DOCSLIB.ORG

14-TRISHA BROWN CUADERNILLO ING.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
14-TRISHA BROWN CUADERNILLO ING.Pdf 1 F Foreword As part of the Museo Tamayo’s ongoing commitment to showcasing three-dimensional works in its “sculpture court”, we have initiated a program devoted to exhibiting spatialized sculptural practices that have emerged since the 1960s focusing on the expanded fields of traditional mediums that go beyond sculpture and into the domains of performance and dance. Moreover, this focus extends to works that engage the spectator’s participation. 3 This program will take place twice a year, and the staging of Trisha Brown’s 1970 choreographic and sculptural piece Floor of the Forest initiates this series, which will be followed in August by the presentation of some of the works produced by members of the Groupe de Recherche d’Art Visuel between 1960 and 1968 accompanied by a small documentary exhibition on the aforementioned artist group, organized by Andrea Torreblanca. The dancers participating at the Museo Tamayo are from the S Centro de Producción de Danza Contemporánea (CEPRODAC) of the Instituto Nacional de Bellas Artes. Director: Raúl Parrao. The dancers were trained by choreographer Tony Orrico. Synopsis Floor of the Forest (1970) is a dance/ CEPRODAC dancers: Stéphanie Janaina and Sheila Rojas; performance art piece staged for the first Irasema Sánchez and Edith Pérez; Juan Madero and Jorge time by Trisha Brown and Carmen Beuchat in 1970. The piece Ronzón; Gersaín Piñón and Yonatan Espinosa; Ricardo consists of a steel structure holding up a grid made of rope Rodríguez, asistente de dirección. and clothes. Two dancers move through the grid, dressing and undressing their way through the structure. At certain moments they pause and let gravity pull their bodies down towards the 4 ground. The public moves around the structure. Outside of 5 scheduled performance times, the piece functions as a sculpture. Schedule Premiere: May 8, 19:30 Performances: May 12 - July 21, 2013 This piece has been shown in various contexts—in theater Tuesdays and Thursdays: 13:00 and dance festivals as well as in performance art and contemporary Sundays: 12:00, 13:30, 15:00, 16:30 dance programs—at museums such as the Henry Art Gallery, The Walker Art Center, the Hammer Museum, the Barbican, and dOCUMENTA 12. S S Some brief notes on the work of Trisha Brown and Floor of the Forest Trisha Brown is one of the most original and innovative figures of contemporary dance, whose groundbreaking work redefined choreographic practice in the 1960s and 1970s in close relation to the artistic avant-gardes of the period. Born in 1936, Brown graduated from 7 Mills College in 1958, she trained, during summer workshops, with Anna Halprin, Merce Cunningham, Louis Horst and José Limón. In 1961 she moved to New York, where she contributed to the establishment of the Judson Dance Theater in 1962. Along with her peers and frequent collaborators Yvonne Rainer, Simone Forti, and Steve Paxton, she is considered one of the foremost representatives of post-modern dance. Though we can identify the influence of early modernist choreographers such as Oskar Schlemmer and particularly Rudolf von Laban’s method of choreographic notation, the Kinetography Laban, on Trisha Brown’s conceptual approachto dance, her work can best be understood in the context of the New York avant-garde of the 1960s and 70s and the Bay Area counterculture of the same Trisha Brown © 1990 Lois Greenfield period. This was a time marked by departures from the constraints of medium specificity, the dissolution of boundaries between Once in New York and working with the other members of the genres, the dematerialization of the art object, and interdisciplinary Judson Dance Theater, including Robert Dunn, who had studied explorations that equally operated on choreographic and dance with John Cage, Brown began experimenting with duration, practices, which, in many respects, paralleled Minimalism’s chance, language, objects, and everyday movements. The spatialized approach and phenomenological concerns. As fellow collaborative environment of New York’s Soho neighborhood at that choreographer and dancer Simone Forti recently stated in an time was a hotbed for artistic experimentation and Trisha Brown interview “we were artists working with the medium of movement.”1 not only worked together with her fellow dancers at the nearby Judson Dance Theater but also collaborated with artists such A formative chapter in Brown’s early trajectory was the as George Maciunas, whose building at 80 Wooster Street served as summer workshop she took in 1960 with Anna Halprin in the Trisha Brown’s living quarters but was also the place from where she choreographer’s open-air dance deck designed by her husband, staged pieces such as