DOCSLIB.ORG

Universi^ Micrafilms International

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. Indistinct, broken or small print on several pages • 8. Print exceeds margin requirem ents_____ 9. Tightly bound copy with print lost ______in spine 10. Computer printout pages with indistinct print. 11. Page(s)____________ lacking when material received, and not available from school or author. 12. Page(s)____________ seem to be missing in numbering only a s text follows. 13. Two pages numbered____________ . Text follows. 14. Curling and wrinkled pages______ 15. 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.
Recommended publications
  • 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

    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.
  • University of California Riverside

    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.
  • Führt Der Weg Zum Ziel? Überlegungen Zur Verbindung Des Modernen Yoga*) Mit Patanjalis Yoga-Sutra Annette Blühdorn

    Führt Der Weg Zum Ziel? Überlegungen Zur Verbindung Des Modernen Yoga*) Mit Patanjalis Yoga-Sutra Annette Blühdorn

    erschienen in zwei Teilen in: Deutsches Yoga-Forum 6/2019, S.30-33 und 1/2020, S.26-31 © Dr. Annette Blühdorn Führt der Weg zum Ziel? Überlegungen zur Verbindung des Modernen Yoga*) mit Patanjalis Yoga-Sutra Annette Blühdorn Er hatte es schon in sich erfahren, dass Glaube und Zweifel zusammengehören, dass sie einander bedingen wie Ein- und Ausatmen. (Hermann Hesse, Das Glasperlenspiel) Als im Juni 2015 zum ersten Mal weltweit der Internationale Yoga-Tag begangen wurde, traten sehr schnell Kritiker auf den Plan, die dieses Ereignis als politische Machtdemonstration der national- konservativen indischen Regierung interpretierten. Yoga solle hier als ausschließlich indisches Erbe und Kulturgut dargestellt werden, während doch tatsächlich der heute überall auf der Welt praktizierte moderne Yoga auch von vielfältigen Strömungen und Einflüssen des Westens geprägt worden sei. So ungefähr lautete damals die Kritik, die mir geradezu ketzerisch erschien; ziemlich heftig wurde da an den Grundfesten meiner heilen Yoga-Welt gerüttelt. Weil aber, wie Hermann Hesse im Glasperlenspiel erklärt, Glaube und Zweifel sich gegenseitig bedingen, wurde es mir bald ein Bedürfnis, mich mit dieser Kritik konstruktiv auseinanderzusetzen. Inzwischen sind die Inhalte dieses Forschungszweigs, der sich mit der Tradition und Entwicklung des Yoga beschäftigt, bei mir angekommen. Ich habe von dem soge- nannten Hatha-Yoga-Project der School of Oriental and African Studies der University of London erfahren, in der groß aufgestellten Webseite von Modern Yoga Research gestöbert
  • Mercury's Low-Reflectance Material: Constraints from Hollows

    Mercury's Low-Reflectance Material: Constraints from Hollows

    Mercury’s low-reflectance material: Constraints from hollows Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway To cite this version: Rebecca Thomas, Brian Hynek, David Rothery, Susan Conway. Mercury’s low-reflectance material: Constraints from hollows. Icarus, Elsevier, 2016, 277, pp.455-465. 10.1016/j.icarus.2016.05.036. hal-02271739 HAL Id: hal-02271739 https://hal.archives-ouvertes.fr/hal-02271739 Submitted on 27 Aug 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. Accepted Manuscript Mercury’s Low-Reflectance Material: Constraints from Hollows Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway PII: S0019-1035(16)30246-9 DOI: 10.1016/j.icarus.2016.05.036 Reference: YICAR 12084 To appear in: Icarus Received date: 23 February 2016 Revised date: 9 May 2016 Accepted date: 24 May 2016 Please cite this article as: Rebecca J. Thomas , Brian M. Hynek , David A. Rothery , Susan J. Conway , Mercury’s Low-Reflectance Material: Constraints from Hollows, Icarus (2016), doi: 10.1016/j.icarus.2016.05.036 This is a PDF file of an unedited manuscript that has been accepted for publication. As a service to our customers we are providing this early version of the manuscript.
  • Rudolf Laban in the 21St Century: a Brazilian Perspective

    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.
  • National Endowment for the Arts Annual Report 1982

    National Endowment for the Arts Annual Report 1982

    Nat]onal Endowment for the Arts 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, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor­ agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per­ The diversity of artistic activity in America is cent gain over state appropriations for FY 81.
  • Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608

    Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608

    Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ......................................................................................................................................
  • Qurrat Ann Kadwani: Still Calling Her Q!

