An Oral History with Ruth Solomon Founding UCSC Professor Of
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Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, wfiMe others may be from any type of computer printer. Tfie quality of this reproducthm Is dependent upon ttie quality of the copy subm itted. Broken or indistinct print, ootored or poor quality illustrations and photographs, print bleodthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these wiU be noted. Also, if unauthorized copyright material had to t>e removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at ttie upper left-tiand comer and continuing from left to rigtit in equal sections with small overlaps. Photographs included in the original manuscript have t>een reproduced xerographically in this copy. Higtier qualify 6” x 9” black and white photographic prints are available for any pfiotographs or illustrations appearing in this copy for an additional ctiarge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMT CHILDREN'S DANCE: AN EXPLORATION THROUGH THE TECHNIQUES OF MERGE CUNNINGHAM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Sharon L. Unrau, M.A., CM.A. The Ohio State University 2000 Dissertation Committee: Approved by Professor Emeritus Philip Clark Professor Seymour Kleinman, Advisor Assistant Professor Fiona Travis UMI Number 9962456 Copyright 2000 by Unrau, Sharon Lynn All rights reserved. -
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. -
Sidetrekked; Issue #59; September, 2018
September 2018 SideTrekked - A publication of Science Fiction London - Issue #59 SideTrekked is the official journal of Science Fiction London ISSN 0715-3007 ISSN Canada Library and Archives Canada 395 Wellington Street Ottawa, Ontario K1A 0N4 All regular, public meetings are held at the Central Branch of the London Public Library 251 Dundas Street London, Ontario N6A 6H9 www.sflondon.ca www.facebook.com/ScienceFictionLondon [email protected] The front cover image was created by Andrey Kiselev and was obtained via www.123rf.com . The back cover image was created by 'algolonline' and was also obtained via www.123rf.com. This edition was edited by Stephanie Hanna and Mark Ambrogio. Club Executive Mark C. Ambrogio, president Stephanie Hanna, vice-president Terry Brown, secretary & library liaison Reinhardt Christiansen, webmaster Doug McKay, treasurer page 3 Domain Names and Why They Matter Editors' Note: Recently, Science Fiction London renewed its domain name. We thought folks might be interested to know the history of the club's domain name, why we have a domain name, and some information on domain names in general. Thanks to Reinhardt (our webmaster) for putting together this article! A domain name is essentially a string of letters that tells someone where to go to find a given website. It is not an actual address in the same way 251 Dundas Street, London, Ontario is, but it is a unique identifier that can be looked up by your computer to determine the actual address. Just as we typically say "the Library" to refer to the London Public Library, Central Branch, http://sflondon.ca is a short, human-friendly way to refer to the Science Fiction London website. -
David Gordon
David Gordon - ‘80s ARCHIVEOGRAPHY - Part 2 1 #1 DAVID IS SURPRISED - IN 1982 - when - ç BONNIE BROOKS - PROGRAM SPECIALIST AT THE NATIONAL ENDOWMENT FOR THE ARTS - - volunteers to leave her secure government job - and to relocate - from Washington DC to NYC - to become - Managing Director of the newly incorporated Pick Up Performance Company. #2 DAVID IS SURPRISED - to use metal folding chairs - for the 1st time - since 1974/75 - in a new work called T.V. Reel - to be performed in the Setterfield/Gordon studio - and - David asks artist - ç POWER BOOTHE - who designed everything in Trying Times - 1982 - to repaint old painted plaster studio walls - for the performance - to look like - new unpainted taped sheet rock studio walls - and surprised when Power agrees. It’s a good visual joke - David says - and cheaper - than to paint ê new taped unpainted sheet rock - 2 coatsa white. #1 David buys new çchairs - for new T.V. Reel - with 2 bars - far apart enough - to do original ‘74 Chair moves #2 Step up on - metal chairs - and - stand up n’step up - and stand up. With no bars - legs spread - and spread. #1 Original metal chairs - borrowed from Lucinda Childs - (see ‘70s ARCHIVEOGRAPHY - Part 2) have bars - between front’n front legs - and back’n back legs. #2 Company is Appalachian? Adirondack? Some kinda mountain. #1 Borrowed Lucinda Childs’ chairs - are blue. New chairs are brown. We still have original blue chairs - David says. David Gordon - ‘80s ARCHIVEOGRAPHY - Part 2 2 #2 1982 - T.V. Reel is performed by Valda Setterfield, Nina Martin î Keith Marshall, Paul Thompson, Susan Eschelbach, David Gordon and Margaret Hoeffel - danced to looped excerpts of - Miller’s Reel recorded in 1976 - by New England Conservatory country fiddle band - and conducted by Gunther Schuller. -
