Podcast appearances and mentions of Anna Halprin

durée : 01:34:59 - Les Nuits de France Culture - par : Albane Penaranda - En 2005, dans "Surpris par la nuit" la danseuse Anna Halprin, aventurière de la danse post-moderne, se raconte. Dès les années 1950 à San Francisco, dans le sillon de la danse libre, elle sonde la continuité entre la danse et les gestes du quotidien créant un nouvel espace de liberté chorégraphique. En 2005, dans ce numéro de Surpris par la nuit, Anna Halprin revient sur sa longue histoire de danseuse et de chorégraphe. Née en 1920, elle s'applique à casser les codes convenus de la danse, participant à la conception de formes nouvelles. La danse contemporaine a toujours fait partie de sa vie, elle la conçoit dès les origines comme un moyen d'expression, proche de la vision de son ami Merce Cunningham : "La danse a toujours fait partie de ma vie. Être présent à un moment donné, en pleine et pure conscience. Être constamment stimulée par les musiciens, les acteurs et les peintres, c'était une période formidable, durant laquelle de nombreuses cloisons ont été abattues." Anna Halprin intègre des gestes simples et quotidiens à ses chorégraphies Mais là où Cunningham favorise le hasard tout en conservant l'esthétique du ballet, Anna Halprin préfère l'idée de gestes quotidiens, simples et intégrés à la chorégraphie. Elle reprendra donc à son compte des actions effectuées tous les jours sans y prendre garde : se vêtir, se dévêtir, manger... C'est bien le réel dans son plus simple appareil qui l'intéresse pour imaginer des mouvements dansés. Puisque ce qui constitue la vie courante, dans tout ce qu'elle peut représenter de répétitif et d'anodin, est déjà bien assez riche pour son inspiration, sans qu'elle ne ressente le besoin d'y ajouter des gestes factices. Elle souligne : "L'académisme n'est pas chose aisée pour moi." Anna Halprin, qui a passé sa vie à réinventer sa pratique, a aussi contribué au développement de la danse-thérapie pour accompagner les malades. Elle s'en est allée, à l'âge de 100 ans, le 24 mai 2021. Par Jacqueline Caux Réalisation : Anna Szmuc Surpris par la nuit, avec : Anna Halprin, La Monte Young et Terry Riley -1ère diffusion : 30/03/2005 Edition web : Documentation de Radio France

Jamie McHugh who is a somatic movement and meditation teacher joins me to talk Californian greats, nature connection, virtual teaching, Guru detection, lateralisation, active meditation, the “art of lively stillness”, creativity and meditation, and US vs European embodiment. A good one if you want to think more deeply about meditation. Jamie McHugh, MA, RSMT is an interdisciplinary artist, somatic movement specialist and the creator of Somatic Expression® - Body Wisdom for Modern Times. His somatic-expressive practices for re-wilding the body, mending the mind and restoring the spirit have been inspired by his relationships with Bonnie Bainbridge Cohen, Emilie Conrad, Anna Halprin, Thich Nhat Hanh and the wild places of the planet, and through working with diverse groups of people internationally for over 40 years.  Websites:  http://www.somaticexpression.com/  http://www.naturebeingart.org/   If you are interested in our latest course 'embodied meditation' - click on the link below.   https://embodimentunlimited.com/embodied-meditation/   https://embodimentunlimited.com/   Jamie's work: YouTube: https://www.youtube.com/c/JamieMcHughSomaticArt Vimeo: https://vimeo.com/naturebeingart Articles: http://somaticexpression.com/articles.html  

Happy Birthday to Anna Halprin, Elena Andreianova, Cristina Hoyos, Astad Deboo, and Diana Vishneva! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

durée : 01:34:59 - Les Nuits de France Culture - Raconter cette aventurière de la danse postmoderne, dès les années 1950 à San Francisco : suivant le sillon de la danse libre, Anna Halprin a sondé la continuité entre la danse et les gestes du quotidien, pour un espace de liberté dont elle témoignait dans cette émission de 2005. Dans cette émission Surpris par la nuit de 2005, Anna Halprin revenait sur sa longue histoire de danseuse et de chorégraphe. Car depuis l'année 1920 qui la voit naître, elle s'applique à casser les rôles et les codes convenus de la danse, participant à la conception de formes nouvelles. La danse a toujours fait partie de sa vie, et elle la conçoit dès les origines comme un moyen d'expression libéré, proche de la vision de son contemporain et ami Merce Cunningham.  * La danse a toujours fait partie de ma vie. Être présent à un moment donné, en pleine et pure conscience. Être constamment stimulée par les musiciens, les acteurs et les peintres, c'était une période formidable, durant laquelle de nombreuses cloisons ont été abattues. (Anna Halprin) Mais là où Cunningham favorise le hasard tout en conservant l'esthétique du ballet, Anna Halprin lui préfère l'idée de gestes quotidiens, simples et intégrés à la chorégraphie. Elle reprendra donc à son compte des actions effectuées tous les jours sans y prendre en garde : se vêtir, se dévêtir, manger... C'est bien le réel dans son plus simple appareil qui l'intéresse pour imaginer des mouvements dansés. Puisque ce qui constitue la vie courante, dans tout ce qu'elle peut représenter de répétitif et d'anodin, est déjà bien assez riche pour son inspiration, sans qu'elle ne ressente le besoin d'y ajouter des gestes factices.  L'académisme n'est pas chose aisée pour moi. (Anna Halprin) Surpris par la nuit, par Jacqueline Caux Avec Anna Halprin, La Monte Young et Terry Riley Réalisation Anna Szmuc 1ère diffusion : 30/03/2005

