This essay recognizes the humanities as a source of wisdom. It further establishes the need for a value system in education. The author addresses aesthetic education, the teaching of virtue and the failure to act in accordance with acknowledged norms. This is an abstract, philosophical treatise that can serve as additional reading. (HP)
Brown, Jean, Charles H. Woodford, and Mindlin Naomi, Eds.
Vision of Modern Dance: In the Words of its Creators
Princeton Book Company, 1998
GV 1783 .V58
The Vision of Modern Dance presents the history of the form through the writings and discourse of its greatest representatives. This revised edition of a 1979 work divides the entries into five sections: "The Forerunners," "The Four Pioneers," "The Second Generation," "The New Rebels," and "The New Vision," adding 13 new voices to the 20 earlier selections. In addition to its presentation of a primary narrative of development, the book includes an interview, "Talking with Pilobolus," transcribed from a 1976 conversation with Martha Clarke, Alison Chase, Moses Pendleton, and Robby Barnett, four of the troupe's five founders.
Acts of Meaning
Harvard University Press
BF 455 .B74 (1990)
Bruner directs his attention to how current psychological thinking has become more about “the mind as information processor” rather than about how meaning is created. Topics include: folk psychology as an instrument of culture; how psychology is inseparable from anthropology and other cultural sciences; discussions of narrative, meaning, language, and the influence of culture. There are many examples for teachers of how narrative can be used in the schools. (MN)
In Judson Dance Theater: Performative Traces, Burt explores the group of artists that formed The Judson Dance Theater, an experimental dance group in the early 1960s, and the work they produced. This group of dancers is widely accepted to be the pioneers of post-modern dance. Burt’s assertion in this book is that the work of the Judson Dance Theater was a direct reflection of and reaction to the cultural trends of that era. Burt gives detailed descriptions of the dance works he discusses, which allows the reader to envision the choreography. Instead of writing a historical survey, Burt chooses to shift to different ideas throughout “in an intentionally selective and uneven way” (pg. 23). He begins by detailing how the theories of the avant-garde of the early 1900s (specifically those of Marcel Duchamp) began to inform dance-making the 1960s. In chapter 3, Burt explores some theories of minimalist visual art and how the Judson Dance Theater incorporated those theories into their work. In subsequent chapters he explores how these choreographers dealt with such ideas as the relationship between performer and audience, politics, and pop art. In chapter 6, Burt addresses the works of three choreographers (Brown, Bausch, and De Keersmaeker) of the late 1970s and early 1980s. He focuses on their use of repetition to further distance themselves from “older, expressive modes of choreography” (pg. 138). Burt continues to explore dance works into the 1980s with great detail. Additionally, he discusses the renewed interest of Judson Dancer Theater in the 1990s and 2000s. The book contains an introduction, notes, bibliography, index, and ten black-and-white photographs.