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“Lainie Love Dalby, it has been powerful to read your essay in Sacred Body Wisdom, PRAISE with your story, passion and purpose. I have not read such honest, living, generative material in a long time. It definitely brought me deep into my own journey and his- tory. I connect with your story from my own experience of separation and disconnec- “I first met Z more than a decade ago at the 11th White Privilege Conference. tion within my body and it is so real and painful, I am just relieved you are speaking Although I had come to the conference to present, I was compelled to attend their your truth about it. I so respect and appreciate your stand for truth and authenticity. workshop for the title alone, “Freeing the body mind spirit from racism,” or some- Your words and expression are powerful medicine for the world.” thing like that. I wanted to know who at this conference was naming the body as a —R.M. site for social struggle and liberation. That was Zahava...The richness of ideas herein, forged in the laboratory of experience and relationship, could fill a whole book. They represent, a good map for the journey of dancing through and beyond “the culture of “As a man reading Eden’s journey I was in for a ride I didn’t expect. A master story whiteness.” It is clear to many that “the story of whiteness” is falling apart. Humanity teller, Eden courageously invites you into an intimate reflection of the reclamation will transform white culture in this generation or the next, or I fear, whiteness will of her sacred body wisdom. -
Northern Junket, Vol. 6, No. 11
\ \ Title CiNTMS \ rage i Take It Jr Leave It 1 Juvenile Delinquency & Square Hancing 2 From The Mailbox 7 Coming Events at Folk 3ance House - - 11 Irish Dancing -.-_ 12 Bayanihan Dance Group >. 23 Polish State Folk Ballet 24 The P»und Party 25 Contra Dance - Maiden fteel ------ 27 Square Dance - Kitty Corner -------- 28 Folk Dance - Manitou Mixer — 29 Folk Song - If My fid T«p Were A Dancing Man 30 News 32 Book Review - Spiked Boots __- 34 It's Fun To Hunt 35 lasy To Make Decorations ---- — - 43 Holiday Foo4 46 The Town Criei; 5* ******* I :0^vM^... i< k *$ R L E..A. T'B I T The longer I stay in this "business the surer I am of two things to ensure its long life and continued in- terest in it: PROPER PROGRAMMING AMD A YOUTH PROGRAM . The callers who have been active for ten or more years and are still in demand are the ones who program each of their dances so that they give something for the "hot shot" dancer; something for the "newcomer" to square dancing; and a heck of lot for the people in between who outnumber the others maybe ten to one. The dances for the in-betweens will "be a good mixture of old and traditional dances and enough of the neweir ones to keep the floor on its toes. And one thing they never are guilty of: they never deliberately try to "throw the floor". Any idiot can do that; it takes a real good caller to sense the limitations of the group and arrange or re-arrange his material accordingly. -
Easter Eggs: a Narrative Chronology
EASTER EGGS: A NARRATIVE CHRONOLOGY Adrienne Edwards and Thomas J. Lax Collaboration is a touchstone for Ralph, who has turned family members into participants and made lifelong artistic affiliations with strangers. As a young girl, Chelsea Lemon Fetzer, the artist’s daughter and one of his first collaborators, remembers methodically taking a bite out of dozens of apples used as props in his Wanda in the Awkward Age, of 1982. Twenty years later, her video documents of his Living Room Dances—in which Lemon cold called the oldest living descendants of blues musicians, showing up to dance in their living rooms and record their reactions—are fruits of an exercise in supreme observation. Under the auspices of the Ralph Lemon Company, founded in 1985 and dissolved in 1995, and of Cross Performance, Inc., founded in 1995 with the support of Ann Rosenthal and MAPP International Productions, Ralph has worked with movement artists and storytellers across the places he has traveled and then stayed: Minneapolis; New