81. REVIEWS Pascal’s simple, cleverly designed and movingly acted production throws naturalismand expressionism, dance, music and dialogue (in English and Yiddish) http://www.pascal-theatre.com/pascrevdybb.htm

The Dybbuk by Julia Pascal New End Theatre Cheekily upstaging the Royal Shakespeare Company, whose own version of Anski’s classic opens in two weeks’ time, Julia Pascal has transformed Hasidic myth into an urgent play for today a timeless drama that reaches back into the rituals of the past and looks forward into the ashes of the 20th century. Framed by the musings of a young Jewish girl on the sterility of present-day Germany ("I go to Germany and I think that Hitler won" ) the play is set in 1942 in a Jewish ghetto where the inhabitants confront their terror by ritually acting out the story deeply rooted in their culture of the bride who is possessed on her wedding day by the restless soul of the young student who loved and lost her. Pascal’s simple, cleverly designed and movingly acted production throws naturalism and expressionism, dance, music and dialogue (in English and Yiddish) into the melting pot and comes up with something distinctly and refreshingly un-British. Purists will no doubt argue that Anski’s original has been subsumed, but this is genuinely creative work which boasts a final sequence that is as spine-tingling as anything you’ll see in the theatre this year. Lyn Gardner The Independent July 9, 1992

82. Scottish Arts Council - Featured Dance Profile not least Wolfgang Stange and Amici dance Theatre Company with their roots inGerman expressionism, Gabrielle Roth who reconnected me with my original http://www.scottisharts.org.uk/1/artsinscotland/dance/features/profile.aspx

search advanced search Home Arts in Scotland Dance ... Features Profile Home Arts in Scotland Showcase What's on ... Site map Featured profile: Janice Parker Artists Statement by Janice Parker - Creative Scotland Award recipient 2005 'I describe myself as a choreographer and dance producer, the latter because I like to work with possibility – the place beyond that which we already know, and the former because I like to create new work. From a background of teaching and community dance I have “specialised” in the “non-dancer”. I am constantly inspired by the possibilities of the untrained body and the natural spontaneous qualities of ordinary people moving and dancing. Recently I have become interested in the potential that exists within the movement qualities of people with learning disabilities, not only the potential within people themselves but also the potential this movement has for resourcing contemporary dance and live art practice. Bringing these two worlds together is one of my primary aims. As a current and happy recipient of a Creative Scotland Award from the Scottish Arts Council I will, for the next year, be able to work at depth with this idea and create a new performance/installation informed by this process.

83. World/Reggae, MP3 Music Download At EMusic Orient expressionism by Richard Gehr Cairo Caravan s Belly dance With Dinais worth a download as well. Egypt dominates contemporary Arabic pop with an http://www.emusic.com/genre/feature/200505/288.html

Buy / Redeem Gift Log In Help Quick Links Home Alternative/Punk Blues Classical Country/Folk Electronic Inspirational Jazz New Age Rock/Pop Urban/Hip-Hop World/Reggae Soundtracks/Other Dozens Your Profile Saved for Later Account Search All Artist Album Track Label Composer Home In This Feature Eastern Strings: The Art of Arabian Oud Solos Amer Ammouri Traditional Arabic Music Arabesque ... Oum Kalthoum Column Archives Cajun Cookin' : A la recherche du Cajun perdu Ball of Fusion : What makes a multiculti masterpiece Trance Missionaries : Understanding the Trance, Worldwide Let Us Now Praise Famous Accordions : In praise of the "stomach Steinway" A Passage to India : A guide to eMusic's massive trove of Indian music Grilling Gillett : Meet the man who coined the term "world music" Dub and Dubber : An introduction to dub reggae Censorship and Its Discontents : When governments muzzle musicians Orient Expressionism by Richard Gehr September 11th rattled no art form as immediately as it did Arabic music. A year earlier, Algerian rai star Cheb Mami was passionately wailing "Desert Rose" alongside Sting during the Grammy Awards, where Der Stingel's Brand New Day was deemed the year's best pop album. Sting's manager Miles Copeland was poised to introduce various varieties of Arabic pop to the international cultural community via his new

84. Press Release Archive: GW'S THEATRE AND DANCE DEPARTMENT PRESENTS...< Sponsored by The George Washington University s Department of Theatre and dance,this solo concert traces dance from the German expressionism of the 1920 s http://www.gwu.edu/~media/pressreleases/emotions.cfm

