The system of "seven states of consciousness" articulated by Maharishi Mahesh Yogi forms the basis of this unusual critique of modern literature. In seven chapters, "Invitation to the Dance," "Absurdity," "Transcendence," "Enlightenment," "Celebration," "Unity," and "The Enlightened Artist," Douglas Mackey here examines fourteen well-known writers and their equally well-known works.

This book is based on talks by Ram Dass at the Menninger Foundation in 1970 and at the Spring Grove Hospital in Maryland in 1972. The text grew out of the interaction between Ram Dass and the spiritual seekers in attendance at these talks. The result of this unique exchange is a useful guide for understanding the nature of consciousness--useful both to other spiritual seekers and to formally trained psychologists. It is also a celebration of the Dance of Life--which, in the words of Ram Dass, is the "only dance there is."

Against the background of personal, institutional and cultural trajectories, this book considers dance, opera, theatre and practice as research from a consciousness studies perspective. Highlights include a conversation with Barbara Sellers-Young on the nature of dance; an assessment of the work of International Opera Theater; a new perspective on liveness and livecasts; a reassessment, with Anita S. Hammer, of the concept of a universal language of the theatre; a discussion of two productions of new plays; the development of a new concept of theatre of the heart; a comparison of Western and Thai positions on the concept of beauty; and an examination of the role of conflict for theatre. The final chapter of the book is taken up by the author’s first novel, which launches the new genre of spiritual romance.

Training in somatic techniques--holistic body-centered movement that promotes awareness and well-being--provides an effective means of improving dance students' efficiency and ease of movement. However, dance educators do not always have the resources to incorporate this knowledge into their classes. This volume explains the importance of somatics, introduces fundamental somatic principles that are central to the dance technique class, and offers tips on incorporating these principles into a dance curriculum. The authors demystify somatic thinking by explaining the processes in terms of current scientific research. By presenting both a philosophical approach to teaching as well as practical instruction tools, this work provides a valuable guide to somatics for dance teachers of any style or level. Instructors considering this book for use in a course may request an examination copy here.

Dance/movement as active imagination was originated by Jung in 1916. Developed in the 1960s by dance therapy pioneer Mary Whitehouse, it is today both an approach to dance therapy as well as a form of active imagination in analysis. In her delightful book Joan Chodorow provides an introduction to the origins, theory and practice of dance/movement as active imagination. Beginning with her own story the author shows how dance/ movement is of value to psychotherapy. An historical overview of Jung's basic concepts is given as well as the most recent depth psychological synthesis of affect theory based on the work of Sylvan Tomkins, Louis Stewart, and others. Finally in discussing the use of dance/movement as active imagination in practice, the movement themes that emerge and the non-verbal expressive aspects of the therapaeutic relationship are described.

Franklin provides 583 imagery exercises to improve dance technique, artistic expression and performance. More than 160 illustrations highlight the images, and the exercises can be put to use in dance movement and choreography.

In Mindful Movement, exercise physiologist, somatic therapist, and advocate Martha Eddy uses original interviews, case studies, and practice-led research to define the origins of a new holistic field--somatic movement education and therapy­--and its impact on fitness, ecology, politics, and performance. The book reveals the role dance has played in informing and inspiring the historical and cultural narrative of somatic arts. Providing an overview of the antecedents and recent advances in somatic study and with contributions by diverse experts, Eddy highlights the role of Asian movement, the European physical culture movement and its relationship to the performing arts, and female perspectives in developing somatic movement, somatic dance, social somatics, somatic fitness, somatic dance and spirituality, and ecosomatics.

What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'.The emergence of consciousness studies as a multidisciplinary discourse addressing these issues has often been associated with rapid advances in neuroscience-perhaps giving the impression that the arts and humanities have arrived late at the debating table. The longer historical view suggests otherwise, but it is probably true that music has been under-represented in accounts of consciousness. Music and Consciousness aims to redress the balance: its twenty essays offer a timely andmulti-faceted contribution to consciousness studies, critically examining some of the existing debates and raising new questions.The collection makes it clear that to understand consciousness we need to do much more than just look at brains: studying music demonstrates that consciousness is as much to do with minds, bodies, culture, and history. Incorporating several chapters that move outside Western philosophical traditions, Music and Consciousness corrects any perception that the study of consciousness is a purely occidental preoccupation. And in addition to what it says about consciousness the volume also presents adistinctive and thought-provoking configuration of new writings about music.

Why fight your way to the top when you can rise to it? Let go of the obsession to win—and you will be victorious. Acknowledge your vulnerabilities—and turn them into strengths. Find the courage to risk failure—and begin your journey to success. That is the secret of the TaoAthlete, and in this remarkable book t'ai chi expert Chungliang Al Huang and renowned professional and Olympic sports psychologist Jerry Lynch teach you the time-honored principles of successful performance—whether on the playing field, in the office, or in your relationships. By mastering the unique strategies and mental exercises of the TaoAthelete, you'll unlock the extraordinary powers of body, mind, and spirit that will lead you to victory in any field of endeavor. Praise for Thinking Body, Dancing Mind “This gives you a positive mental perspective and provides good focus for your mind—unconscious and conscious.”—Phil Jackson, coach of the Los Angeles Lakers “Warning: If you're completely content with your life, don't read this book. But if you'd like to break through to higher levels of performance, understanding, and happiness . . . this book is magic.”—Larry Dossey, M.D., author of Meaning & Medicine and Healing Words “In six months my level of performance has grown more than in the previous ten years of athletic training. Using Taoist principles of performance has pushed me to levels I never dreamed possible.”—Steven Gottlieb, all-American 1989 NCAA Tennis Division III champion “Bringing Eastern thought to the Western world of sport really works. . . . My game has improved immensely.”—Vince Stroth, offensive guard, Houston Oilers, NFL “The Tao is responsible for me turning my life around, athletically and personally. I am now able to believe in myself and perform to my capability.”—Regina Jacobs, U.S. Olympic Track Team

Within intellectual paradigms that privilege mind over matter, dance has long appeared as a marginal, derivative, or primitive art. Drawing support from theorists and artists who embrace matter as dynamic and agential, this book offers a visionary definition of dance that illuminates its constitutive work in the ongoing evolution of human persons. Why We Dance introduces a philosophy of bodily becoming that posits bodily movement as the source and telos of human life. Within this philosophy, dance appears as an activity that humans evolved to do as the enabling condition of their best bodily becoming. Weaving theoretical reflection with accounts of lived experience, this book positions dance as a catalyst in the development of human consciousness, compassion, ritual proclivity, and ecological adaptability. Aligning with trends in new materialism, affect theory, and feminist philosophy, as well as advances in dance and religious studies, this work reveals the vital role dance can play in reversing the trajectory of ecological self-destruction along which human civilization is racing.