York; Port-au-Prince, Haiti; Abidjan, Côte d’Ivoire; Accra, Ghana; Nrityagram, India; Nagoya, Japan; Kunming, China; Little Yazoo, Mississippi; and many more. It seemed only fitting that the story of Ralph’s work be narrated by those whose words, gestures, and likenesses have helped to make it. What follows is a roughly chronological, wholly partial account of Ralph’s forty years of art making, compiled through in-person, telephone, and email conversations conducted on the occasion of this publication. It is an imitation of Ralph’s work, which, as Kathy Halbreich told us, always walks that very fine line between the carefully crafted and the amateur, engaging muscle knowledge so sedimented it looks untaught. -
Europeanfolkdanc006971mbp.Pdf
CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life. -
Ready2go Arts In-Person 2020-2021
CLEVELAND EDUCATION RTCONSORTIUM IN RESIDENCE AT SCLEVELAND STATE UNIVERSITY Ready To Go Arts Programs In-person and On-site 2020-2021 As the coronavirus has forced Cleveland Arts Education Consortium members to move arts learning online, we invite you to browse this list of in-person programs and activities for future options. In the meanwhile, check our Spring 2021 ONLINE book for new arts adventures for every age. Questions? Call or email the person listed with the program or Judith Ryder, CAEC Manager 216-802-3378. [email protected] Ready to Go Arts Programs 2020-2021 In these pages you’ll find a range of in-person arts programs for all ages from the Cleveland Arts Education Consortium member organizations listed below. Follow the numbers to find programs. While a few members are safely presenting some of their in-person programs, we suggest you check our ONLINE Spring 2021 book for the greatest range of options. Organization # and Name # of Programs included Arts Discipline 1 - Apollo’s Fire 2 programs MUSIC 2 - Art House, Inc. 2 programs VISUAL ART 3 - Beck Center for the Arts 2 Programs MULTIPLE ARTS 4 - Bluewater Chamber Orchestra 3 Programs MUSIC 5 - Boys and Girls Clubs of Cleveland/Open Tone Music 1 Programs MUSIC 6 - Broadway School of Music & the Arts 3 Programs MUSIC 7 - Center for Arts-Inspired Learning 3 Programs MULTIPLE ARTS 8 - Chris Siebert via CAL 1 Program THEATER/CREATIVE WRITING 9 - City Music Cleveland 2 Programs MUSIC & OTHER ARTS 10 - Cleveland Association of Black Storytellers, Inc. 2 Programs STORYTELLING/CULTURE -
Decisions Taken by BCCC
ACTION BY BCCC ON COMPLAINTS RECEIVED FROM 16 APRIL 2014 TO 31 AUGUST 2017 S.NO Programme Channel Total Nature of Complaints Telecast date of the Action By BCCC Number of programme reviwed Complaints by BCCC Received A : SPECIFIC CONTENT RELATED COMPLAINTS A-1 : Specific Content related complaints Disposed 1 Crime Patrol Sony 3 Episode 09-05-2017: It is shown that a girl Asha gets trapped with a gang 09-05-2017 Episode 09-05-2017: BCCC viewed the episode and found that this crime- of human smugglers. She is sold to Bina from Rajasthan and to please her 01-08-2017 based show did not denigrate the child. The show came out with a positive clientele, both Indian and foreign, she starts giving her injections which will 07-08-2017 messaging and the depiction was not considered to be outlandish or lead to her body’s growth. Asha will start looking like a 14-15 years old girl. grotesque. The complaint was DISPOSED OF. It is shown that Asha has her periods and her dress is blood-stained. This Episode 01/08/17: BCCC viewed the episode and found that the mother is objectionable and it denigrates children. wanted to discipline her son by inflicting torture on her. In the process the child Episode 01-08-2017: It shows a child talking about how he got gifts from gets detached from the family members and runs away from the house. In the everyone when he was born and even now he get presents from everyone second story a seven-year-old sister is shown to murder her sibling who is two in the form of beatings. -
3-5 Rhythm and Dance 1