Join a dynamic and diverse panel from different backgrounds for a roundtable discussion on what it means to heal trauma through dance. Dance is a powerful medium for healing trauma. Regardless of ethnicity, race, gender, or age, people can find community and strength through dance. They discuss the power of dance in healing from traumatic experiences and how to bring about more peace and resilience. Stefan Freedman, Author of the book 'Dance Wise,' is passionate about the role of integrative arts in transforming society. His research focuses on healing trauma through conscious movement. He has facilitated dance in mental health settings for 15 years in Ipswich, UK, and continues a weekly therapeutic movement class where many participants attend with their carers. Stefan's dance training includes dances from many cultures and styles. He sees dance as an integration of body, mind, emotions, and spirituality is drawn to exploring inwardly and outwardly, and has studied Voice Dialogue, Psychosynthesis, Co-Counselling, NLP, and NVC. Stefan coordinates a free online hub where facilitators share insights and practical tools. The aim is to create a global group of dancers and practitioners sharing resources contributing to a more compassionate and sustainable world. www.dancewise.net Marylee Hardenbergh studied under Irmgard Bartenieff and Penny Bernstein and is a Board-Certified Dance/Movement Therapist. She served on the Board of Directors for the American Dance Therapy Association, and led numerous Movement Choirs for the openings and closings at the conferences; she was honored to be a keynote speaker at their 2015 conference. Hardenbergh loves to travel and work with communities to create site-specific performances that combine community art with therapeutic intentions, creating performances in sites worldwide. She was an Artist-In-Residence at the Center for Global Environmental Education at Hamline University in Minnesota and the original Artistic Director of Global Water Dances. She directs Global Site Performance and has received numerous awards for choreography. Globalsiteperformance.org Rebecca Faro's dance journey started at ten while attending Bush Davies & Elmhurst Ballet School. At seventeen, she auditioned for the London School of Contemporary dance. Overjoyed to be one of four accepted from eighty people, they found she had a back problem at that audition, meaning she couldn't continue with her dance career. Although this was earth-shattering news, it changed her direction. She began to explore movement as a healing path for herself & others, training in Creative movement through the Anna Halprin method. She continued her exploration by attending Authentic Movement, Contact improvisation, Rebirthing, Trance Dance, 5rhythms, BioDanza, and Grief Counselling courses. She has recently completed a ten-month online personal development training with Jamie Catto. dancinginsideout.com Alia Thabit is an Arab-American Oriental (belly) dance artist and a Somatic Experiencing® Practitioner. She is also a writing instructor, Dancemeditation and Spiritual Bellydance instructor, and creativity coach. Alia champions self-expression, resilience, and trust in the body. Her dance classes help participants reclaim their joyful spirit and deep wells of creativity. She weaves Somatic Experiencing techniques into her classes and coaching to help seekers transcend limiting beliefs and connect to their true self. Alia is the author of "Midnight at the Crossroads: Has belly dance sold its soul?" which challenges cultural stereotypes, discusses its evolution, and shows how to access the dance's inherent spirit and joy.

Alec Lichtenberg is an embodied storyteller, educator, and youth advocate based in New York City (Lenapehoking). He comes from German Jewish and Irish Catholic ancestry and aims to forward racial equity and social justice through his work. Growing in a loving home, Alec was medicated against his will for ADHD as a child. Later, he found tools of self-connection and repair by studying dance/storytelling, particularly forms of the African Diaspora, with master teachers Chris Walker, Dohee Lee, Anna Halprin, and Reverend Nafisa Sharriff. As an artist/researcher, Alec is interested in exploring perspectives on the intelligence of bodies, including how we grieve, connect, remember, imagine and act. He believes in the emergent questions that young people possess and is a committed advocate for making creative, safer spaces for their self-development, expression, and choice-making. Alec has taught extensively in jails, juvenile detention, psychiatric, and hospital settings in New York City and internationally. He holds a master's degree in Narrative Medicine from Columbia University. This episode was produced on the unceded ancestral territory of the Kiikaapoi, Peoria, Bodéwadmiakiwen, and Miami. This episode was edited by Emery Ann, with original intro and outro music by Marc Young. --- Support this podcast: https://podcasters.spotify.com/pod/show/prints-unedited/support

Stephen Petronio is a choreographer, dancer, and the artistic director of the Stephen Petronio Company. Stephen has created over 35 works for his company and has been commissioned by some of the world's most prestigious modern and ballet companies, including William Forsythe's Ballet Frankfurt (1987), Deutsche Opera Berlin (1992), Lyon Opera Ballet (1994), Maggio Danza Florence (1996), Sydney Dance Company (2003, full evening), Norrdans (2006), the Washington Ballet (2007), The Scottish Ballet (2007), and two works for National Dance Company Wales (2010 and 2013). Over his career, Petronio has collaborated with a wide range of artists in many disciplines. Collaborators include some of the most talented and provocative artists in the world: composers Valgeir Sigurðsson, Nico Muhly, Rufus Wainwright, Lou Reed, Laurie Anderson, and Peter Gordon; visual artists Robert Longo, Cindy Sherman, Anish Kapoor, Donald Baechler, and Janine Antoni; fashion designers Narciso Rodriguez, John Bartlett, Benjamin Cho, and Leigh Bowery.Stephen Petronio's  training originated with leading figures of the Judson era, performed Man Walking Down the Side of a Building in 2010 for Trisha Brown Company at the Whitney Museum, and performed his 2012 rendition of Steve Paxton's Intravenous Lecture (1970) in New York, Portland, and at the TEDMED-2012 conference at the Kennedy Center Opera House in Washington, DC. Petronio received the distinction of being named the first Artist-in-Residence at The Joyce Theater from 2012 to 2014. He has been entangled with visual artist Janine Antoni in a number of discipline-blurring projects, including the video installation Honey Baby (2013), created in collaboration with composer Tom Laurie and filmmaker Kirsten Johnson, and most recently Ally, in collaboration with Anna Halprin and Adrian Heathfield, which premiered at The Fabric Workshop and Museum in Philadelphia in summer of 2016. Petronio and Antoni were the 2017 McCormack Artists in Residence at Skidmore college, where they showed their series of installations, Entangle. Most recently, he was commissioned by The Juilliard School to set a work, #PrayerForNow, on their fourth year students for the New Dances Edition 2019. Petronio's memoir, Confessions of a Motion Addict, is available at Amazon.com.  Movement Without Borders Festival - October 2, 2021 - Ernesto Breton performing Rudy Perez's Coverage Revisited. Fall For Dance - October 15 & 16, 2021 - New York City Center - SPC performing American Landscapes (2019). Petronio Punk Picks and Other Delights - November 18-21 - La MaMa - SPC revives a series of solos and duets from Stephen's formative days coming up in the East Village and invites Bloodlines(future) artist Johnnie Cruise Mercer to the stage. Alex Waters:Alex Waters is a media producer and editor for the Short Fuse Podcast, a music producer, and Berklee College of Music student. He has written and produced music for podcasts such as The Faith and Chai Podcast and Con Confianza. He produces his own music, as well as writing and recording for dependent artists such as The Living. Alex lives in Brooklyn with his wife and two cats and enjoys creating and writing music. You can reach him with inquiries by emailing alexwatersmusic12@gmail.com.

