Audience, Cast the Right Net ... 39
Dear audience, cast the right net ... Georg Lechner "These Western dancers", one spectator at the East-West Dance Encounter sighed. "you never know what they are up to next!" True, even the highly predictable ballet performance by Stephen sprang a surprise. offering a special number Meditation. Leave alone the rest ... Here indeed. is a decisive difference that distinguishes contemporary Western dance from contemporary-and as ever classical-Indian dance. The latter is characterised by a solid pact between dancer. guru and rasika (know ledgeable member of the audience). ba sed on a common world-view and guided by age-honoured set rules. Codification, sublimation-any deviation from the tradition and the norm will be frowned upon. The former is ever open to innovation. intensely personal. sans ideological taboos. In the West. there is. of course. also a pact between dancer. teacher and audience, but one whose first clause gua rantees artistic freedom. The implications on both sides are momentous. Dear audience. lean back for a moment and ponder. The western flair for change and inquisitiveness is easily identified as a natural offspring of the Age of Enlightenment and Reason . Religious Faith and Reason had been engaged in age-old struggles. with Faith acting as the undispu~ed master relegating Reason to second position. The transition into modern thmk t ~g was far from smooth and is generally underrated or flatly misunderstood. Centunes of witch-hunting. inquisition. excommunication, crusades. people like Jeanne d'A:c. Giordano Bruno. Copernicus. Martin Luther. Immanuel Kant. Galilei (his treattse Dialogo. renouncing the Ptolemaean world-view in favour of the Copernican. -
A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance
Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world. -
Absolute Relativity: Weimar Cinema and the Crisis of Historicism By
Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Anton Kaes, Chair Professor Martin Jay Professor Linda Williams Fall 2015 Absolute Relativity: Weimar Cinema and the Crisis of Historicism © 2015 by Nicholas Walter Baer Abstract Absolute Relativity: Weimar Cinema and the Crisis of Historicism by Nicholas Walter Baer Doctor of Philosophy in Film and Media Designated Emphasis in Critical Theory University of California, Berkeley Professor Anton Kaes, Chair This dissertation intervenes in the extensive literature within Cinema and Media Studies on the relationship between film and history. Challenging apparatus theory of the 1970s, which had presumed a basic uniformity and historical continuity in cinematic style and spectatorship, the ‘historical turn’ of recent decades has prompted greater attention to transformations in technology and modes of sensory perception and experience. In my view, while film scholarship has subsequently emphasized the historicity of moving images, from their conditions of production to their contexts of reception, it has all too often left the very concept of history underexamined and insufficiently historicized. In my project, I propose a more reflexive model of historiography—one that acknowledges shifts in conceptions of time and history—as well as an approach to studying film in conjunction with historical-philosophical concerns. My project stages this intervention through a close examination of the ‘crisis of historicism,’ which was widely diagnosed by German-speaking intellectuals in the interwar period. -
Advanced Modern History
Advanced Modern History Definition: There is no concise definition for modern dance, nor should there be, unless it is broad enough to include all the diverse approaches existing now/and likely to exist in the future. Modern was a rebellion against classical ballet and its codified technique. Modern dance, sometimes referred to as contemporary dance, has no boundaries or limitations for its style of creation. In fact, the freedom that is inherent in modern has strongly influenced contemporary choreography of ballet and jazz. Brief History: In the twentieth century a new dance had emerged, and was classified as “modern”. It was called "modern" because it broke away from the traditions and the disciplines of ballet from the 19th century. At the beginning, modern dance was a way of life, an expression of the freedom of the spirit, unfettered by outdated traditions and worn out beliefs. It aimed to