T andalay Fitness News Grades 3-5 Rhythm, Dance, and Cultural Dance GET UP AND DANCE! All kinds of physical activities work your muscles, but not all activities are as much FUN as DANCING! That’s right -- not only is dancing fun, it’s also great exercise! So stand up, do a few simple stretches, and get ready to learn some new moves! Dancing will help you strengthen your muscles, and can also build endurance -- all you have to do is have fun just a little bit longer each day! Dancing is about moving your body. Some kinds of dancing you make up as you go along. Some kinds of dance are done in a specific way, with special steps and a certain type of music. Once you learn the steps, it can be a lot of fun to do these dances alone or with a group of people. Folk Dance: Folk dances are group dances that have developed over many many years in a certain country or area. They are usually danced to special music, and everyone does the same steps at the same time. Folk dances can be done as a performance for people to watch, but they really started as a way for everyone to celebrate together at parties and events. Some examples of folk dances are: clogging, Irish dance, square dance, sword dance, and folklorico. Line Dance: Line dances are dances where everyone stands in one or more lines, and does the same steps at the same time. Sometimes all the dancers face the same direction. -
The Strengthening Aspects of Zen and Contemporary Meditation Practices
The Strengthening Aspects of Zen and Contemporary Meditation Practices By Kathleen O’Shaughnessy Excerpts from Chapter 19 of: Spiritual Growth with Entheogens – Psychoactive Sacramentals and Human Transformation Edited by Thomas B. Roberts ©2001, 2012 by the Council on Spiritual Practices Kathleen O’Shaughnessy has a thirty-year background in Soto Zen practice, psychosynthesis and gestalt therapy, movement as a means of expanding the capabilities of the human nervous system, the fragilities of nutritional healing, primary shamanic states (including plant-induced frames of mind), multiple and multilevel bodywork approaches to balance, and the practicalities of transpersonal crisis. Meditation: Reflecting on Your Attitude toward Altered States What is your relationship to unusual and altered states in meditation? As you read about these experiences, notice which ones touch you, notice where you are attracted or what reminds you of past experiences. How do you meet such experiences when they arise? Are you attached and proud of them? Do you keep trying to repeat them as a mark of your progress or success? Have you gotten stuck trying to make them return over and over again? How much wisdom have you brought to them? Are they a source of entanglement or a source of freedom for you? Do you sense them as beneficial and healing, or are they frightening? Just as you can misuse these states through attachment, you can also misuse them by avoiding them and trying to stop them. If this is the case, how could your meditation deepen if you opened to them? Let yourself sense the gifts they can bring, gifts of inspiration, new perspectives, insight, healing, or extraordinary faith. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
The Spherical Glitch Studies
The Spherical Glitch Studies Timothy Schmele Multimedia Technologies Unit Eurecat. Centre technòlogic de Catalonia Barcelona, Spain Institut für Musikwissenschaft and Musikinformation (IMWI) Hochschule für Musik Karlsruhe, Germany Contents • Spherical Glitch Study I (2016) & II (2018) • Spatial sound synthesis techniques • Spatial Synthesizer “Spatial composition” • Primary focus on external physical space • Compositions that incorporate related aspects of sound into the compositions process: direction, location, extent, envelopment, room acoustics, etc… • Varèse’s Poeme électronique • Stockhausen’s Gesang der Jünglinge • Nono’s Prometeo Spherical • Full listening sphere around the listener • Ambisonics & VBAP Glitch • Taken from “popular music” culture • Kim Cascone: post-digital, focus on failure and looking behind a technology: “The medium is no longer the message in glitch music: the tool has become the message.” • Feedback loops to amplify a system’s specific characteristics Study • Most famously used in Stockhausen’s Studie I & II • A title that suggests that the piece was done with the purpose of practice and investigation of a particular technique or approach Spherical Glitch Studies • Intended to investigate space as a compositional parameter and the technologies associated with it • Basic starting sound material: sine tone, noise,… • Sound design through spatial manipulation • Space (sensation) creation through feedback • Performative or installation pieces (drone aspects) Background • Hemispherical Glitch Study (2013) • Indirect -