On a chilly morning in November, 2013, Deborah Cohan, MD, a clinical professor and program director at the University of California San Francisco School of Medicine, walked into an operating suite, her curly hair tucked under a cap, not to perform surgery but to undergo a double mastectomy for breast cancer. Within minutes, the sterile room began to enliven with R&B drumbeats, and the entire surgical team erupted into dance to Beyoncé’s “Get Me Bodied,” with Cohan in the center of it all. This flash mob video, captured by the anesthesiologist, went viral — with over eight million views to date — and even Beyoncé herself posted it on her Facebook page. “What better time to celebrate life,” said Cohan, “than when you’re facing death?” To be clear, for Cohan, dancing wasn’t about glossing over suffering with a forced smile, but about leaning into the body, literally dancing with fear and grief. Dancing was her way to optimize her body before surgery, to connect with the surgical team, and to embrace friends and family dancing virtually in solidarity with her. As an obstetrician-gynecologist who has performed thousands of ultrasounds and witnessed babies dancing in their mothers’ wombs, Cohan imagines that she, too, was dancing long before she was born. When she was three, she began learning highly choreographed methods like ballet and jazz. Then in 2011, she happened upon Dance Journey, a conscious practice where people danced freely, effortlessly, and, as she observed, ecstatically; these movements opened up in her a deep listening to her body and an awareness of the healing power within. It was in this spirit that she danced in the surgical suite. And in 2014, a year after her surgery, Cohan founded Foundation for Embodied Medicine (FEM), a nonprofit organization to bring this embodied wisdom to patients, caregivers, and healthcare professionals. A Harvard-trained physician, Cohan is an obstetrician who attends births at Zuckerberg San Francisco General Hospital and serves as the medical director of HIVE, caring for pregnant people living with HIV and promoting reproductive and sexual wellness for those living with and affected by HIV. Since 2005, there have been no babies born with HIV in San Francisco. In addition to her medical degree, Cohan holds a masters in public health from the University of California at Berkeley, and a fellowship in reproductive infectious diseases at San Francisco General Hospital. She also served as a member of the Department of Health and Human Services Panel on Antiretroviral Guidelines for Adults and Adolescents. For Cohan, medicine and movement are deeply interwoven. She has studied with Anna Halprin of Life/Art Process, Tina Stromsted of Authentic Movement, and Valerie Chafograck of Dance Sanctuary and Movement Liberation. With an embodied approach that honors the inherent wisdom of our bodies and nature, she has served as a doula for those who are giving birth and those who are dying.  The flash mob video landed Cohan interviews on multiple mainstream media outlets, including Good Morning America and the Ellen DeGeneres Show, and inspired others to dance before their surgeries. She lives in Berkeley, California, with her two children and their dog. In her free time, she can be found causing mischief, singing to her plants, and spreading messages of love, joy, and interconnectedness.  Join us with this compassionate physician and expressive dancer in a call that will be part-conversation, part-workshop, with an invitation to explore body awareness, conscious movement, and embodied presence in a collective field. 

