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Extensions of Dance EXTENSIONS OF DANCE • '.: 1 mmI i 3.5 Contents Marian Van Tuyl PREFACE 3 Margaret H'Doubler STATEMENTS 5 Selected by Nik Krevitsky John Halverson THE DANCING HEALERS OF CEYLON 7 Renee Renouf TWO MEN OF ASIAN THEATRE 15 Onoe Kuroemon of Grand Kabuki Shivaram — Kathakali Performer Joseph Adedoja Oyewusi OPEN LETTER FROM A NIGERIAN EDUCATOR 20 Adele Wenig Joann Kealiinohomoku AN ANTHROPOLOGIST LOOKS AT BALLET 24 AS A FORM OF ETHNIC DANCE Elizabeth Oberstein PARIS — 1968-1969: A Manifestation of Dance 34 Bari Rolfe MIME — Paradigm of Paradox 37 U.C. BERKELEY DANCE - A Photographic Essay 40 Luba Blumberg HISTORICAL RECONSTRUCTION OF 47 RENAISSANCE DANCES Joanna Gewertz Harris THE CREATIVE ARTS AND LIBERAL EDUCATION 50 Report of a Workshop Conference NEW DANCE ENVIRONMENT AT MILLS COLLEGE 54 LONG BEACH SUMMER SCHOOL OF DANCE 56 A Photographic Essay Mary Whitehouse REFLECTIONS ON A METAMORPHOSIS 62 Gay Cheney "IT IS A GIFT" 65 Rhoda Winter Russell THE WISCONSIN DANCE IDEA 68 Tribute from a Movement Therapist Varda Razy DANCE THERAPY IN A COMMUNITY MENTAL 71 HEALTH CENTER Joseph R. Schlichter SEQUENCE: Psychodance 1964 76 Movement Therapy 1968 "Who Am I?" CEREMONY OF US - A Photographic Essay 80 William F. Soskm PROJECT COMMUNITY AND THE CHILDREN OF 88 "THE GOOD LIFE" "WHERE ARE YOU AT?" Board Members Answer The 95 Question Editor: Marian Van Tuyl Editorial Board: Doris Dennison, Ann Halprin, Joanna Gewertz Harris, Nik Krevitsky, Eleanor Lauer, Crystal Samuels, Dorrill Shadwell, Adele Wenig, Rebecca Fuller, Gretchen Schneider, Rhoda Slanger Design: Lilly Weil Jaffe ACKNOWLEDGMENTS: Cover: Photograph of Ceremony of Us by Tylon Barea Hand lettering by David Lauer Drawings: David Lauer 8, 23, 55 Photographs: Robert G. Campbell 40-46, 91 Audio Visual Center, California State College, LongBeach 56-61 Laurie Grunberg 80, 82, 84, 85, 86, 87 Tylon Barea 81, 84 Constance Beeson 83 Michael Harris 92 Renny Wruck 93 Unless otherwise noted, photographs, charts and drawings are included by courtesy of the authors. Editorial assistance: Susan Brown, Marva Campbell, James Graham, and Renee Renouf Published by Impulse Publications, Inc., 160 Palo Alto Avenue, San Francisco, California 94114 $3.50 per copy (California residents add 19£ state tax per copy). Make checks payable to Impulse Publications, Inc. Printed by-Chapman Press, San Francisco. No part of the material herein may be reproduced,without the consent of Impulse Publications, Inc., with the exception of short quotations used for reviews. Copyright 1970 by Impulse Publications, Inc. Library of Congress Catalogue Number: 61-26301 A few of the previous issues of IMPULSE are still available: IMPULSE 1959 Arch Lauterer - Poet in the Theatre $2.50 IMPULSE 1960 Dance in the Screen Media $2.50 IMPULSE 1962 Audience for Dance $2.50 IMPULSE 1963-1964 International Exchange in Dance $3.50 IMPULSE 1966 Current Trends $2.50 IMPULSE 1967 The Dancer's Environment $2.50 IMPULSE 1968 Dance — A Projection for the Future $4.00 This issue is devoted to a 152 page report of the Developmental Conference on Dance sponsored by the United States Office of Education, Arts and Humanities Program Other Impulse Publications available in paperback from DANCE HORIZONS, INC., 1801 East 26th Street, Brooklyn, New York 11229 MODERN DANCE FORMS In Relation to the Other Modern Arts by Louis Horst and Carroll Russell, $2.95 ANTHOLOGY OF IMPULSE 1951-1966, Marian Van Tuyl, Editor, $2.95 and will, no doubt, provoke strong reactions. As Preface she has somewhat ruefully noted, the rewards of scholarship do not include complacency. Further extensions of dance are explored by Luba When we selected "Extensions of Dance" as the Blumberg, who reports on her work with musicians subject for IMPULSE 1969-1970, little did we in reconstruction of Renaissance dances. For anticipate the manner in which it would develop. dancers, mime seems to be surrounded by a sort For several years we had contemplated a volume of mystique. Bari Rolfe, describing mime as a devoted entirely to aspects of dance and movement "paradigm of paradox," gives a clear picture of therapy. We felt that the West Coast centers and this art form and an explanation of some of its individuals have much to contribute to an issue on techniques. therapy. Indeed, a large part of this issue con­ Photographic Essays of "new environments for sists of essays related to therapy presenting a dance on the West Coast" include U.C. Berkeley range of individual approaches, but not restricted Dance in the Department of Dramatic Art, the to one geographical area. Summer School of Dance at Long Beach, "Cere­ We soon found that the "extensions " went in so many mony of Us" with the Dancers' Workshop of San directions that it almost seemed as if the book Francisco and Studio Watts, and drawings of the should be circular