Man Walking Down the Side of a Building architect Lawrence Halprin, and where Brown met Simone Forti, (1970), Roof Piece (1971), and Floor of the Forest (1970); Robert Yvonne Rainer and Robert Morris, who would become frequent Rauschenberg, who designed the set and costumes for Glacial 8 collaborators and interlocutors. There, secluded among the Decoy (1979); Walter de Maria, who created a dance/vision for 9 trees and natural beauty of Marin County, the young artists learnt her in 1965; and Juan Downey for whom she performed Energy improvisation, task-based movements, and kinesthetic awareness Fields at 112 Greene Street in 1972 with Carol Goodden, Carmen from Anna Halprin; lessons that were to mark their individual Beuchat, Suzanne Harris and Gordon Matta-Clark, among others. practices and approaches to the interrelations between the body and space. Influenced by John Cage’s explorations of every day sounds3, Brown similarly experimented with everyday and basic movements One of the task-based exercises assigned to Brown during the of the body–standing, sitting, and lying down—which make up workshop was to sweep the deck with a broom; she concentrated the core of her first choreography,Trillium (1962) performed on the movement intensely until she propelled herself up in the air at the Maidman Playhouse in New York by Simone Forti, who also using the broom. In Brown’s words “I swept the floor for hours wrote the sound score. For Brown it was important to “break those and I went totally out of my mind. I was obsessively involved actions down to their basic mechanical structure, finding places with my job. I never really swept the floor, I took it as a dance of rest and power, momentum, and peculiarity (…) eventually structure, and action structure, and I held it.”2 This episode, accelerating and mixing up to a degree that lying down was done witnessed and described by Yvonne Rainer in several accounts, in the air.”4 is considered a pivotal one in Brown’s practice as it marked her future experimentation with gravity and the idea of bodies in flight. Homemade © 1989 Vincent Pereira Roof Piece © 1973 Babette Mangolte In the mid-sixties Brown began integrating language but also objects, landmark gravity-defying pieces, Man Walking Down the Side harnesses, and pulleys to her choreographies. Homemade (1966), of a Building. Supported by a system of pulleys and ropes held performed at the Judson Memorial Church, was a collaboration with from the rooftop, dancer Joseph Schlichter walked down the side Robert Whitman in which Brown performed with a film projector of a seven-story building in Soho, his body parallel to the ground attached to her back. More importantly however was the series at a ninety degree angle from the wall.7 The 1971 and 1974 “off- of movements that she performed for this piece, “a succession of the-wall” pieces Walking on the Wall and Spiral similarly featured pedestrian behaviors of personal significance that she instructed dancers walking horizontally down a vertical surface, and, in the herself to perform “live”–not imitative “physical feats”—but as case of the latter, in a spiral motion down columns (originally at 383 representations of thought, demonstrating the mind’s connection West Broadway’s loft space where the piece was first performed), to the body.”5 their bodies parallel to the ground, making evident the tension between gravitational pull and the ropes holding them in place but Brown continued to push the limits of dance and choreography, also the strength of the dancer’s cores which enabled them to walk as well as to integrate other media such as film in her work, gracefully and seemingly effortlessly down the vertical plane. 12 notably in Planes (1968) in which dancers dressed in black and 13 white jumpsuits slowly moved across the surface of a wall, aided by a series of masked orifices which enabled them to climb and support themselves, onto which a film by Jud Yalkut was projected containing aerial footage of different locations including New York. The city itself would also prove to be another stage for Brown in her later Roof Piece (1971)6 performed on the roofs of several Soho buildings, an experiment in choreography as a site-specific and sculptural endeavor, but also as an act of communication; the dancers, dressed in red, would relay movements to one another from the rooftops of the buildings. Ever since Brown took to the air propelled by a broom in Anna Halprin’s dance deck, defying gravity became a central concern in her work, either through simple bodily movements or aided by harnesses and rope-and-pulley systems which were never concealed from the audience. In 1970 Brown staged one of her Planes 3 © 2009 Julieta Cervantes Floor of the Forest © 2010 John Mallison Floor of the Forest (1970) brings together many of Trisha Brown’s of the possibilities offered