On a chilly morning in November, 2013, Deborah Cohan, MD, a clinical professor and program director at the University of California San Francisco School of Medicine, walked into an operating suite, her curly hair tucked under a cap, not to perform surgery but to undergo a double mastectomy for breast cancer. Within minutes, the sterile room began to enliven with R&B drumbeats, and the entire surgical team erupted into dance to Beyoncé’s “Get Me Bodied,” with Cohan in the center of it all. This flash mob video, captured by the anesthesiologist, went viral — with over eight million views to date — and even Beyoncé herself posted it on her Facebook page. “What better time to celebrate life,” said Cohan, “than when you’re facing death?” To be clear, for Cohan, dancing wasn’t about glossing over suffering with a forced smile, but about leaning into the body, literally dancing with fear and grief. Dancing was her way to optimize her body before surgery, to connect with the surgical team, and to embrace friends and family dancing virtually in solidarity with her. As an obstetrician-gynecologist who has performed thousands of ultrasounds and witnessed babies dancing in their mothers’ wombs, Cohan imagines that she, too, was dancing long before she was born. When she was three, she began learning highly choreographed methods like ballet and jazz. Then in 2011, she happened upon Dance Journey, a conscious practice where people danced freely, effortlessly, and, as she observed, ecstatically; these movements opened up in her a deep listening to her body and an awareness of the healing power within. It was in this spirit that she danced in the surgical suite. And in 2014, a year after her surgery, Cohan founded Foundation for Embodied Medicine (FEM), a nonprofit organization to bring this embodied wisdom to patients, caregivers, and healthcare professionals. A Harvard-trained physician, Cohan is an obstetrician who attends births at Zuckerberg San Francisco General Hospital and serves as the medical director of HIVE, caring for pregnant people living with HIV and promoting reproductive and sexual wellness for those living with and affected by HIV. Since 2005, there have been no babies born with HIV in San Francisco. In addition to her medical degree, Cohan holds a masters in public health from the University of California at Berkeley, and a fellowship in reproductive infectious diseases at San Francisco General Hospital. She also served as a member of the Department of Health and Human Services Panel on Antiretroviral Guidelines for Adults and Adolescents. For Cohan, medicine and movement are deeply interwoven. She has studied with Anna Halprin of Life/Art Process, Tina Stromsted of Authentic Movement, and Valerie Chafograck of Dance Sanctuary and Movement Liberation. With an embodied approach that honors the inherent wisdom of our bodies and nature, she has served as a doula for those who are giving birth and those who are dying.  The flash mob video landed Cohan interviews on multiple mainstream media outlets, including Good Morning America and the Ellen DeGeneres Show, and inspired others to dance before their surgeries. She lives in Berkeley, California, with her two children and their dog. In her free time, she can be found causing mischief, singing to her plants, and spreading messages of love, joy, and interconnectedness.  Join us with this compassionate physician and expressive dancer in a call that will be part-conversation, part-workshop, with an invitation to explore body awareness, conscious movement, and embodied presence in a collective field. 

In this episode hosted by Jennifer Edwards, we celebrate the life, work, and impact of Anna Halprin (1920-2021). A visionary force in both dance and healing, Halprin played a crucial role in the evolution of post-modern dance and developing ethical social practice through art. We learn about Halprin's work from scholars Ninotchka Bennahum and Wendy Perron, from Halprin biographer Janice Ross, and from Anna Halprin herself.Special thanks to New England Public Media for their support of this episode of PillowVoices.*Audio note: in this episode, Ellis Rovin was our composer and editor; our engineer was Adam BW

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-65Links referenced in/relevant to episode 65:-Chicago Sun-Times story on the death of dance coach Verndell Smith: https://chicago.suntimes.com/crime/2021/5/20/22445604/verndell-smith-dies-ultimate-threat-dance-organization-bud-billiken -Billy Porter's Hollywood Reporter feature: https://www.hollywoodreporter.com/news/general-news/billy-porter-hiv-positive-diagnosis-1234954742/-Deadline obituary for Samuel E. Wright: https://deadline.com/2021/05/samuel-e-wright-dead-obituary-the-little-mermaid-sebastian-the-crab-broadway-mufasa-was-74-1234764019/-The Washington Post obituary for Anna Halprin: https://www.washingtonpost.com/local/obituaries/anna-halprin-dead/2021/05/25/272dfeb6-3fc3-11e2-ae43-cf491b837f7b_story.html-NPR piece on "Shuffle Along"'s 100th anniversary: https://www.npr.org/2021/05/23/998962830/shuffle-along-changed-musical-theater-100-years-ago-The Washington Post story on "The Mayor of Harlem": https://www.washingtonpost.com/entertainment/theater_dance/bill-bojangles-robinson-mayor-of-harlem-documentary/2021/05/19/7e81c35c-b4d9-11eb-a980-a60af976ed44_story.html-Trailer for "In Balanchine's Classroom": https://www.youtube.com/watch?v=CT2Vf833J00-Out's piece on Lil Nas X's "SNL" performance, including video: https://www.out.com/music/2021/5/23/lil-nas-xs-montero-brings-gay-agenda-snl-rips-leather-pants-Nas' "Tonight Show" appearance, with rehearsal footage of the pole trick: https://www.youtube.com/watch?v=bfT607nr51A-Sienna Lalau's Instagram account: https://www.instagram.com/sienna.lalau/

Chloé is a professional actress, dancer and expressive art teacher from France currently living and working in New York City.    She trained in theatre studies at the Sorbonne University in Paris, obtained a BA in dance from the University Paris 8 Saint Denis and at the American Academy of Dramatic Arts in New York City.    She worked and apprenticed at the Tamalpa Institute in California with the renowned choreographer Anna Halprin and her daughter Daria Halprin, somatic-expressive performing artist, author and teacher.   In 2013 Chloé co-founded the the french branch of their school in France: Tamalpa France where she taught for over six years.    In 2020 Chloé worked on several productions under Resonance Artistique Collective, an LLC she created with two artists peers during the COVID-19 pandemic and run shows with the Brooklynite company Molière in the Park.    Connect with Chloé on Instagram @resonance.artistique   https://www.instagram.com/resonance.artistique/   Facebook: https://www.facebook.com/resonance.artistique