communicate to each individual some emotional state, idea or situation which one could identify with or relate to their own experiences. Modern dancers in the beginning attempted to rediscover natural movement and wanted to break away from the rigidity of ballet. They also felt that ballet technique did not communicate their primary purpose, therefore they wanted to create a dance art that could speak to the humanity of modern man. Modern dance did not rely upon pantomime or storyline. Modern dance bases its technique on natural movement. This includes not only the use of the body in its rhythmic, dynamic and linear function, but also in an enormous amount of gesture or pedestrian movement. -
Miki Orihara Solo Concert
LaGuardia Performing Arts Center Steven Hitt...Artistic Producing Director Handan Ozbilgin...Associate Director/Artistic Director Rough Draft Festival Carmen Griffin...Theatre Operations Manager/Technical Director Toni Foy...Education Outreach Coordinator Isabelle Marsico...Events Coordinator Caryn Campo...Finance Officer LaGuardia Performing Arts Center Mariah Sanchez...House Manager Scott Davis...Line Producer Juan Zapata...Graphic Designer Luisa Fer Alarcon...Video Editor/Designer Dayana Sanchez...Marketing Coordinator MIKI ORIHARA SOLO CONCERT Production Staff Patrick Anthony Surillo...Resident Stage Manager Cassandra Lynch...Props Master Hollis Duggans…Production Staff Works of American and Japanese Modern Dance Pioneers Winter Muniz…Production Staff Piano by Nora Izumi Bartosik Technical Staff Glenn Wilson...Stage Manager/Assistant Technical Director Melody Beal...Lighting Designer Alex Desir...Master Electrician Ronn Thomas...Sound Engineer Miki Orihara Marland Harrison...Technician Denton Bailey...Technician Giovanni Perez...Technician House Staff Marissa Bacchus Jason Berrera Julio Chabla Rachel Faria Anne Husmann Emily Johnson Martha Graham Doris Humphrey Rebecca Shrestha LaGuardia Community College Dr. Gail O. Mellow...President Dr. Paul Arcario...Provost and Senior Vice President 31-10 Thomson Avenue Long Island City, 11101 Seiko Takata Konami Ishii Yuriko Upper left: Martha Graham in Lamentation(1930) Photo by Soichi Sunami, courtesy of The Sunami Family. Upper middle: Miki Orihara, Photo by Tokio Kuniyoshi. Upper right: Doris Humphrey photo by Soichi Sunami , courtesy of the Sunami Family. Lower left: Seiko Takata(1938) in Mother Photo courtesy of Nanako Yamada. Lower middle: Konami Ishii in Koushou (1938) Photo courtesy of Noriko Sato. Lower right: Yuriko in The Cry (1963) Photo courtesy of the Kikuchi Family. WWW.LPAC.NYC RESONANCE III “Onko chishin” – is a Japanese expression describing an attempt to discover new things by studying the past. -
The Art of Making Children's Dances
The Art of Making Children’s Dances: A Look Into Doris Humphrey’s Early Choreography and Its Impact on Her Technique Gina Marie Borden Doris Humphrey (1895-1958) was an innovative American choreographer who contributed influential theories of movement to the development of modern dance. In 1917, she started her professional training and career alongside other American modern dance legends such as Martha Graham and Charles Weidman under the direction of Ruth St. Denis and Ted Shawn, founders of the famous Denishawn School and Company. After leaving the Denishawn company in 1928, she and Weidman founded their own company in New York City. During this time, arguably the height of her artistic output, Humphrey established a technique based on the concepts of “fall and recovery” and a theory of choreography. The Humphrey-Weidman Company disbanded in 1947, and Humphrey was named Artistic Director of the Limón Dance Company. She passed away in 1958 after a battle with cancer. In 1995, a group of graduate students from Teachers College, Columbia University asked Elsa Posey to reconstruct four Humphrey dances as part of a celebration for the centennial of her birth.1 During the summer of 1953, Posey—currently a dance educator in Northport, New York— took one of Humphrey’s courses at the 92nd Street Y in order to learn about Humphrey’s theories of choreography and teaching. The four dances Posey reconstructed are less well known compared to other works of Humphrey’s repertory, but vastly important to Humphrey’s career as an educator and technician. These were Humphrey’s Four Dances for Children2—dances created for elementary-aged to adolescent children.