The Cunningham Costume: the Unitard In-Between Sculpture and Painting Julie Perrin
The Cunningham costume: the unitard in-between sculpture and painting Julie Perrin To cite this version: Julie Perrin. The Cunningham costume: the unitard in-between sculpture and painting. 2019. hal- 02293712 HAL Id: hal-02293712 https://hal-univ-paris8.archives-ouvertes.fr/hal-02293712 Submitted on 31 Oct 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE CUNNIN Julie PERRIN GHAM COS TUME: THE UNITARD IN-BETWEEN SCULPTURE AND PAINTING Translated by Jacqueline Cousineau from: Julie Perrin, « Le costume Cunningham : l’académique pris entre sculpture et pein- ture », Repères. Cahier de danse, « Cos- tumes de danse », Biennale nationale de danse du Val-de-Marne, n° 27, avril 2011, p. 22-25. SITE DES ETUDES ET RECHERCHES EN DANSE A PARIS 8 THE Julie PERRIN CUNNINGHAM COSTUME : THE UNITARD IN- Translated by Jacqueline Cousineau BETWEEN SCULPTURE from: Julie Perrin, « Le costume Cun- ningham : l’académique pris entre AND PAINTING sculpture et peinture », Repères. Ca- hier de danse, « Costumes de danse », Biennale nationale de danse du Val- de-Marne, n° 27, avril 2011, p. 22-25. -
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. -
House Opens - Project: Archiveography Logo
LIVE ARCHIVEOGRAPHY - PART TWO 1 HOUSE OPENS - PROJECT: ARCHIVEOGRAPHY LOGO AUDIO - 1971 - OBERLIN COLLEGE RECORDING - SUE TEPLEY - PIANO PROJECT - PHOTO ALBUM – LIVE ARCHIVEOGRAPHY SCRIPT PGS - AUDIO - 2013 - GORDON/CUNNINGHAM/GRAHAM/OLIVER/SETTERFIELD PROJECT - ARCHIVEOGRAPHY - PART TWO PROJECT - EVAN LESLIE - INTRODUCES PERFORMANCE LIVE ARCHIVEOGRAPHY - PART TWO 2 1984 - in the NY Times review of - A Plain Romance Explained - performed at the Joyce Theater - the critic writes - Gordon plays on the ideas of creative process and rehearsal as dancer Keith Marshall explains his steps and relationship to an invisible partner. When the other dancers do the same, the joke wears thin. Tedium sets in. PROJECT - PLAIN ROMANCE EXPLAINED - TRIO - PLUS TEXT David can’t help thinking - the joke wearing thin - and tedium - are his perverse choices of ingredients. He wantsa signal how sincerely he loves what he loves - and perversely laugh or groan - at his own sincerity. He wantsa present something that looks improvised - and is perversely rehearsed enough - to look improvised. And then - present it 2 times in a row. Or 3 - perversely - like repetition and argument - and argument - and repetition - and repetition. He wantsa do - and simultaneously - perversely undo - a climax. In 1984 - he creates a duet - for Keith Marshall - with an active missing partner - which is therefore - perversely - a solo. David must acknowledge - as he nears the end of this career - that it is the end of this career - and that perversity is - an inciting noun - and is - and was always - at work in his work. David wantsa eat his favorite Jewish rye bread - with caraway seeds - and - perversely - have it too. -
Feminist Scholarship Review: Women in Theater and Dance
Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•... -
David Gordon & Valda Setterfield Part 2
CONTENTS .. ·2 LETTERS 3 EDITOR NOTE 4 IN MEMORY OF ELEANOR HUSTON 8 DAVID GORDON & VALDA SETTERFIELD (interview) Part 2 12 HEARD LIVE ON WBAI-FM: E.llen Elias 13 CROSS-CURRENTS- perspectives from other sources 14 THE CHANGING AVANT-GARDE: Anna Kisselgoff (reprint) 16 CONTEMPORARY DANCE (book review): Mark Blumenfeld 17 DANCING MIND: Lisa Kraus 18 DAVID BRADSHAW (drawing) 20 ROU~D UP- reports on Contact activities 21 B.A.C.N.: Alan Ptashek 22 EAST MEETS WEST IN THE SOUTH: Robin Feld CONTACT IMPROVISATION NEWS (reports, classes, jams, notices) appears in the CONTACT NEWSLETTER, a removable section of ca. CONTACTS (a referral system) is on page 22 of the Summer '79 ca. COORDINATING EDITOR: Nancy Stark Smith CONTACT QUARTER LV is published four times a year by ASS'T EDITOR at large: Lisa Nelson Contact Ouarterly/Box297/Stinson Beach, California 94970. GRAPHIC DESIGN: Laura Millin Yearly subscription rates: $10 ($13 U.S. funds in Canada, COPY EDITING: Alan Ptashek, Jerry Zientara, NSS $15 overseas.) Single copies: $2.50 ($3 U.S. funds in Canada, TYPESETTING: NSS $3.50 overseas.) Back issues: $4 each. Contact Quarterly can LAYOUT & PASTEUP: Laura Millin be mail-ordered from our central offic in Stinson Beach or obtained DARKROOM: Shannon West, Mark Blumenfeld through the distributors indicated as such in 'Contacts'. PRODUCTION ASS'TS: Mark Blumenfeld, Andrew Harwood, Thorn Mack CONTACT QUARTERLY is a project of Contact Collaborations, PRODUCTION FACILITY: Northwest Passage, Seattle, Wa. a non-profit or11anization serving as an umbrella for several Contact PRINTER:.sNOHOM/.SH 'PU8LISiftN"; .SIIOHOMISN/ vJ~. activities. DONATIONS to CO are now tax deductible and, as CIRCULATION & 'THE BOOKS': Millie E. -