Load more

Recommended publications
  • 2018 Scripps/ADF Award Announced
    HONORARY CHAIRPERSONS Mrs. Laura Bush Mrs. Hillary Rodham Clinton Mrs. George Bush Mrs. Nancy Reagan Mrs. Rosalynn Carter Mrs. Be y Ford (1918–2011) BOARD OF DIRECTORS Curt C. Myers, Chairman Jodee Nimerichter, President Russell Savre, Treasurer Nancy McKaig, Secretary PRESS CONTACT Charles L. Reinhart, Director Emeritus National Press Representative: Lisa Labrado Jennings Brody Mimi Bull [email protected] Nancy P. Carstens Direct: 646-214-5812/Mobile: 917-399-5120 Rebecca B. Elvin Richard E. Feldman, Esq. James Frazier, Ed.D. North Carolina Press Representative: Sarah Tondu omas R. Galloway Jenny Blackwelder Grant [email protected] Susan T. Hall, Ph.D. Office: 919-684-6402/Mobile: 919-270-9100 Dave Hurlbert Carlton Midye e Adam Reinhart, Ph.D. Arthur H. Rogers III FOR IMMEDIATE RELEASE Judith Sagan 2018 SAMUEL H. SCRIPPS/AMERICAN DANCE FESTIVAL AWARD TO BE PRESENTED TO RONALD K. BROWN Durham, NC, October 11, 2017—The American Dance Festival (ADF) will present the 2018 Samuel H. Scripps/American Dance Festival Award for lifetime achievement to acclaimed choreographer, Ronald K. Brown. Established in 1981 by Samuel H. Scripps, the annual award honors choreographers ADVISORY COMMITTEE who have dedicated their lives and talent to the creation of modern dance. Celebrated dancer, Robby Barne choreographer, and teacher Dianne McIntyre will present the $50,000 award in a brief ceremony on Brenda Brodie Ronald K. Brown Thursday, June 28th at 8:00pm, prior to the performance of Evidence, A Dance Company at Martha Clarke Reynolds Industries Theater. Laura Dean Mark Dendy Eiko and Koma “We are thrilled to honor Ronald K. Brown with this award.
    [Show full text]
  • Judson Dance Theater: the Work Is Never Done
    Judson Dance Theater: The Work is Never Done Judson Dance Theater: The Work Is Never Done The Museum of Modern Art, New York September 16, 2018-February 03, 2019 MoMA, 11w53, On View, 2nd Floor, Atrium MoMA, 11w53, On View, 2nd Floor, Contemporary Galleries Gallery 0: Atrium Complete Charles Atlas video installation checklist can be found in the brochure Posters CAROL SUMMERS Poster for Elaine Summers’ Fantastic Gardens 1964 Exhibition copy 24 × 36" (61 × 91.4 cm) Jerome Robbins Dance Division, New York Public Library, GIft of Elaine Summers Gallery 0: Atrium Posters Poster for an Evening of Dance 1963 Exhibition copy Yvonne Rainer Papers, The Getty Research Institute, Los Angeles Gallery 0: Atrium Posters Poster for Concert of Dance #13, Judson Memorial Church, New York (November 19– 20, 1963) 1963 11 × 8 1/2" (28 × 21.6 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Judson Dance Theater: The Work Is Never Done Gallery 0: Atrium Posters Poster for Concert of Dance #5, America on Wheels, Washington, DC (May 9, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Poster for Steve Paxton’s Afternoon (a forest concert), 101 Appletree Row, Berkeley Heights, New Jersey (October 6, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Flyer for
    [Show full text]
  • PDF Released for Review Purposes Only. Not for Publication Or Wide Distribution
    JUDSON Giampaolo Bianconi is Thomas J. Lax is Associate Julia Robinson is Associate In the early 1960s, an assembly of choreographers, visual artists, composers, and Curatorial Assistant in the Curator in the Department of Professor of Modern and filmmakers made use of a church in New York’s Greenwich Village to present Judson Dance Theater The Work Is Never Done Department of Media and Media and Performance Art Contemporary Art at New performances that redefined the kinds of movement that could be understood as Performance Art at MoMA. at MoMA. York University. She is the dance—performances that Village Voice critic Jill Johnston would declare the most editor of the October Files exciting in a generation. The group was Judson Dance Theater, its name borrowed Harry C. H. Choi is a Twelve- Victor “Viv” Liu was a volume John Cage (2011) from Judson Memorial Church, the socially engaged Protestant congregation Month Intern in the Department Seasonal Intern in the and the author of a forthcom- that hosted the dancers’ open workshops. The Judson artists emphasized new DANCE of Media and Performance Art Department of Media and ing book on George Brecht. compositional methods meant to strip dance of its theatrical conventions and fore- at MoMA. Performance Art at MoMA. Robinson is an active curator. grounded “ordinary” movements—gestures more likely to be seen on the street or at home. Although Judson Dance Theater would last only a few years, the artists affili- Vivian A. Crockett is the Jenny Harris is Curatorial Gloria Sutton is Associate ated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith 2017–18 Andrew W.
