University of Movement Giving the Body Credit on Today’S Campuses
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Rooted Elements a Kinesthetic Approach Connecting Our Children to Their Nnei R and Outer World Alisha Meyer the University of Montana
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Graduate School Professional Papers 2012 Rooted Elements A Kinesthetic Approach Connecting Our Children to Their nneI r and Outer World Alisha Meyer The University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/etd Recommended Citation Meyer, Alisha, "Rooted Elements A Kinesthetic Approach Connecting Our Children to Their nneI r and Outer World" (2012). Graduate Student Theses, Dissertations, & Professional Papers. 1385. https://scholarworks.umt.edu/etd/1385 This Professional Paper is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. ROOTED ELEMENTS A KINESTHETIC APPROACH CONNECTING OUR CHILDREN TO THEIR INNER AND OUTER WORLD By ALISHA BRIANNE MEYER BA Elementary Education, University of Montana, Missoula, Montana, 2003 Professional Paper presented in partial fulfillment of the requirements for the degree of Master of Arts Fine Arts, Integrated Arts and Education The University of Montana Missoula, MT May 2012 Approved by: Sandy Ross, Associate Dean of The Graduate School Graduate School Karen Kaufmann, Chair Fine Arts Jillian Campana, Committee Member Fine Arts Rick Hughes, Committee Member Fine Arts © COPYRIGHT by Alisha Brianne Meyer 2012 All Rights Reserved ii Meyer, Alisha, M.A., May 2012 Integrating Arts into Education Rooted Elements Chairperson: Karen Kaufmann Rooted Elements is a thematic naturalistic guide for classroom teachers to design engaging lessons focused in the earth elements. -
Omega's 2010 Being Yoga Conference Retreat Brings 25+ Top Teachers to the Hudson Valley
FOR IMMEDIATE RELEASE Contact: Chrissa Pullicino August 4, 2010 Office: 845.266.4444, ext. 404 Omega’s 2010 Being Yoga Conference Retreat Brings 25+ Top Teachers to the Hudson Valley Senior Teachers Offer Classes to Preserve the Rich Tradition of Yoga RHINEBECK, NY –Today Omega Institute, one of the nation’s most trusted sources for yoga education, announced its annual Being Yoga Conference Retreat will be held on its Rhinebeck, New York campus, from August 20 through 22. The event offers an in-depth exploration of the many facets of yoga practice—from therapeutic to philosophical. “Since 1977, Omega has been a place where people from all walks of life come for lifelong learning, inspired living, and building community,” said Carla Goldstein, director of external affairs and the Women’s Institute at Omega. “During Being Yoga, beginner and experienced yoga practitioners gather in community to learn from leading teachers about the depth of this ancient tradition and the promising ways yoga can enhance their modern lifestyle,” concluded Goldstein. In addition to physical yoga practice, the Being Yoga Conference Retreat will offer classes on a wide range of topics, including health and wellness practices such as meditation, vegetarian cooking, and dance. Guests of Being Yoga will design their own schedule, choosing from more than 50 dynamic classes, to explore what it means to “live your yoga.” In addition to choosing classes, guests can spend time in quiet contemplation, make new friends during meals and community gatherings, relax with a session at the Omega Wellness Center, and explore the outdoors. The conference opens Friday evening August 20, at 7:30 p.m. -
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. -
Access Your Digital Copy Here
“Lainie Love Dalby, it has been powerful to read your essay in Sacred Body Wisdom, PRAISE with your story, passion and purpose. I have not read such honest, living, generative material in a long time. It definitely brought me deep into my own journey and his- tory. I connect with your story from my own experience of separation and disconnec- “I first met Z more than a decade ago at the 11th White Privilege Conference. tion within my body and it is so real and painful, I am just relieved you are speaking Although I had come to the conference to present, I was compelled to attend their your truth about it. I so respect and appreciate your stand for truth and authenticity. workshop for the title alone, “Freeing the body mind spirit from racism,” or some- Your words and expression are powerful medicine for the world.” thing like that. I wanted to know who at this conference was naming the body as a —R.M. site for social struggle and liberation. That was Zahava...The richness of ideas herein, forged in the laboratory of experience and relationship, could fill a whole book. They represent, a good map for the journey of dancing through and beyond “the culture of “As a man reading Eden’s journey I was in for a ride I didn’t expect. A master story whiteness.” It is clear to many that “the story of whiteness” is falling apart. Humanity teller, Eden courageously invites you into an intimate reflection of the reclamation will transform white culture in this generation or the next, or I fear, whiteness will of her sacred body wisdom. -
Northern Junket, Vol. 6, No. 11
\ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly. -
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. -
Easter Eggs: a Narrative Chronology