Oloftha Vol Xxxn No
Georgia College Knowledge Box Colonnade Special Collections 1-19-1957 Colonnade January 19, 1957 Colonnade Follow this and additional works at: https://kb.gcsu.edu/colonnade Part of the Higher Education Commons, and the Mass Communication Commons Recommended Citation Colonnade, "Colonnade January 19, 1957" (1957). Colonnade. 499. https://kb.gcsu.edu/colonnade/499 This Book is brought to you for free and open access by the Special Collections at Knowledge Box. It has been accepted for inclusion in Colonnade by an authorized administrator of Knowledge Box. I?^**;?^:^;^?';:: •jy;/'-' immi 3I- 'r./';. I'... 1 1 / .. olofTha Vol XXXn No. 6 Qeorgia State CoUege for WomeiiiMilledgeville, Gepzj^d iSaturday, January 19,1957 Prdqram Presented l y 'Hamjef To Be Presented Jean Erdman, Dancer In Russell On Jan. 2 6 WUS WEEK TO BE HELD By Mary Jo Claxton By Alice Lavender Dean Donald MacMahon's Lec- Saturday Soiree will present ture Committee has brought an- "Hamlet", a movie with Lawrence other outstanding artist to the Olivier and Jean Simmons,' on Jan- campus for two days. On Tuesday, uary 26. / DURING MONTH OF FEB. January 15th at 8:00 p.m. in Rus- This motion picture, winner of sell Auditorium, Miss Jean Erd- 5 academy awards, is Shake- man presented a delightful pro- speare's immortal classic. LETTER RECEIVED gram of dances which she has The tragedy of Hamlet, a man of choreographed. The dances on the thought who failed as a man of FROM GREEK BOY program were: Salutation, Mozart; action, is magnificently brought to Passage, Janowitz; Ophelia, Cage; the screen in a widely acclaimed Each year a portion of the Creature on a Journey, Harrison; performance by one of the world's money given to the World Univer- Medusa, Horst;' Pierrot, the Moon- great actors. -
Dancing Fulbrighters 60 Years of Dance Exchanges on the New Zealand Fulbright Programme
Dancing Fulbrighters 60 years of dance exchanges on the New Zealand Fulbright programme Jennifer Shennan © Jennifer Shennan 2008 Published by Fulbright New Zealand, November 2008 The opinions and views expressed in this booklet are the personal views of the author and contributors and do not represent in whole or part the opinions of Fulbright New Zealand. See inside back cover for photograph captions and credits. ISBN 978-1-877502-04-0 (print) ISBN 978-1-877502-05-7 (PDF) Sixty years of Dancing Fulbrighters A handsome volume, Fulbright in New Zealand, Educational Foundation (Fulbright New Zealand) published in 1988, marked the 40th anniversary of and New Zealand Council for Educational Research the Fulbright exchange programme’s operation in this were Coming and Going: 40 years of the Fulbright country. The author, Joan Druett, herself a Fulbrighter, Programme in New Zealand as well as conference affi rmed what other participants already knew, namely proceedings – The Impact of American Ideas on New that a Fulbright award for a visit to or from the United Zealand Education, Policy and Practice. Dance has States, whether for a year’s teaching exchange, clearly been one of the subject areas to benefi t from an extended research project, or a short-term the introduction of American ideas in New Zealand intensive visit, could prove an infl uential milestone in education, both in policy and practice, even if it took professional career and personal life. some time to come to fruition. For many, those infl uences have continued To help mark the 60th anniversary of the Fulbright for decades, not recalled merely for sentiment or Programme here, I proposed profi ling some of the nostalgia, but for the wider context developed for many fellows across 60 years whose projects had one’s fi eld of study, and as an energizing reminder been in dance, whether as choreographers, teachers, of the potential for goodwill in “inter-national” performers, writers or educationalists, either New projects. -
National Endowment for the Arts Annual Report 1989
National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216