A History of Indian Music by the Same Author
68253 > OUP 880 5-8-74 10,000 . OSMANIA UNIVERSITY LIBRARY Call No.' poa U Accession No. Author'P OU H Title H; This bookok should bHeturned on or befoAbefoifc the marked * ^^k^t' below, nfro . ] A HISTORY OF INDIAN MUSIC BY THE SAME AUTHOR On Music : 1. Historical Development of Indian Music (Awarded the Rabindra Prize in 1960). 2. Bharatiya Sangiter Itihasa (Sanglta O Samskriti), Vols. I & II. (Awarded the Stisir Memorial Prize In 1958). 3. Raga O Rupa (Melody and Form), Vols. I & II. 4. Dhrupada-mala (with Notations). 5. Sangite Rabindranath. 6. Sangita-sarasamgraha by Ghanashyama Narahari (edited). 7. Historical Study of Indian Music ( ....in the press). On Philosophy : 1. Philosophy of Progress and Perfection. (A Comparative Study) 2. Philosophy of the World and the Absolute. 3. Abhedananda-darshana. 4. Tirtharenu. Other Books : 1. Mana O Manusha. 2. Sri Durga (An Iconographical Study). 3. Christ the Saviour. u PQ O o VM o Si < |o l "" c 13 o U 'ij 15 1 I "S S 4-> > >-J 3 'C (J o I A HISTORY OF INDIAN MUSIC' b SWAMI PRAJNANANANDA VOLUME ONE ( Ancient Period ) RAMAKRISHNA VEDANTA MATH CALCUTTA : INDIA. Published by Swaxni Adytaanda Ramakrishna Vedanta Math, Calcutta-6. First Published in May, 1963 All Rights Reserved by Ramakrishna Vedanta Math, Calcutta. Printed by Benoy Ratan Sinha at Bharati Printing Works, 141, Vivekananda Road, Calcutta-6. Plates printed by Messrs. Bengal Autotype Co. Private Ltd. Cornwallis Street, Calcutta. DEDICATED TO SWAMI VIVEKANANDA AND HIS SPIRITUAL BROTHER SWAMI ABHEDANANDA PREFACE Before attempting to write an elaborate history of Indian Music, I had a mind to write a concise one for the students. -
Psychedelic Research Revisited
PSYCHEDELIC RESEARCH REVISITED James Fadiman Ph.D. Menlo Park, CA Charles Grob MD Torrance, CA Gary Bravo MD Santa Rosa, CA Alise Agar (deceased) Roger Walsh MD, Ph.D. Irvine, CA ABSTRACT: In the two decades before the government banned human subjects studies in the mid 1960s, an enormous amount of research was done on psychedelics. These studies hold far reaching implications for our understanding of diverse psychological, social, and religious phenomena. With further research all but legally impossible, this makes the original researchers a unique and invaluable resource, and so they were interviewed to obtain their insights and reflections. One of these researchers was James Fadiman, who subsequently became a cofounder of the Association for Transpersonal Psychology and the Journal of Transpersonal Psychology. Discussion topics include his research studies and personal experiences, the founding, nature and purpose of transpersonal psychology, social effects of, and responses to, psychedelics, and religious freedom. INTRODUCTION For half a century psychedelics have rumbled through the Western world, seeding a subculture, titillating the media, fascinating youth, terrifying parents, enraging politicians, and intriguing researchers. Tens of millions of people have used them; millions still do—sometimes carefully and religiously, often casually and danger- ously. They have been a part—often a central and sacred part—of many societies throughout history. In fact, until recently the West was a curious anomaly in not recognizing psychedelics as spiritual and medical resources (Grob, 1998, 2002; Harner, 1973). The discovery of LSD in 1943 (Hoffman, 1983), and later its chemical cousins—such as mescaline, psilocybin and MDMA—unleashed experiences of such intensity and This paper is excerpted from a more extensive interview which will be published in a book tentatively entitled Higher Wisdom.