"The Body is a Clear Place" is a collection of ten intelligent, lyrical essays that serve as a testament to Erick Hawkins' long career in dance. The last two essays were written especially for this volume while the first eight essays were collected from speeches, statements and articles Hawkins has written. The essays are framed by a foreword written by Alan Kriegsman. Essay titles are: The Rite in Theatre; Theatre Structure for a New Dance Poetry; Modern Dance as a Voyage of Discovery; Questions and Answers; The Body is a Clear Place; My Love Affair with Music; Inmost Heaven, or The Normative Ideal; Dance as a Metaphor of Existence; The Principle of a Thing; Art in Its Second Function. Accompanying the text is a photo section illuminating Hawkins' work as a dancer and choreographer from his early years on. He has created an aesthetic of movement based on the notions that art can exist both for its own sake and as a means towards deeper enlightenment; that dance is a metaphor for existence; that all body movement contributes to the moment-to-moment wonder of living. Philosopher, experienced performer and pithy observer of the American modern dance scene, this elder spokesman for modern dance-who Anna Kisselgoff calls the poet of modern dance-challenges us to revolutionize our responses to movement and dance. Includes 12 illustrations.

The Body is a Clear Place is a collection of ten intelligent, lyrical essays that serve as a testament to Erick Hawkins' long career in dance. The last two essays were written especially for this volume while the first eight essays were collected from speeches, statements and articles Hawkins has written. The essays are framed by a foreword written by Alan Kriegsman.Essay titles are: The Rite in Theatre; Theatre Structure for a New Dance Poetry; Modern Dance as a Voyage of Discovery; Questions and Answers; The Body is a Clear Place; My Love Affair with Music; Inmost Heaven,

A discussion of current practices in modern dance training

The Oxford Handbook of Qualitative Research, Second Edition presents a comprehensive, interdisciplinary overview of the field of qualitative research. Divided into eight parts, the forty chapters address key topics in the field such as approaches to qualitative research (philosophical perspectives), narrative inquiry, field research, and interview methods, text, arts-based, and internet methods, analysis and interpretation of findings, and representation and evaluation. The handbook is intended for students of all levels, faculty, and researchers across the disciplines, and the contributors represent some of the most influential and innovative researchers as well as emerging scholars. This handbook provides a broad introduction to the field of qualitative research to those with little to no background in the subject, while providing substantive contributions to the field that will be of interest to even the most experienced researchers. It serves as a user-friendly teaching tool suitable for a range of undergraduate or graduate courses, as well as individuals working on their thesis or other research projects. With a focus on methodological instruction, the incorporation of real-world examples and practical applications, and ample coverage of writing and representation, this volume offers everything readers need to undertake their own qualitative studies.

"This work's quality, diversity, and breadth of coverage make it a valuable resource for collections concerned with qualitative research in a broad range of disciplines. Highly recommended." —G.R. Walden, CHOICE The Handbook of the Arts in Qualitative Inquiry: Perspectives, Methodologies, Examples, and Issues represents an unfolding and expanding orientation to qualitative social science research that draws inspiration, concepts, processes, and representational forms from the arts. In this defining work, J. Gary Knowles and Ardra L. Cole bring together the top scholars in qualitative methods to provide a comprehensive overview of the past, present, and future of arts-based research. This Handbook provides an accessible and stimulating collection of theoretical arguments and illustrative examples that delineate the role of the arts in qualitative social science research. Key Features Defines and explores the role of the arts in qualitative social science research: The Handbook presents an analysis of classic and emerging methodologies and approaches that employs the arts in the qualitative research process. Brings together a unique group of scholars: Offering diverse perspectives, contributors to this volume represent a wide range of disciplines including the humanities, media and communication, anthropology, sociology, psychology, women's studies, education, social work, nursing, and health and medicine. Offers comprehensive coverage of the genres employed by qualitative researchers: Scholars use multiple ways to advance knowledge including literary forms, performance, visual art, various types of media, narrative, folk art, and more. Articulates challenges inherent in alternative methodologies: This volume discusses the issues and challenges faced when employing art in research including ethical issues, academic merit issues, and even funding issues. Intended Audience This is an essential resource for any scholar interested in qualitative research, as well as a critical resource for all academic and public libraries.