    [Show full text]
  • For a Brief Period in the Early 1960S, a Group of Choreographers, Visual
    For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present performances that Village Voice critic Jill Johnston declared the most exciting new developments in dance in a generation. Redefining the kinds of movement that could count as dance, the Judson participants—Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, among others—would go on to profoundly shape all fields of art in the second half of the 20th century. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Together, the artists challenged traditional understandings of choreography, expanding dance in ways that reconsidered its place in the world. They employed new compositional methods to strip dance of its theatrical conventions, incorporating “ordinary” movements—gestures typical of the street or home, for example, rather than a stage—into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity. Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with the workshops and classes led by Anna Halprin, Robert Ellis Dunn, and James Waring and exploring the influence of other figures working downtown such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre.
    [Show full text]
  • JUDSONOW the Work Is Never Done
    DANSPACE PROJECT PLATFORM 2012: JUDSONOW The work is never done. Sanctuary always needed. -Steve Paxton In Memory of Reverend Howard Moody (1921-2012) 3 Published by Danspace Project, New York, on the occasion of PLATFORM 2012: Judson Now. First edition ©2012 Danspace Project All rights reserved under pan-American copyright conventions. No part of this publication may be reproduced or utilized in any form or by any means without permission in writing from the publisher. Every reasonable effort has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Inquires should be addressed to: Danspace Project St. Mark’s Church in-the-Bowery 131 East 10th Street New York, NY 10003 danspaceproject.org EDITOR-IN-CHIEF Judy Hussie-Taylor EDITOR AND SCHOLAR-IN-RESIDENCE Jenn Joy MANAGING EDITOR Lydia Bell CURATORIAL FELLOW Katrina De Wees RESEARCHER Adrienne Rooney PHOTOGRAPHER-IN-RESIDENCE Ian Douglas WRITERS-IN-RESIDENCE Huffa Frobes-Cross Danielle Goldman PRINTER Symmetry DESIGNER Judith Walker Cover image: Carolee Schneemann, Score for Banana Hands (1962). Photo by Russ Heller. DANSPACE PROJECT PLATFORM 2012: JUDSONOW JUDSON Remy Charlip Feinberg Geoffrey Hendricks PARTICIPANTS Pandit Chatur Lal Crystal Field Donna Hepler 1962-66*: Lucinda Childs William Fields Fred Herko Carolyn Chrisman June Finch Clyde Herlitz Carolyn Adams Nancy Christofferson Jim Finney George Herms Charles Adams Sheila Cohen Pamela Finney Geoffrey Heyworth Olga Adorno Klüver Hunt Cole George Flynn Dick Higgins Felix Aeppli
    [Show full text]
  • Dance Icon Anna Halprin Debuts a New, Large-Scale Performance Work at Stern Grove
    For Immediate Release Contact: Mona Baroudi 415.615.2735 [email protected] Dance icon Anna Halprin debuts a new, large-scale performance work at Stern Grove Presented free as part of Dancers’ Group’s ONSITE series May 1-3, 2009 SAN FRANCISCO, CA—December 17, 2008—Dancers’ Group is proud to present a new, large-scale work by postmodern dance and performance pioneer Anna Halprin, at Stern Grove from May 1-3, 2009. How does the human body integrate with our land and our environment? Halprin has been meditating on this question throughout her 50-year dance career. For this work the 88-year old Halprin brings together dancers, musicians, performers and the Stern Grove concert meadow, which was designed by Halprin’s husband, legendary landscape architect Lawrence Halprin. The immense scale of the grand stone bleachers, interspersed with grass terraces, stone ziggurats, and granite boulders, creates, in Halprin’s words, “a mystical place where one would be inspired to reach into oneself.” In this new work, Halprin, who has spent more than five decades challenging the conventions of modern dance—and is who celebrated for blurring boundaries between art forms, professional and amateur, performer and audience—will reverse the locations of spectators and performers, placing the audience on the stage and the dancers in the stands. Halprin, who was deeply inspired by both the architecture and the way the space is used everyday by the public, writes: “people walk their dogs, parents stroll their baby carriages, runners do their daily runs, people are meditating and practicing chi gong.