FOR IMMEDIATE RELEASE January 17, 1997 MEDIA CONTACT: Audra Garling GW'S THEATRE AND DANCE DEPARTMENT PRESENTS... "eMOTION.S: German Lineage in Contemporary Dance" Jan. 29 "When Betsy Fisher stiffens her solar plexus suddenly, so do we." Judith Broadhurst, Santa Cruz Sentinel, CA EVENT: "eMotion.s: German Lineage in Contemporary Dance," an innovative performance by Betsy Fisher, assistant professor of dance at the University of Hawaii at Manoa. Sponsored by The George Washington University's Department of Theatre and Dance, this solo concert traces dance from the German expressionism of the 1920's through current abstract developments and showcases choreography by important artists from the German tradition including Mary Wigman, Dore Hoyer, Hanya Holm, Alwin Ni kolais, Murray Louis and Marianne Vogelsang. WHEN: Wednesday, January 29, 1997 8 p.m. WHERE: The George Washington University Dance Theatre-J 2131 G Street, NW (Foggy Bottom/GWU Metro, blue and orange lines.) COST: Free. Seating is limited. Advance reservations are suggested and can be made by calling (202) 994-0739.

85. Extravagant Fun With Batsheva, From Surf-guitar Hora To Politics / Israeli Troup Israeli troupe makes first SF visit in Naharin s Deca dance You can tracePina Bausch s German expressionism in the glittery black cocktail dresses, http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/03/12/DDG

86. Art Appreciation/Education "class" #4: Expressionism Have you ever enjoyed music and dance at a picnic? That’s what we see. There were two movements of expressionism in Germany the Bridge (Die Brucke) http://www.freerepublic.com/focus/f-chat/1424087/posts

Free Republic Home Browse Search ... Art Appreciation/Education "class" #4: Expressionism Posted on 06/16/2005 8:02:07 AM PDT by Republicanprofessor Okay, today our theme, for this fourth "class," is emotional expressionism. This developed in the first decade of the twentieth century and features Matisse, as a French Expressionist (or Fauvist, if you want to get really picky) and the two branches of German Expressionism: the Bridge and the Blue Rider. They are all inspired by the work of van Gogh and Cezanne which we saw in the last “lesson”: the emotional power of van Gogh and the strong composition of Cezanne. Henri Matisse (1869-1954) dropped out of a career as a lawyer. He became a leader of the Fauves (which also included Derain, Braque and many other more minor artists). His Joy of Life is the quintessential Fauve painting. (This was posted earlier on a thread dealing with the Barnes Foundation, which is where the painting is located, and for many years it was only reproducible in black and white, a very frustrating fact for the art historian.) Joy of Life Bacchanal of the Andrians from 1522.

87. Count Of The Dance: Guy Maddin Indeed, like Moulin Rouge, Dracula approaches the idea of a dance film through I tried to get more expressionism in there, but I was reining people in. http://www.sixpackfilm.com/archive/texte/01_filmvideo/Maddin_Count.html

In Person Guy Muddin (Filmmuseum Wien 12.-26.04.03) Count of the Dance: Guy Maddin on By Mark Peranson "There are bad dreams for those who sleep unwisely." So begins Dracula Opening Night , and finished on video, not celluloid, it remains the first feature film directed by Guy Maddin in six years. That Maddin, who has tried (and often failed) to maintain a level of artistic freedom, could immerse himself in the project-for-hire, and deliver a Dracula that is compulsively (or is it impulsively?) watchable, is cause for celebration. Though the period of feature-film inactivity was just as long between Careful (1992) and Twilight of the Ice Nymphs (1997), the years that followed can be seen as a long, waking nightmare for the lone-wolf director. With The Heart of the World (2000), he woke up from the dormancy, and the rest of the Canadian film establishment finally took notice. The adrenaline shot of the masterpiece The Heart of the World Beau travail (1999) and Moulin Rouge (2001) can be considered dance films

88. Yerba Buena Gardens Festival - San Francisco from New York City whose pioneering integration of movement and film arestrongly rooted in German expressionism and influenced by Butoh dance. http://www.ybgf.org/PressRoom/press/butoh.htm

2002 Press Releases FOR IMMEDIATE RELEASE PRESS CONTACT: Barbara Webb and/or Brechin Flournoy or Molly Barrons Dance-Network in association with Fort Mason's Cowell Theater presents The San Francisco Butoh Festival Season 8: The Grand Finale Featuring Su-En (Sweden), Kathy Rose (New York), Hiroko Tamano (Berkeley), and artists from throughout the U.S. Mainstage Performances at Fort Mason's Cowell Theater August 8-11, 2002 Tickets: $16-$24 (group, student, senior, disabled discounts available) Box Office: (415) 345-7575 www.ticketweb.com or TIX/Union Square (June 20, 2002- San Francisco, CA) Dance-Network announces the grand finale of the San Francisco Butoh Festival. For 8 seasons, the San Francisco Butoh Festival has brought leading and obscure artists from Japan, Asia, Europe, Latin America, Canada, and throughout the U.S. to perform, teach, and educate Bay Area audiences about Butoh dance. In it's final year, the Festival comes full circle as it celebrates the art of contemporary Butoh, and it's influence on American and European artists. The San Francisco Butoh Festival was conceived and founded in 1995 by Brechin Flournoy, and launched in partnership with Takami Craddock, Dance-Network's co-director for 4 seasons. Since it's groundbreaking debut, the festival has been lauded as the largest and most influential Butoh Festival in the United States, and has taken the lead in popularizing the artform in this country. Founding Director, Brechin Flournoy's curatorial choices have been celebrated by local, national, and international press, as they have pushed to shatter myths about the very definition of Butoh dance.