EASTER EGGS: A NARRATIVE CHRONOLOGY Adrienne Edwards and Thomas J. Lax Collaboration is a touchstone for Ralph, who has turned family members into participants and made lifelong artistic affiliations with strangers. As a young girl, Chelsea Lemon Fetzer, the artist’s daughter and one of his first collaborators, remembers methodically taking a bite out of dozens of apples used as props in his Wanda in the Awkward Age, of 1982. Twenty years later, her video documents of his Living Room Dances—in which Lemon cold called the oldest living descendants of blues musicians, showing up to dance in their living rooms and record their reactions—are fruits of an exercise in supreme observation. Under the auspices of the Ralph Lemon Company, founded in 1985 and dissolved in 1995, and of Cross Performance, Inc., founded in 1995 with the support of Ann Rosenthal and MAPP International Productions, Ralph has worked with movement artists and storytellers across the places he has traveled and then stayed: Minneapolis; New York; Port-au-Prince, Haiti; Abidjan, Côte d’Ivoire; Accra, Ghana; Nrityagram, India; Nagoya, Japan; Kunming, China; Little Yazoo, Mississippi; and many more. It seemed only fitting that the story of Ralph’s work be narrated by those whose words, gestures, and likenesses have helped to make it. What follows is a roughly chronological, wholly partial account of Ralph’s forty years of art making, compiled through in-person, telephone, and email conversations conducted on the occasion of this publication. It is an imitation of Ralph’s work, which, as Kathy Halbreich told us, always walks that very fine line between the carefully crafted and the amateur, engaging muscle knowledge so sedimented it looks untaught. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
3-5 Rhythm and Dance 1
T andalay Fitness News Grades 3-5 Rhythm, Dance, and Cultural Dance GET UP AND DANCE! All kinds of physical activities work your muscles, but not all activities are as much FUN as DANCING! That’s right -- not only is dancing fun, it’s also great exercise! So stand up, do a few simple stretches, and get ready to learn some new moves! Dancing will help you strengthen your muscles, and can also build endurance -- all you have to do is have fun just a little bit longer each day! Dancing is about moving your body. Some kinds of dancing you make up as you go along. Some kinds of dance are done in a specific way, with special steps and a certain type of music. Once you learn the steps, it can be a lot of fun to do these dances alone or with a group of people. Folk Dance: Folk dances are group dances that have developed over many many years in a certain country or area. They are usually danced to special music, and everyone does the same steps at the same time. Folk dances can be done as a performance for people to watch, but they really started as a way for everyone to celebrate together at parties and events. Some examples of folk dances are: clogging, Irish dance, square dance, sword dance, and folklorico. Line Dance: Line dances are dances where everyone stands in one or more lines, and does the same steps at the same time. Sometimes all the dancers face the same direction. -
The Strengthening Aspects of Zen and Contemporary Meditation Practices
The Strengthening Aspects of Zen and Contemporary Meditation Practices By Kathleen O’Shaughnessy Excerpts from Chapter 19 of: Spiritual Growth with Entheogens – Psychoactive Sacramentals and Human Transformation Edited by Thomas B. Roberts ©2001, 2012 by the Council on Spiritual Practices Kathleen O’Shaughnessy has a thirty-year background in Soto Zen practice, psychosynthesis and gestalt therapy, movement as a means of expanding the capabilities of the human nervous system, the fragilities of nutritional healing, primary shamanic states (including plant-induced frames of mind), multiple and multilevel bodywork approaches to balance, and the practicalities of transpersonal crisis. Meditation: Reflecting on Your Attitude toward Altered States What is your relationship to unusual and altered states in meditation? As you read about these experiences, notice which ones touch you, notice where you are attracted or what reminds you of past experiences. How do you meet such experiences when they arise? Are you attached and proud of them? Do you keep trying to repeat them as a mark of your progress or success? Have you gotten stuck trying to make them return over and over again? How much wisdom have you brought to them? Are they a source of entanglement or a source of freedom for you? Do you sense them as beneficial and healing, or are they frightening? Just as you can misuse these states through attachment, you can also misuse them by avoiding them and trying to stop them. If this is the case, how could your meditation deepen if you opened to them? Let yourself sense the gifts they can bring, gifts of inspiration, new perspectives, insight, healing, or extraordinary faith. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
A History of Indian Music by the Same Author
68253 > OUP 880 5-8-74 10,000 . OSMANIA UNIVERSITY LIBRARY Call No.' poa U Accession No. Author'P OU H Title H; This bookok should bHeturned on or befoAbefoifc the marked * ^^k^t' below, nfro . ] A HISTORY OF INDIAN MUSIC BY THE SAME AUTHOR On Music : 1. Historical Development of Indian Music (Awarded the Rabindra Prize in 1960). 2. Bharatiya Sangiter Itihasa (Sanglta O Samskriti), Vols. I & II. (Awarded the Stisir Memorial Prize In 1958). 3. Raga O Rupa (Melody and Form), Vols. I & II. 4. Dhrupada-mala (with Notations). 5. Sangite Rabindranath. 6. Sangita-sarasamgraha by Ghanashyama Narahari (edited). 7. Historical Study of Indian Music ( ....in the press). On Philosophy : 1. Philosophy of Progress and Perfection. (A Comparative Study) 2. Philosophy of the World and the Absolute. 3. Abhedananda-darshana. 4. Tirtharenu. Other Books : 1. Mana O Manusha. 2. Sri Durga (An Iconographical Study). 3. Christ the Saviour. u PQ O o VM o Si < |o l "" c 13 o U 'ij 15 1 I "S S 4-> > >-J 3 'C (J o I A HISTORY OF INDIAN MUSIC' b SWAMI PRAJNANANANDA VOLUME ONE ( Ancient Period ) RAMAKRISHNA VEDANTA MATH CALCUTTA : INDIA. Published by Swaxni Adytaanda Ramakrishna Vedanta Math, Calcutta-6. First Published in May, 1963 All Rights Reserved by Ramakrishna Vedanta Math, Calcutta. Printed by Benoy Ratan Sinha at Bharati Printing Works, 141, Vivekananda Road, Calcutta-6. Plates printed by Messrs. Bengal Autotype Co. Private Ltd. Cornwallis Street, Calcutta. DEDICATED TO SWAMI VIVEKANANDA AND HIS SPIRITUAL BROTHER SWAMI ABHEDANANDA PREFACE Before attempting to write an elaborate history of Indian Music, I had a mind to write a concise one for the students.