    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.
  • Impact Melt Emplacement on Mercury

    Impact Melt Emplacement on Mercury

    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon.
  • "Yoga Body: the Origins of Modern Posture Practice" De SINGLETON, M. Interface - Comunicação, Saúde, Educação, Vol

    "Yoga Body: the Origins of Modern Posture Practice" De SINGLETON, M. Interface - Comunicação, Saúde, Educação, Vol

    Interface - Comunicação, Saúde, Educação ISSN: 1414-3283 [email protected] Universidade Estadual Paulista Júlio de Mesquita Filho Brasil Siegel, Pamela; Filice de Barros, Nelson Reseña de "Yoga body: the origins of modern posture practice" de SINGLETON, M. Interface - Comunicação, Saúde, Educação, vol. 16, núm. 42, septiembre, 2012, pp. 843-845 Universidade Estadual Paulista Júlio de Mesquita Filho São Paulo, Brasil Available in: http://www.redalyc.org/articulo.oa?id=180124621016 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative SINGLETON, M. Yoga body: the origins of modern posture practice. Nova York: Oxford University Press, 2010. livros Pamela Siegel1 Nelson Filice de Barros2 A prática de asanas (posturas) é um chifres, rodeada de animais, e sentada fenômeno que não tem paralelo nos com as pernas cruzadas, ilustrariam tempos pré-modernos; daí que uma imagem do deus Shiva, afirmação Singleton investiga a origem desta disputada por Doris Srinivasan (1984) e tendência e nos deleita com uma Geoffrey Samuel, entre outros. fascinante viagem no tempo. O livro, Segundo Singleton, a primeira de 262 páginas, tem nove capítulos. Na ocorrência do termo yoga aparece no Introdução, o autor explica que, em Katha Upanishad, aproximadamente no 2008, houve uma estimativa de que os século III a.C.; e ele continua citando praticantes de yoga nos EUA gastaram outras obras mais tardias onde vão 5,7 bilhões de dólares em aulas de aparecendo menções do yoga ou yoga, retiros e produtos a fins, por ano.
  • Dance Program and Ephemera Collection, 1909-1987

    Dance Program and Ephemera Collection, 1909-1987

    http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others.
  • Legends in Dance

    Legends in Dance

    Legends in Dance Martha Graham Martha Graham’s impact on dance was staggering and often compared to that of Picasso’s on painting and Stravinsky’s on music. Her contributions transformed the art form, revitalizing and expanding dance around the world. She will forever be known as “the Mother of Modern Dance”. In the Beginning Martha Graham (1894 – 1991) was born in a suburb of Pittsburgh, Pennsylvania, on May 11, 1894. Her father, a doctor specializing in nervous disorders, was very interested in diagnosis through attention to physical movement. This belief in the body’s ability to express its inner senses was pivotal in Graham’s desire to dance. As her doctor father would say, “bodies cannot lie”. When she was ten years old (1904), and after one of her sisters developed asthma, the family moved to California because the weather was better. Graham became interested in studying dance after she saw Ruth St. Denis (1880–1968) perform in Los Angeles 1911 (1914). Inspired by St. Denis’ performance, Graham enrolled in the arts-oriented Cumnoch School. She attended from 1913-1916 graduating with her studies in theater and dance. She later studied at the new Denishawn School; a collaboration of Ruth St.Dennis (the dance she originally saw and was inspired by) and husband/dancer Ted Shawn. Over eight year period from 1915-1923, as both a student and an instructor, Graham made Denishawn her home. She would later comment that “everything she did was influenced by Denishawn”. By 1923, she was ready to branch out. She found her chance dancing in the Greenwich Village Follies; A New York based vaudeville and variety show where she danced her own solo routines she choreographed for the shows.