    [Show full text]
  • Ruth Clark Lert Dance Library and Archive, 1831-1994
    http://oac.cdlib.org/findaid/ark:/13030/tf4779n8h6 No online items Guide to the Ruth Clark Lert Dance Library and Archive, 1831-1994 Processed by Laura Clark Brown; machine-readable finding aid created by Brooke Dykman Dockter Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html © 1997 The Regents of the University of California. All rights reserved. Note Arts and Humanities --Performing Arts --DanceGeographical (by Place) --California Guide to the Ruth Clark Lert MS-P009 1 Dance Library and Archive, 1831-1994 Guide to the Ruth Clark Lert Dance Library and Archive, 1831-1994 Collection number: MS-P 9 Special Collections and Archives The UCI Libraries University of California Irvine, California Contact Information Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html Processed by: Laura Clark Brown Date Completed: 1997 Encoded by: Brooke Dykman Dockter © 1997. The Regents of the University of California. All rights reserved. Descriptive Summary Title: Ruth Clark Lert Dance Library and Archive, Date (inclusive): 1831-1994 Date (bulk): (bulk 1950-1980) Collection number: MS-P009 Collector: Lert, Ruth Clark Extent: Number of containers: 65 document boxes, 3 shoe boxes, 8 record cartons, 10 flat boxes and 12 oversized folders Linear feet: 57 Repository: University of California, Irvine.
    [Show full text]
  • Journeying from Sensation Into Words: Dancing Language in the Tamalpa Life/Art Process
    Journeying from Sensation into Words: Dancing Language in the Tamalpa Life/Art Process By Hiie Saumaa, PhD he arms reach into an uneven my words will strike a chord: “When imaginative, and physical responses to horizon. The torso begins a I saw you hold your elbows like this, movement and sensation. While some roundward journey. The gaze physically I felt ‘held.’ Emotionally I practices, such as Authentic Movement, softens to connect to the in- felt safe. Mentally I saw an image of you include verbal articulation, in many Tner eye. Sitting on the studio floor at embracing yourself or someone else.” somatic methods, particularly those Earthdance in Plainfield, Massachu- Growing more confident, I proceed: practiced primarily in group settings, setts, I watch an experienced Contact “When I saw you thrusting your right participants’ opportunity to articulate Improvisation dancer move in front arm vigorously forward and turning their movement experiences, either in of my eyes, this time in solo form. His side to side, I physically felt energy written or spoken formats, remains lim- dance is a response to three elements coursing through my torso. Emotion- ited. The scene above brings to light an in a drawing that he completed ten ally I felt agile and present in the mo- aspect that is frequently overlooked in minutes ago. The drawing, now in ment. In my mind’s eye, I imagined somatic approaches to movement—the front of my toes, with its squares, lines, a skilled martial artist moving with exploration of language in the experi- and hieroglyphic shapes in vibrant or- a sword.” Responding with a nod of ence of the mover.
    [Show full text]
  • Trisha Brown: Choreography As Visual Art*
    Trisha Brown: Choreography as Visual Art* SUSAN ROSENBERG Four decades separate Trisha Brown’s reincarnation of her legendary work Man Walking Down the Side of a Building (1970) at New York’s Whitney Museum of American Art in the fall of 2010 from its premiere in Manhattan’s SoHo dis- trict.1 Always refusing—until recently—the countless invitations to reprise this well-known but almost-never-seen choreographic performance, Brown has met the curiosity of interviewers with a modest statement disavowing authorship: “I don’t even know who that woman was, it has been such a long time.”2 A founding participant in Robert Dunn’s legendary dance-composition workshop (1961–63) and pioneering member of Judson Dance Theater (1962–64), Trisha Brown has had a career that is unprecedented in its traversals of the fields of choreography, visual art, and opera. Given Brown’s repeated acts of artistic self-invention, she has had many reasons and occasions to problematize the relationship of her work’s present to its past, and when looking back, she has always demonstrated skepticism about the possibility of a work’s “authentic” revival.3 From her oeuvre of approximately one hundred choreographies, Brown has tended the legacy of Man Walking with particular care. Typical of her acute sensitivity to her work’s institutional determination, to movement’s temporality, and to choreography’s history, she subtly reinvented Man Walking in 2010 in a manner similar to her treatment of other signature solo works and performances: contravening the iconic singularity of the 1970 original, the 2010 version of Man Walking was executed by two different performers: Stephen Petronio, a choreogra- * I thank Carrie Lambert-Beatty for her invaluable editorial comments and advice in the develop- ment of this text, and Mignon Nixon for her support.