The conversation: Recorded in July 2020, in the midst of the first wave of pandemic lockdown, between Italy and California, Laura and Dohee talk about the power of intention and vibrating materials in relationship with community work, equality and immigration. They talk about the capitalistic sense of time and matriarchal rhythm, and voice as a medium and doorway to purge, land, call and response to past and present times. They discuss how facilitators have now the responsibility to enhance the participants responsiveness and responsibility to become active, and how to create healthy collaborative leadership programs. Real collaboration requires time for listening.Interviewee: Dohee Lee weaves her multiple virtuosities in drumming, dancing, and singing into immersive ritualized theatrical creations. Born on Jeju Island, Korea, she trained at the master-level in music and dance styles rooted in Korean shamanism. In 1998, Dohee moved to Oakland, Calif., to create a new art form. Since then, she has become an award-winning traditional and contemporary arts performer, collaborating with Kronos Quartet, Anna Halprin, inkBoat, Degenerate Art Ensemble and many others.Dohee's work ranges from solo performances to full-scale theater productions. Dohee utilizes cutting-edge wearable wireless controller technology to seamlessly integrate acoustic and electronic sounds, video projections, dance, vocals and rhythm. She emphasises the mythical, experimental, ritualistic, historical and healing aspects of performance and installation, catalysing new relationships between identity, nature, spirituality, and the political.Interviewer: Laura Colomban is developing through performance-making a bespoke cyclical creative process which integrates circular methodologies through expanded choreography and auditory investigation, specifically creating sites within sites through voice, movement, and sound groundwork.Read more:- Dohee Lee projects and mission: https://www.doheelee.com/- Rosa, H. (2019). Resonance: A sociology of the relationship to the world. Polity Press.- Radović, S., & Glissant, E. (2007). The Birthplace of Relation: Edouard Glissant's ‘Poétique de la relation: For Ranko'. Callaloo, 30(2), 475–481. https://www.jstor.org/stable/30129755- Halprin, L. (1970). The RSVP cycles: Creative processes in the human environment. G. Braziller. Keywords:listening, Anna Halprin, performance, voice, vibration, ancestors, nature, community, leadership, oppression, purging, breathing, immigration, youth, motherland, equality, power of intention, positive dependency, interActions, understanding the process, listening to noise and silence.

Today, I'm talking to Maria Guiñazu, a qualified psychologist from Argentina. Maria is an educator in the intersecting fields of arts, somatics and education and has been working in this field in the UK for the past 8 years. Maria trained at Tamalpa Institute in California – the internationally recognised training centre for movement based expressive arts therapy. This is home of the Tamalpa Life/Art® process created by Anna Halprin. Maria uses a variety of tools that engage movement, dancing, drawing and creative writing for people to overcome disordered eating and feeling dissociated from their bodies. She worked at the Amy Winehouse Foundation with small groups of women recovering from addictions and eating disorders. Maria also collaborates remotely with a women-only outpatient eating disorder service in Mendoza, Argentina. Alongside her studies in Counselling and Psychotherapy, she is working with the Oasis project in Brighton where she works with women struggling with eating disorders, addictions and body image issues. Maria is hugely passionate about the benefits of dance and creative arts in healing. I hope that you enjoy this episode. To find out more: Instagram: @maria.iggy The Tamalpa Life/Art® process     If you would like to support this podcast and and/or access additional episodes, do enroll in my Patron Thank you so much

On this episode of Shake a Leg, Erica and Maritess are joined by Carlos Ramirez, the artistic director of Madison’s DanzTrad. We discuss the upcoming International Fest, typically held at the Overture Center in downtown Madison. This year, it will be shown virtually through the Overture Center. It is free to watch, but does require registration here. Available to stream from February 27- March 5. We also hear from Rachelle Fochs, director of the School of Madison Ballet. If you’d like to learn more about the school or the company, look here. (Maritess can attest to Rachelle’s awesome open ballet class!) In Dance in the news, we discuss KLJ Movement, one of the newest dance groups in Madison, focused on uplifting Black and Brown dancers who have contributed to dance. Check them out here Next, Erica, Maritess, and Carlos hear from several local groups performing at International Fest. Links to the groups and their socials in order of appearance. Tania Tandias Flamenco and Spanish Dance Sadira Middle Eastern Dance Žaibas Lithuanian Dance Kalaanjali School of Dance and Music Yid Vicious We close the show with a special UW Madison Dance themed 2 Truths and a Lie. You can learn more in the links below - spoiler alert! About Margaret H'Doubler, Anna Halprin, and Lathrop Hall

Podcast I Feel Good - Life Art Process, Invité Stéphane Vernier Artiste pluridisciplinaire, éducateur somatique, formateur en Life Art Process,  et co-directeur de Tamalpa France, Centre de formation en mouvement et arts expressifs, de renommée internationale créé par Anna Halprin (photo) et sa fille Daria Halprin. Par lequel il découvre alors la possibilité de réunir ses passions pour le mouvement, l'expression, et la santé des individus, des groupes et des communautés au sein d'une même pratique : le Life Art Process®, une méthode unique au monde qui combine le mouvement à d'autres supports artistiques (le dessin, l'écriture et la voix,...), à des outils de communication et des outils thérapeutiques, pour explorer et révéler nos histoires de vie, transformer notre manière de nous y relier, et développer le potentiel créatif d'un individu, d'un groupe ou d'une communauté, au service du changement. Animé et Réalisé par Armelle Béraudy Pour aller plus loin : RV sur la page facebook de l'émission @ifeelgood888 ou sur mon site internet armelleberaudy.fr - https://www.tamalpafrance.org https://www.stephanevernier.com Actualités de Stéphane Vernier : - 16/17 Janvier début un Cycle de 5 week-ends à Paris : La Voie du Corps - 24/24 Janvier 1 journée et demi à Paris : Clôture 2020-Visions 2021 - 29/30 Janvier 1 soirée et journée à Nantes : Emergences - 27/28 Février 1 journée et demi : Tamalpa Experience  #podcast #mouvement #danse #arts #dessin #écriture #conscience #creativité