How do women set up institutions? How has higher education helped or hindered women in the world of dance? These are some of the questions addressed through interviews and researched by the educators and dancers Sharon E. Friedler and Susan B. Glazer in Dancing Female . In dealing with some of the tensions, joys, frustrations, and fears women experience at various points of their creative lives, the contributors strike a balance between a theoretical sense of feminism and its practice in reality. This book presents answers to basic questions about women, power, and action. Why do women choreographers choose to create the dances they do in the manner they do? How do women in dance work independently and organizationally?

DIVThis is the first collection of queer criticism on the history of the novel. Eve Sedgwick has brought together contributors to navigate this new terrritory through discussions of a wide range of British, French, and American novels--including canonical/div

From her childhood in Detroit to her professional career in New York City, American composer Lucia Dlugoszewski (1925–2000) lived a life of relentless creativity as a poet and writer, composer for dance, theater, and film, and, eventually, choreographer. Forging her own path after briefly studying with John Cage and Edgard Varèse, Dlugoszewski tackled the musical issues of her time. She expanded sonic resources, invented instruments, brought new focus to timbre and texture, collaborated with artists across disciplines, and incorporated spiritual, psychological, and philosophical influences into her work. Remembered today almost solely as the musical director for the Erick Hawkins Dance Company, Dlugoszewski's compositional output, writings on aesthetics, creative relationships, and graphic poetry deserve careful examination on their own terms within the history of American experimental music.

In seven representative episodes of black masculine literary and cultural history—from the founding of the first African American Masonic lodge in 1775 to the 1990s choreographies of modern dance genius Bill T. Jones—Constructing the Black Masculine maps black men’s historical efforts to negotiate the frequently discordant relationship between blackness and maleness in the cultural logic of American identity. Maurice O. Wallace draws on an impressive variety of material to investigate the survivalist strategies employed by black men who have had to endure the disjunction between race and masculinity in American culture. Highlighting their chronic objectification under the gaze of white eyes, Wallace argues that black men suffer a social and representational crisis in being at once seen and unseen, fetish and phantasm, spectacle and shadow in the American racial imagination. Invisible and disregarded on one hand, black men, perceived as potential threats to society, simultaneously face the reality of hypervisibility and perpetual surveillance. Paying significant attention to the sociotechnologies of vision and image production over two centuries, Wallace shows how African American men—as soldiers, Freemasons, and romantic heroes—have sought both to realize the ideal image of the American masculine subject and to deconstruct it in expressive mediums like modern dance, photography, and theatre. Throughout, he draws on the experiences and theories of such notable figures as Frederick Douglass, W. E. B. Du Bois, Booker T. Washington, and James Baldwin.

In Classical American Philosophy: Poiesis in the Public Square, Rebecca Farinas takes seven major figures from the American philosophical canon and examines their relationship with an artistic or scientific interlocutor. It is a unique insight into the origins of American philosophy and through case studies such as the friendship between Alain Locke and the biologist E.E. Just and the collaboration between Jane Addams and George Herbert Mead, Farinas provides a new insight into these thinkers' ideas. Her new perspective allows her to move beyond relational aesthetics to consider these theorists' phenomenological, metaphysical, religious and cosmological ideas and reapply them to the modern world. Indeed, the partnerships she examines have proved especially valuable to newer philosophical fields like value theory, ethics, pedagogy and semiotics. Her links between art and science also provide new vantage points on our society's continuing artistic endeavours and technological advances and introduce an exciting new perspective on early American philosophy and its ensuing movements.