ISBN-10:
1584650109
ISBN-13:
9781584650102
Pub. Date:
10/01/2002
Publisher:
University Press of New England
Body and Earth: An Experiential Guide / Edition 1

Body and Earth: An Experiential Guide / Edition 1

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Overview

An inspired synthesis of scientific detail and creative perception offers new insights into the relationship between body and earth.

Product Details

ISBN-13: 9781584650102
Publisher: University Press of New England
Publication date: 10/01/2002
Series: Middlebury Bicentennial Series in Environmental Studies Series
Edition description: New Edition
Pages: 288
Product dimensions: 8.50(w) x 11.00(h) x 0.70(d)

About the Author

ANDREA OLSEN is professor of dance and faculty member in the Environmental Studies Program at Middlebury College. Author of Bodystories: A Guide to Experiential Anatomy, she also performs, teaches yoga and creative writing, and offers workshops worldwide.

Table of Contents

Preface • Introduction • About This Book • PART 1 MOVING • Day 1 Basic Concepts • Dance is both universal and highly personal. • To Do: Orientation • To Dance: Familiar-Voice Dancing • To Write: Personal Orientation About the Tonic System • Studio Notes: Bonnie Bainbridge Cohen • Day 2 Attitudes • People have complex views about the dancing body. • To Do: Finding Your Calcaneus • To Dance: Opposite-Voice Dancing • To Write: Why Dance? • Studio Notes: David Dorfman • Day 3 Flow • Flow is our oceanic heritage. • To Do: Rolling and Pouring • To Do: Spherical Awareness • To Dance: Plumb-Line Falls • To Write: Letting Words Flow • Studio Notes: Kathleen Hermesdorf • Day 4 Fire • Sometimes we need fire. • To Do: Vessel Breath • To Dance: Dancing through the Body Systems • To Write: Fire and You • Studio Notes: Caryn McHose • Day 5 Getting Started • You can only dance where you are. • To Do: Three Long Walks • To Dance: Presentations • To Write: Creative Conditions • Studio Notes: Penny Campbell • Day 6 Training and Technique • We train for the unknown. • What I Look for in a Performer (Tamar Rogoff) • To Do: Hip Reflex • To Dance: Light-Touch Duets • To Write: Identify Your Strengths and Weaknesses • Studio Notes: Jeanine Durning • Day 7 Embracing Mystery • Dancing involves surrender. • To Do: Breathing Spot • To Do: Three-Part Breath • To Dance: Refreshing What’s Needed • To Write: What’s Your Experience of Mystery? • Studio Notes: Suprapto Suryodarmo • Being Seen, Being Moved: Authentic Movement and Performance, Part I • Day 8 Looking Back, Moving Forward • Dance history comes in several forms. • To Do: Releasing the Jaw • To Dance: Dance One Artist’s Dance • To Write: Your Dance Story • Studio Notes: Nancy Stark Smith • Studio Notes: Teena Marie Custer • PART 2 MAKING • Day 9 Improvising • Improvising can be experienced on a continuum. • To Do: Freeing the Girdles To Dance: Dance Your Partner • To Write: Improvisational Mind • Studio Notes: Lisa Gonzales, Pamela Vail, and Michael Chorney • Day 10 Composing • Composition is arranging. • To Do: Four Movement Qualities • To Dance: Framing • To Dance: Composing with a Group • To Do and Write: Dance-a-Day Notebook • Studio Notes: Jim Coleman • Day 11 Choreographing • Choreography involves the why of a thing. • To Do: Contra-lateral Yield and Push • To Dance: Building Trios • To Write and Do: Concept-Driven Dance • Studio Notes: David Dorfman • Studio Notes: John Elder • Day 12 Visceral Movement • How do you know whether you’re moving or still? • To Do: Pelvic Floor • To Dance: The Antidote-to-the-Antidote Dance • To Write: Artist’s Statement • Studio Notes: Bebe Miller • Day 13 Rehearsing • The most stunning dancing happens in rehearsals. • To Do: Ball of Energy • To Dance: Body-Parts Duets • To Dance: Declarations • To Write: Reviewing Rehearsing • Studio Notes: Peter Schmitz • Day 14 Sound and Music • Ears are always open. • To Do: Resonance • To Dance: Dancing Twelve • To Dance: DJ Time • To Write: Music Journal • Studio Notes: Michael Chorney • Day 15 Space and Place • Space shapes the body, and the body shapes space. • To Do: Parallel Lines in the Sand • To Dance: Space Plan • To Write and Do: Gestalt Dance • Studio Notes: Chris Aiken • Day 16 Endings • Don’t abandon your ending. • To Do: Practicing Ending • To Dance: Calling End • To Write: Ending? • Studio Notes: Robert Swinston, on Merce Cunningham • PART 3 COLLABORATING • Day 17 Words and Feedback • Language shapes a way of thinking. • WIGO • Reinterpreting Butterflies • To Do: Watching and Writing • To Dance: Dance-Back • To Speak: Talking about Dancing • To Write: Performance Response • Studio Notes: Kate Trammell • Studio Notes: Deborah Jowitt • Day 18 Touch and Partnering • Touch and partnering involve a yield toward center. • To Do: Layers of Touch • To Dance: Landscapes • To Write: Touching and Being Touched • Studio Notes: Terry Creach • Day 19 Vision • Vision links past with future and communicates the present. • To Do: Expanding the Skull • To Do: Flowing and Forming • To Dance: Postcard Dances • To Write: Vision Statement • Studio Notes: Lisa Nelson • Dance, Place, and Video: Otto Ramstad • Day 20 Breath and Voice • Breath affects the phrasing and timing of movement and vocalization. • To Do: Resonance • To Do: Talking to the Floor • To Dance: Dancing Your Story • To Write and Present: Speaking Your Artist’s Statement • Studio Notes: Alex Draper • Day 21 Textures, Fabrics, and Costumes • Costumes are experienced as part of the body. • To Do: Costume Day • To Dance: Opposite-Voice Costumes • To Do and Write: Laying Out Possibilities • Studio Notes: Heidi Henderson • Day 22Dancing with Light • Light makes things happen. • To Do: Lighting Board • To Dance: Four Lighting Possibilities • To Write and Do: Light Your Dance with a Designer • Seven Questions to Ask Yourself • Studio Notes: Kathy Couch • Day 23 From Studio to Stage • Performance week is a time to focus. • To Do: Saying Your Name • To Dance: Rehearsal Coaching • To Write and Speak: Elevator Pitch • Studio Notes: Bonnie Bainbridge Cohen • Day 24 Performing • Performance invokes transformation. • To Do: Tuning Stillness and Moving Warm-Up • To Dance: Thresholds • To Write: What’s Your Relationship to Performance? • Studio Notes: Susan Prins • Being Seen, Being Moved: Authentic Movement and Performance, Part II • PART 4 LIVING • Day 25 Healthy Dancing • The nervous system governs our actions and reactions. •To Do: Imagining the Cortex Central Nervous System • To Dance: Dancing through the Nervous System, Part I • To Write: What’s Healthy Dancing to You? • Studio Notes: Stuart Singer • Day 26 Healing Dancing • Dancing and dance making create agency. • To Do: Embodying the Four Layers of the Nervous System • To Dance: Dancing through the Nervous System, Part II • To Write: Reflecting on Writing • Studio Notes: Paul Matteson • Day 27 Teaching Dancing • Teaching is learning. • To Do: Heel Foot and Ankle Foot • To Dance: Extending Your Range • To Write: Teaching Dancing • Six Composing Basics • Reviewing Ten Landmarks for Efficient Movement • Studio Notes: David Dorfman • Day 28 Dance and Yoga • Dance and yoga are longtime partners. • To Do: Articulating Eight Horizontal Diaphragms • To Dance: Preparations for Sun Salutation • To Do and Write: Savasana • Studio Notes: Bonnie Bainbridge Cohen • Day 29 Nature and Creativity • Body is Earth. • To Do: Place Map • To Dance: be-ing Score • To Write: An Experience in Nature • Studio Notes: Andrea Olsen, Art Making and the Environment • Day 30 Concerning the Spiritual • Dance is embodied spirit. • To Do: Three Contemplative Practices • To Dance: Sacred Space • To Write: A Sense of the Sacred • Studio Notes: Janet Adler • Day 31 Personal Project • Create your own chapter. • Acknowledgments • Notes • Selected Bibliography • Publication Credits • Subject Index • Art Index

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