Join us for a conversation with Ahjo Sipowicz where we discuss their path into radical embodiment and the creation of their book EarthBodyBoat. Topics we cover include: Coming into wholeness as a neurodivergent, genderqueer creature Meaning-making and integration after altered state experiences Using scores and performance to connect with the earth and ourselves Freeing the rivers dammed by patriarchy and colonialism Croning, eldership and aging Divination and art-making with an Iphone Making a book to make community About Ahjo: I am a white, non-binary, neurodivergent, pansexual, elemental creature, residing for 30 years on Tewa land at O’gha Po’oge—White Shell Water Place—Santa Fe, New Mexico. My ancestors, primarily Lithuanian and Norwegian, migrated to the Chicago area where I was born and raised. In 1989 I studied the Life Art Process at the Tamalpa Institute with Anna Halprin. The values of the Life Art Process continue to guide me—including creative process over end product, creating dialog between expressive mediums, communicating with the self, life through ritual, performance, and art making. I call myself a “somatic earth artist,” one who is in apprenticeship with both the personal and earthly soma, and expresses both the conflicts and the Eros of these relationships through art. My art arises out of my InBodyNature practice, in which I actively dialogue with nature—communicating, performing, witnessing, and creating in collaboration. I bridge these experiences with writing, video documentation, and visual art through the technology of iPhone apps and composite photography. I am a self-published author of the newly released memoir/artist journal, EarthBodyBoat: Queer Journey of A Somatic Earth Artist. Find Ahjo online: Ahjo’s book, EarthBodyBoat: https://ahjo.art/earthbodyboatbook Ahjo’s website: https://ahjo.art/ On Social Media:  https://www.facebook.com/Sipps.sipowicz https://www.instagram.com/ahjo_k_sipps/ Links to relevant resources: Tamalpa Institute: https://www.tamalpa.org/ Karen Divine Iphone Artist: http://www.karendivinephotography.com/ Links to So Many Wings’ social media and website: On the web: https://somanywings.org On Instagram: https://www.instagram.com/somanywingspodcast On Facebook: https://www.facebook.com/somanywingspodcast On Patreon: https://www.patreon.com/join/somanywingspodcast

Season 3, Fall Semester 2020On Apr. 18, 2018, Sue Schroeder Artistic Director of CORE Dance and guest artist/teacher Daria Halprin engaged in a conversation and participatory workshop introducing the Tamalpa Life/Art Process®. Influenced and inspired by the humanist and post-modern movements of the 1950’s, the Life/Art Process® was originated and developed by Anna and Daria Halprin. Watch the original conversation.This conversation is introduced by host/Arts at Emory employee Maggie Beker and Emory College student Leah Behm. Beker and Behm introduce the podcast and discuss Behm's own dance philosophies and approaching creativity during the Covid-19 lockdowns.This program is part of the Rosemary M. Magee Creativity Conversation endowed series.

Die Erfinderin des "Planetary Dance For Peace" hat am Montag ihren 100sten Geburtstag gefeiert: Tanz-Ikone Anna Halprin hat als eine der ersten die Bewegung zur Musik als Heilmethode erkannt.

durée : 01:34:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Jacqueline Caux - Avec Anna Halprin, La Monte Young et Terry Riley - Réalisation Anna Szmuc - réalisation : Virginie Mourthé

photo by Cat Stevens Nissa Nishikawa works with performance, ceramics, painting, glass, and film. Her practice interprets traditional forms of dance, ritual and craft in ways that illuminate the current crisis in ecology and community. She engages with alchemical and animistic practices through the use of elemental base materials, forging processes of transformation that are intuitively informed by a close observation of the intelligence of nature and the non-human as systems of navigation. This ongoing fascination extends to the embodied principles of movement while bringing together many disciplines in one space. She studied Fine Arts at Concordia University in Montreal, Quebec, Stage Arts at the Royal Academy of Dramatic Art in London and holds an MA in Performance from Goldsmiths College. Experiences stemming from time with Min Tanaka, Steve Paxton, Anna Halprin and dervish turning of the Mevlevi tradition are paramount to her practice. Recent workshops have been held at the Architectural Association (London), Camden Arts Centre (London) and the Victoria and Albert Museum (London). DEN, Regents Place, London, 2019 DEN with BOMS: 108 strategies of soil renewal on charred wood table, Regents Place, London, 2019 DEN with performance Tenko no Seishin / The Familiar Earth, Regents Place, London, 2019

www.johannite.org/ In our first ever LIVE RECORDING of the Missing Witches podcast WE TOOK OVER A CHURCH! Together we explored how we use our bodies to connect to the divine through dance!! We are so grateful to the AJC conclave for inviting us to honour Witches from the pulpit of a sanctuary!! In part 1, Risa talks about how Anna Halprin used modern dance to heal , plus Mudang Shamanism and thoughts on connections between peace, peacemaking, dance and power!! In part 2, Witches Found, we bring back two of our favourite guests and coven members Phoenix Inana and Jacqueline Beaumont to unpack words like divinity and femininity and discuss how we use our bodies to connect to spirit. Thanks again to Lindsay Braynen for contributing an essay Amy read as part of this conversation. THANKS X 1000 to our favourite clergyman Jonathan Stewart for inviting us to this sacred space.

www.johannite.org/ In our first ever LIVE RECORDING of the Missing Witches podcast WE TOOK OVER A CHURCH! Together we explored how we use our bodies to connect to the divine through dance!! We are so grateful to the AJC conclave for inviting us to honour Witches from the pulpit of a sanctuary!! In part 1, Risa talks about how Anna Halprin used modern dance to heal , plus Mudang Shamanism and thoughts on connections between peace, peacemaking, dance and power!! In part 2, Witches Found, we bring back two of our favourite guests and coven members Phoenix Inana and Jacqueline Beaumont to unpack words like divinity and femininity and discuss how we use our bodies to connect to spirit. Thanks again to Lindsay Braynen for contributing an essay Amy read as part of this conversation. THANKS X 1000 to our favourite clergyman Jonathan Stewart for inviting us to this sacred space.

