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Universi^ Micrafilms International INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. U niversi^ Micrafilms International 300 N. Zeeb Road Ann Arbor, Ml 481 OS 8419033 Wheeler, f rede rick SURFACE TO ESSENCE: APPROPRIATION OF THE ORIENT BY MODERN DANCE The Ohio State University Ph.D. 1934 University Microfilms I nternstionsi300 N. zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Wheeler, Mark Frederick All Rights Reserved PLEASE NOTE; In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V_ 1. Glossy photographs or pages. 2. Colored illustrations, paper or print_ 3. Photographs with dark background _ 4. Illustrations are poor copy 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. 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Other_____________________________________________ __________________________ University Microfilms International SURFACE TO ESSENCE: APPROPRIATTGN CF THE ORIENT BY MODERN DANCE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State university By Mark Frederick Wheeler, A.B., M.S., A.M. ***** The Ohio State University 1984 Reading Ccnmittee: j%)roved By Dr. Angelika Gerbes Dr. Seymour Kleinman Dr. Barioara Ifelson Adviser / Dr. Daryl Siedentop Depa; 'xt of Physiol Education Cc^Ycight by Mark Frederick Wheeler 1984 Blis vork is dedicated to Jan and to my first - and best - teachers, Frieda Wheeler and the late Fred J. Wheeler. 11 AŒNOMIŒGMENTS I wish, to thank the members of my reading cortinit±ee - Professors Angelika Gerbes, Seymour Kleinman, Barbara Nelson, and Daryl Siedentop - for their interest and time, and especially ity major adviser. Professor Kleinman, for inspiration and for his open, yet firm guidance. I thank my friend and colleague. Professor Ann E. Jewett, University of Georgia, for her encouragenent and concrete support for this wcrk. I thank Mrs. Brenda Arnold, Mrs. Judy Mitchell, Mrs. Donna Sanders and Mr. Gene Turner, University of Georgia, who have been so supportive in their preparation of the manuscript and photogr^hic plates. And I thank Professor Jewett and Professor Anita A. Aldrich, Indiana University, for treating as a given the "fact" that I one day must earn a Ph.D. n x vniA. February 2, 1949. B o m - Springfield, Missouri 1971.......... A.B., Indiana University, Bloaningtcn, Indiana 1974-1976 . Associate Instructor, Modem Dance Program and Coiparative Literature Department, Indiana Itoiversity, Bloomington, Indiana 197 6.......... M.S., Indiana University, Bloomington, Indiana 1976-1978 . Instructor, D^sartment of Dance, Univer­ sity of Georgia, Athens, Georgia 197 7 .......... A.M., Indiana University, Bloomington, Indiana 1980-1981 . Visiting Lecturer, Modem Dance Program, Indiana University, Bloomington, Indiana 1981- ...... Assistant Professor and Head of the Department of Dance, University of Georgia, Athens, Georgia PÜBLICATICNS "The Spectacle of the Body: As Education." Journal of Physical Education and Recreation. Vol. 49, No. 5 (May 1977). R^rinted in Dance Dynamics, Washington, D.C.: National Dance Association, 1378. "Aesthetics and Children: Movenent-Inspired Studies in the Inter- relatedless of the Arts." Aesthetics and Dance. Reston, Virginia: National Dance Association, 1980. "Sexual Response and the Graham Contraction." Sexuality and Dance. Reston Virginia: National Dance Association, 1981. Self, Examined" in Religion and Dance. Reston; Virginia: National Dance Association, 1982. IV TMBTE OF CONTENTS Page aCKNOMIEDGMENIS............................................ ill VIOA ..................................................... iv LIST CF FIGURES............................................ vii LIST OF PLATES ........................................... viii INTRODUCTION............................................ 1 Chapter I. THE ORIENT......................................... 7 Introduction. ............................. 7 Religion and Philosophy of the E a s t ................. 10 Oriental Paths to Mindr-Bo<^ Integration.............. 28 The East/West Dichotomy............................ 42 II. MODERN DANCE.......................................... 49 Introduction...................................... 49 Isadora Duncan.................................... 51 The Modem Dance/Ballet Diohotcny................... 59 III. SURFACE APPROPRIATICaî................................. 6 8 East Meets West: 1784-1912 ...................... 68 Ruth St. Denis........ 84 Denishawn......................... 89 St. Denis: La îferi and Jack Co l e ................... 95 IV. SURFACE TO ESSENCE................................... 104 Martha Graham: Early Career Profile.............. 104 East Meets Vfest: 1912-1946 ...................... 113 ffertta Graham: Technique......................... 138 Martha Graham: Theatre Aesthetic.................. 178 Progressive Education and Dance Education........... 184 Ch^xter Page V. EXPIÛRING 1HE ESSENCE.......................193 East Meets Wfest: 1947-1965...................... 193 Iferœ Cunninÿiam: Theatre Aesthetic............... 201 Ann Halprin: 3irprovisatim....................... 213 Post-M3d e m Dance................................ 216 Erick Hawkins: Technique......................... 226 Erick Havdiins: Theatre Aesthetic. ............. 239 The East/Wtest and M o d e m Dance/Ballet Dichotcmies. 246 VI. ASSIMELATINS THE ESSENCE ..................... 250 East Ifeets Vfest: 1966-1984...................... 250 Contact Inprovisaticn . ........... ................ 263 Ddxxrah H^'s Circle Dances....................... 270 Bcxfy Therapies: Body/Mind Centering............... 274 Oonclusicn...... ............................... 286 BIBLIOGRAPHY............................................. 289 VI LIST OF FIGÜRES Figure Page 1. The T'ai-chi T'u, or "Diagram of the Supreme Ultimate". 20 2. One of sixty-four hexagrams of the I Ching or Book of Changes 22 VXi LIST OF FIATES Plate Page I. Padmakosa hand (lotus bud) ; drawing in 1917 and 1936 editions of Cocmaraswaity's translation of the Abhin^a Carpana of Nandikesvara................... 147 II. "Graham hand" in Martha Graham's "Primi-tive I^steries" (1931).................................. 147 III. Danseuse in Buddhist frieze at Borobodur, Java, eighth century, A.D.; plate in 1917 and 1936 edi-ticns of Coamaraswany's transla-tion of the Abhinaya Darpana of Ij&ndiskevara..................... 148 IV. Ifertha Graham in her solo "Imperial Gesture" (1935) . 149 V. cL K. Saroja in the Bharata Natyam Kirtanam "Kalai Thooki," a sacred song addressed to lord Shiva........ 150 VI. Indrani in a posture based on the classical Karanas, a fundamental movement in Orissi, dance of Tnt^ia. 1 5 1 VII. Scene from îfartha Graham's "Eirfaattled Garden" (1958). 151 VIII. Xsnia Zarina in posture of the King of Lasem in the Legong, dance of B ali ............................... 152 IX. The Cosmic Dance of Shiva, copper figure in îfedras Museum, fifteentdi century; plate in 1917 and 1936 editions of Coomaraswany's translaticn of the Abhinaya Darpana of Ifendiskevara...................... 152 X. M.
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