inform. Whereas, in previous new Walter Haas Pavilion at Mills College. An issues a section has been devoted to "Notes from important extension of dance in education is to Abroad," the shrinking of our world has invalidated make administrators aware of the value of dance such an arbitrary division. Dr. John Halverson's in a liberal arts curriculum. Joanna Gewertz essay, "The Dancing Healers of Ceylon," is afine Harris reports on a workshop conference at Mills example with its fascinating description of what College designed for this purpose. went on in the particular ritual as well as the Mary Whitehouse begins a large section devoted author's discussion of the psychological implica­ to aspects of therapy in this country with an essay tions and the "magic" of dance. Renee Renouf, in on her own development from being a dancer to her interviews with Onoe Kuroemon of the Grand her present involvement with movement therapy. Kabuki and Shivaram — a Kathakali performer, Gay Cheney, a student of Mrs. Whitehouse, con­ stresses the father-son relationship in the devel­ tinues this line of thinking and applies it to her opment of these two artists of traditional Asian teaching of college students. Varda Razy, who theatre. A similar respect for the elders in a works with dance and percuss ion, as differentiated society is evident in the "Open Letter" by Joseph from movement therapy, reports a study carried Oyewusi, who is studying in this country before out in a day hospital. With the current emphasis returning to Nigeria fired with the determination on social psychiatry and keeping the patients in to forward dance in the physical education program the community, this has potential as a therapeutic of his country. When one thinks of dance in modality in large groups. Joseph Schlichter makes France, ballet dancing and the Folies Bergere strong, direct statements in describing his meth­ probably come to mind, but Elizabeth Oberstein, odology, which has developed over the past years in her article,"Manifestation of Dance in Paris," from what he called Psychodance to Gestalt ori­ makes it clear that the political upheaval of recent ented Movement Therapy. His piece "Who Ami?" years has involved dance teachers in the schools. has been described as a sensitive portrayal of She takes note of the influence of American dance counter -transference. in France, emphasizing, again, the small world in which we are living. Dr. William Soskin considers the plight of the In the summer of 1969, Joann Kealiinohomoku children of the "good life," and describes a pro­ presented a paper at the CORD Conference on ject which is concerned with the problems of our Historical Research in Dance. I was amazed and young people. Two facets of the varied program of fascinated to observe the bristling of the group Project Community represent extensions of dance: when Mrs. Kealiinohomoku referred to ballet as Carolyn Sawyer's groups based on the work of an ethnic dance form, so we asked her to write an Mary Whitehouse and the explorations of self- essay on this topic. Anthropologically oriented in­ awareness under the leadership of Judyth Ofsowitz dividuals will not find her thesis difficult to accept. using her experiences with meditation in the Her erudition and clear thinking are stimulating Orient and her study of T'ai Chi Ch'uan. We dedicate IMPULSE 1969-1970 to Margaret reads it ? " I remember going into a dance book­ H'Doubler, whose life has been devoted to dance shop in New York years ago where the discouraged and its "extensions." Rhoda Winter Russell honors proprietor said, "Ballet dancers can't read and Miss H'Doubler in her article, "The Wisconsin modern dancers won't read anything that doesn't Dance Idea — Tribute from a Movement Therapist." have their pictures in it." But we take great sat­ isfaction in the fact that our issues do go all over the world. Today's mail brought requests from ANNOUNCEMENT Ghana and from Alaska. This is the last regular issue which Impulse Pub­ lications will produce. If there are individual Our financial state is deplorable. We have aimed projects which need to be undertaken, it may be to pay the printer and the postman, and have been possible to do them. able to do so because previous issues are in con­ stant demand when people find out that IMPULSE exists. We are definitely a non-profit enterprise It is 20 years since I received the letter from Ann but haven't yet convinced the Federal Government, Halprin asking if I would help with a publication because we are judged to be a social club, "like a that was being put out by the students at the Halprin- ski club," and nota cultural or educational organ­ Lathrop Studio. My "impulse" was to refuse, but ization! I freely admit that I have not been suffic­ since I thought she just wanted me to contribute an iently aggressive in this matter.
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