Somatic movement specialist Jamie McHugh joins me to talk creative dance, community dance, Laban movement choirs, Anna Halprin, online work, the “basic 5”, developmental movement, the body politic, humane technology, busyness, “digesting” information, feeling safe and does mindfulness need an upgrade. A wide ranging, rich and up to date one!  www.somaticexpression.com  www.naturebeingart.org  

In this Part II episode with Daria Halprin we talk about the expressive arts work she’s spent forty plus years creating. We cover the “transportation” issue of how to take your “new self” out into the world and the importance of assuming aesthetic responsibility. Bonus: Daria shares about the last time she made a self-portrait, what still surprises her, and what she’s still fascinated with pursuing over the next 20 years.Last week we got to hear Daria’s story, from growing up dancing with her mother Anna Halprin, to being thrust into the spotlight in film and then her traumatic experiences sending her searching for something different. - if you haven’t heard that be sure to circle back to it that episode, E46 Through Trauma and Tragedy from One Stage to the Next, after this.To learn more about Holly Shaw and the Performers & Creators Lab Podcast click here

From the time she can remember, Daria Halprin, was immersed in an artistic life dancing with her famous mother, Anna Halprin, and then finding her way into acting and being thrust into the spotlight. But for Daria, like so many other young performers, this wasn’t always a healthy place to be, and she found herself seeking to get off the stage and create something else entirely. She began teaching and facilitating creative therapeutic work for others, and in 1978 Daria co-founded the Tamalpa Institute where now still to this day she directs training programs in movement/dance and expressive arts education, consultancy and therapy. Holly caught this interview at the famous Mountain Home Studio in Marin where Daria shares her journey through tragedy and trauma to becoming one of the leading pioneers in expressive arts education.Click here to learn more about the Performers & Creators Lab Podcast

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco's Ghirardelli Square, Seattle's Freeway Park, downtown Portland's open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin's built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Lawrence Halprin, one of the central figures in twentieth-century American landscape architecture, is well known to city-watchers for his work on San Francisco’s Ghirardelli Square, Seattle’s Freeway Park, downtown Portland’s open-space sequence, the FDR Memorial on the National Mall, and the California planned community of Sea Ranch. Less well known is his distinctive, process-based approach to design—his theoretical commitment, on the one hand, to a dynamic “choreography” of bodies moving through space, and, on the other, the visually arresting notational techniques of “scoring” he devised to represent such movement and carry out his projects in consultation with the public. In City Choreographer: Lawrence Halprin in Urban Renewal America (University of Minnesota Press, 2014), Alison Bick Hirsch addresses Halprin’s built work and community workshops in equal measure, pointing up important tensions that his participatory “Take Part Process” never quite extinguished: between manipulation and facilitation, universality and difference, conscious choice and emergent chance. Through Lawrence Halprin and his wife, the modern dancer Anna Halprin, Hirsch opens onto a broader history of postwar landscape and urban design, and onto some of the complicated politics in which proponents and critics of Urban Renewal alike found themselves immersed. Hirsch has written a decisive work that joins the intellectual, social, political, and aesthetic histories of urbanism. Geographers, historians, and urbanists of many stripes will learn from her able analysis. Peter Ekman teaches in the departments of geography at Sonoma State University and the University of California, Berkeley. He received the Ph.D. from Berkeley in 2016, and is at work on two book projects on the cultural and historical geography of urban America across the long twentieth century. He can be reached at psrekman@berkeley.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Ep 29 Simone Forti & Jason Underhill: The People Notes from The People by Mathew Timmons from his performance of Encouraging Words at the Sumarr series curated by Diana Arterian at Pop-Hop Books & Print in Highland Park, Los Angeles. ... and we close out the show with a song from the Los Angeles band Learning Music. You can find out more about them at LearningMusicMonthly.Com and the name of the track is called “Milk and Cookie” Simone Forti is an American postmodern choreographer and musician living in Los Angeles. Since the 1960s she has become known for a style of dancing and choreography that was largely based on basic everyday movements, such as games and children's playground activities, and improvisation. Over the course of her career she has worked with such luminaries as: Anna Halprin, Merce Cunningham, Martha Graham, Robert Whitman and Yoko Ono among others. We'll also be talking to Jason Underhill who has worked as Forti's assistant for the past several years. Jason is an artist in Los Angeles. His work has been screened and exhibited internationally in the U.S. and around Europe. Jason received his MFA from Goldsmiths, University of London in 2009 and his BFA from CalArts in 2005. He is also the writer director and producer with Rena Kosnett of Golden Retriever a six-episode comedy web series. Episode photograph by Ignacio Genzon

This episode features a review of Muppets Most Wanted plus an interview with film producer Janet Carrus regarding Musical Chairs, a sweet and inspiring movie about wheelchair ballroom dancing. In the latest Muppet adventure, our heroes become involved in a jewelry heist led by a Kermit lookalike. In Musical Chairs, an aspiring dancer overcomes tragedy by learning to ballroom dance in a wheelchair. With the Muppets and ballroom dancing taking center stage, this should be an intriguing show!  Janet Carrus, producer of  Musical Chairs, has transformed many of her own personal inspirations into a variety of projects that empower people living with disabilities. She combined her passions for competitive ballroom dance and disability advocacy to help found a program to teach the astounding art of wheelchair ballroom dance in that community. Carrus’ inspiration to produce films grew directly out of this experience.  Musical Chairs was nominated for a Fred & Adele Astaire Award for Outstanding Feature Film in 2012. In 2013, it received a GLAAD nomination for Best Film in Limited Release and won six awards at the Massachusetts Independent Film Festival.  Janet’s other films include Tio Papi and Remembering Lawrence, a Film for Anna Halprin.

Inspiring interview conducted by Mark Metz and Jade Blackadar with Daria Halprin at the historic Mountain Home Studios in Marin where she and her mother Anna Halprin have developed the Life/Art Process.