    [Show full text]
  • Hudson Bell Dissertation Front Matter
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Audience Engagement in San Francisco's Contemporary Dance Scene: Forging Connections Through Food Permalink https://escholarship.org/uc/item/01z1796x Author Bell, Melissa Hudson Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California ! UNIVERSITY OF CALIFORNIA RIVERSIDE! ! ! ! Audience Engagement in San Francisco’s Contemporary Dance Scene: Forging Connections Through! Food ! ! ! A Dissertation submitted in partial satisfaction of the requirements! for the degree of ! Doctor of Philosophy! in! Critical Dance! Studies by! Melissa Hudson! Bell ! June !2014 ! ! ! ! ! Dissertation Committee: Dr. Jacqueline Shea Murphy, Chairperson Dr. Anthea Kraut Dr. Lynette Hunter ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by Melissa Hudson Bell 2014! ! ! !The Dissertation of Melissa Hudson Bell is approved by:! ! ! ! !!!!!!!!!!! ! ! !!!!!!!!!!! ! !!!!!!!!! ! !!!!!!!!!!! !!!!!!!! Committee Chairperson! ! ! ! ! ! University of California, Riverside! ! ! ! ACKNOWLEDGEMENTS! Writing a dissertation has proven to be a journey not only into the various performance scenarios I have chosen as the subjects of my research, but into my own biases, predilections, and ways of sensing, remembering, moving, dreaming, and being in the world. As such, I have relied heavily upon the support and feedback of many people, each of whom were able to hold a mirror up to me and to the work, thoughtfully
    [Show full text]
  • Davis 1 Intersections of Anna and Lawrence Halprin's Collective
    Davis 1 Intersections of Anna and Lawrence Halprin’s Collective Creativity: Using Site-Specific Dance to Engage Post-Industrial Flint with Riverbank Park Emma Davis Presented to the Liberal Studies Faculty at the University of Michigan-FIint in partial fulfillment of the requirements for the Master of Liberal Studies December 13, 2015 First Reader Second Reader Davis 2 Intersections of Anna and Lawrence Halprin’s Collective Creativity: Using Site-Specific Dance to Engage Post-Industrial Flint with Riverbank Park Introduction In the heart of downtown Flint rests a threatened but important part of Michigan’s modernist architectural heritage. Riverbank Park is one of several city-initiated projects that aimed at attracting people to the city during the beginning of Flint’s severe economic downturn and post-industrial challenges. In the 1970s, the office of Lawrence Halprin and Associates was commissioned to design Riverbank Park along the Flint River, based on flood control requirements. The park won several architecture awards, and became a space for the community to gather and create memories. However, even the park’s unique design couldn’t overcome the economic consequences of Flint’s decreasing population due to the declining auto industry, including issues of safety, maintenance, and negative perception. Today, Riverbank Park is threatened in multiple ways including empty water canals and long-term deferred maintenance. Elements of the original park design are also threatened by revitalization efforts, with concrete portions of the park demolished by the city in 2015 in attempt to increase accessibility. Riverbank Park was created to challenge the public’s idea of aesthetic and spatial beauty, and Lawrence Halprin’s designs considered movement patterns and human interaction.
    [Show full text]
  • Anna Halprin
    www.sacreddanceguild.org Anna Halprin A leading dance innovator for over 70 years, Anna Halprin has influenced Trisha Brown, Yvonne Rainer, Simone Forti. Meredith Monk, and countless others. Her approach integrates life and art, addressing social issues, building community, fostering healing, and connecting people to nature. She established the first U.S. multiracial dance company; created programs for cancer and AIDS patients; helped pioneer expressive arts therapy, cofounding Tamalpa Institute with Daria Halprin; and developed ways of generating collective creativity with her husband, Lawrence Halprin. Her many honors include a 2014 Doris Duke Impact Award, and her work has recently been shown at the 57th International Art Exhibition of La Biennale di Venezia and documenta 14, as well as the exhibit “Radical Bodies” in Santa Barbara and New York City. For more information, see annahalprin.org. Co-founded by Anna and Daria Halprin in 1978, Tamalpa Institute (www.tamalpa.org) is an internationally recognized nonprofit organization that offers expressive-arts training programs and workshops for healing, education, and social transformation. The Tamalpa Institute aspires to bring the creative power of dance and healing arts to all people in order to transform lives and communities. Their innovative work has been brought into classrooms, businesses, hospitals, mental health care settings, hospices, prisons, and disadvantaged communities, among others. Through creative inquiry and research, and through a teaching methodology that fosters ongoing learning, Tamalpa Institute is recognized as an international leader in the fields of expressive arts and somatics. The guiding purpose of the Tamalpa Institute is to actively contribute to an embodied and creative world to achieve personal and social healing and transformation.
    [Show full text]