Ilene Serlin, PhD Dance and Psyche: How Moving Moves Us Join Michael Lerner in conversation with Ilene Serlin, psychologist and registered dance/movement therapist. Ilene apprenticed with Anna Halprin and worked with the New York Psychological Association in the 1970s to require creative artists in hospitals. She’s been a psychologist for 30 years on Union Street in San Francisco and Mill Valley, California. Ilene takes American psychologists to Israel to facilitate art therapy for trauma victims there, and has worked with autistic children using dance and art therapy. She created a video on Dance Movement Therapy for women with breast cancer, and is the author of Whole Person Healthcare, introduced by Dean Ornish. Ilene Serlin, PhD Ilene is a psychologist and registered dance/movement therapist in San Francisco and Marin. Past-president San Francisco Psychological Association, Fellow APA, and past-president Division of Humanistic Psychology, she taught at Saybrook University, Lesley University, UCLA, the NY Gestalt Institute, and the C.G. Jung Institute in Zurich. Editor of Whole Person Healthcare (2007, 3 vol., Praeger) more than 100 chapters and articles on body, art, and psychotherapy, she is on the editorial boards of PsycCritiques; American Dance Therapy Journal; Journal of Humanistic Psychology; Arts & Health: An International Journal of Research, Policy and Practice; Journal of Applied Arts and Health; and The Humanistic Psychologist. Find out more about The New School at tns.commonweal.org.

This week: San Francisco checks in with dance legend Anna Halprin!!! Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others. Printed Matter Live Benefit Auction Event: March 9, 6-8:30 pm Robert Rauschenberg Project Space 455 West 19th St, New York www.paddle8.com/auctions/printedmatter Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy. As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future. This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter. The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks. A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public. All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours. All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter. A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or keith@printedmatter.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity. Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others. These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or mschumann@printedmatter.org. Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction. In anticipation of the event Printed Matter Executive Director James Jenkin said: “Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“ Auction includes work by: Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O'Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.

This Educator Guide accompanies Spark video "Anna Halprin: Dance and Performance Arts" produced by KQED. Dance legend Anna Halprin, now in her eighties, has spent more than 50 years challenging the conventions of modern dance. A visionary in the field, she continues to teach, choreograph and perform. In January 2006, she brought a group of dancers to the Jewish Community Center of San Francisco to perform some of her work, including the two well-known pieces "Parades and Changes" and "Intensive Care." Spark follows Halprin as she prepares for the performances and talks about her lifetime as artist, teacher, health advocate and innovator.

Dance legend Anna Halprin, now in her eighties, has spent more than 50 years challenging the conventions of modern dance. A visionary in the field, she continues to teach, choreograph and perform. In January 2006, she brought a group of dancers to the Jewish Community Center of San Francisco to perform some of her work, including the two well-known pieces "Parades and Changes" and "Intensive Care." Spark follows Halprin as she prepares for the performances and talks about her lifetime as artist, teacher, health advocate and innovator.

Moments. Eine Geschichte der Performance in 10 Akten | Artist Talk Exhibition 08.03.2012 – 29.04.2012 Topographic reading points, which Simone Forti noted when travelling through urban areas, encouraged her to produce the work Face Tunes in 1967. In this work, she transfers the outline of human portraits in codified contoured lines. As musical scores, these scaled lines embody movement, whereby the scales are wandered through by following the traces recorded in a score with a flute. Face Tunes stands for a phase in the work where the choreographer propagates her minimalistic scores as applied to the analysis of movement with music. Forti’s systematic method of working also reveals itself in the archiving of her works for which she makes use of a many-sided historical approach: she began documenting her works in sketches and in artist’s books early on in her career. Today, she develops training videos which facilitate specific and authorized live transmission of her performances. During the exhibition, Simone Forti reenacts Face Tunes thereby conveying the ability to restage the performance to the witnesses. Short Biography The artist Simone Forti (*1935 in Florence, immigrated to the USA in 1939) works in the media of dance, text and drawing. As co-founder of the Judson Dance Theater, she played an important role in the new orientation of dance in New York during the 1960s. In pieces such as Huddle or See-Saw, she united the methods of improvisation she learned from Anna Halprin along with the conceptual freedom and precision through which John Cage exercised his influence at that time. In the reconstruction of works such as Dance Constructions, produced in 1961 and shown at the Museum of Modern Art in New York in 2009, the contemporaneity of approach continues to be perceptible.

Moments. Eine Geschichte der Performance in 10 Akten | Artist Talk Exhibition 08.03.2012 – 29.04.2012 Topographic reading points, which Simone Forti noted when travelling through urban areas, encouraged her to produce the work Face Tunes in 1967. In this work, she transfers the outline of human portraits in codified contoured lines. As musical scores, these scaled lines embody movement, whereby the scales are wandered through by following the traces recorded in a score with a flute. Face Tunes stands for a phase in the work where the choreographer propagates her minimalistic scores as applied to the analysis of movement with music. Forti’s systematic method of working also reveals itself in the archiving of her works for which she makes use of a many-sided historical approach: she began documenting her works in sketches and in artist’s books early on in her career. Today, she develops training videos which facilitate specific and authorized live transmission of her performances. During the exhibition, Simone Forti reenacts Face Tunes thereby conveying the ability to restage the performance to the witnesses. Short Biography The artist Simone Forti (*1935 in Florence, immigrated to the USA in 1939) works in the media of dance, text and drawing. As co-founder of the Judson Dance Theater, she played an important role in the new orientation of dance in New York during the 1960s. In pieces such as Huddle or See-Saw, she united the methods of improvisation she learned from Anna Halprin along with the conceptual freedom and precision through which John Cage exercised his influence at that time. In the reconstruction of works such as Dance Constructions, produced in 1961 and shown at the Museum of Modern Art in New York in 2009, the contemporaneity of approach continues to be perceptible.

Get words of wisdom from modern dancer Anna Halprin, who is in her eighties and still working. Original air date: March 2006.

This Web extra from Spark is an excerpt from choreographer and performer Anna Halprin's dance piece "Intensive Care." Original release: March 2006.