89. Sfbg.com On this side of the bay, San Francisco Performances opens its dance season with a from a company that traces its roots back to German expressionism. http://www.sfbg.com/36/50/art_fall_dance_season.html

September 11, 2002 Nude Beaches Best of the Bay 8 Days a Week Political events ... Classifieds Extra Andrea Nemerson's alt.sex.column Norman Solomon's MediaBeat nessie's The nessie files Tom Tomorrow's This Modern World Jerry Dolezal Cartoon News Letters Arts and Entertainment Venue Guide Tiger on beat By Patrick Macias Frequencies By Josh Kun Calendar Music Listings Event Listings Art Listings Stage Listings ... Submit your listing Culture Techsploitation By Annalee Newitz Without Reservations By Paul Reidinger Cheap Eats By Dan Leone Our Masthead Editorial Staff Business Staff PERSONALS ... SEARCH Alive and well The fall season dance card is full of excitement. By Rita Felciano TWO MAJOR ANNIVERSARIES , a triple bill of ballet's most beloved icon, and a quartet of promising new companies are indicators of just how well Bay Area dance is faring. The honors of fall season opener go to

90. Sfweekly.com | | Dance | Beauty And The Beast | 2001-02-07 The instrument of dance is the body, and the body is traversed by a lot of postCunningham modern, expressionism, and social dance with each http://www.sfweekly.com/issues/2001-02-07/dance.html

ARCHIVE SEARCH Home Letters Dining ... Free Stuff Dance Beauty and the Beast Angelin Preljocaj's ballet company dips its toe in art, literature, and history with stunning results By Ann Murphy Published: Wednesday, February 7, 2001 J. C. Carbonne No Tutus Here: Ballet Preljocaj stages a battle between instinct and intellect. Who / What: Paysage Apres La Bataille Details: Ballet Preljocaj. Feb. 8-11 at 8 p.m. and Feb. 12 at 2 p.m. at Tickets are $28-35; call 392-4400 or visit www.sfperformances.org Where: , 700 Howard (at Third Street), S.F. Printer friendly version of this story Email Ann Murphy More stories by Ann Murphy Send a letter to the editor Send this story to a friend Stage At the Fringe Chloe Veltman's roundup of the notable in this year's wacky stage fest Encore Encore Our critics weigh in on local theater Ballet and intellectuality often seem to fit together about as well as George W. Bush and a good book. On the one hand, you've got ballet's anachronistic courtly pretension, with women in hooped gowns bowing beautifully, and men like so many Napoleons wearing smug facades of noblesse oblige. On the other hand, you've got ballet's air of upper-class disdain for inquiry, especially inquiry into the legitimacy of one way of life over another. That's when classical dance can begin to look like the Russian aristocracy in the Battle of Austerlitz well dressed, superior, and graceful, but ultimately foolish. Fortunately, the anachronistic face of ballet is only one of many fronts the dance has shown in the last 100 years. In fact, since the Diaghilev era in the early 20th century, artists have strived to revolutionize the art form. French-Albanian Angelin Preljocaj, director of his own Ballet Preljocaj, is in the vanguard of young choreographers using ballet with the soul of an intellectual, the ingenuity of a matador, and the ferocity of a prizefighter. He does it, in part, by mixing ballet unselfconsciously with any other dance form he likes.

91. Biokeen Elizabeth Keen began in the concert dance field performing in the companies of Paul Abstract expressionism, for dance Theater Workshop s Founders http://www.hessdance.org/keen.htm

Biography : Elizabeth Keen Elizabeth Keen began in the concert dance field performing in the companies of Paul Taylor, Helen Tamiris-Daniel Nagrin, Katherine Litz, and Mary Anthony. From 1966 to 1981 she choreographed for her own group, the Elizabeth Keen Dance Company, which toured nationally and performed annually in New York City with support from the NEA and the NY State Council for the Arts. Since then she has choreographed primarily for opera and theater. Her work in opera includes: Carmen, Falstaff, and La Traviata (Glyndebourne Opera Festival), Carmen (The Metropolitan Opera), and Salome (Los Angeles Opera, Covent Garden, Lyric Opera of Chicago, and San Francisco Opera), all directed by Sir Peter Hall; L'Ange de Feu (Los Angeles Opera, L'Opera Bastille, and the Netherlands Opera), directed by Andrei Serban; Candide (Central City Opera), Porgy and Bess (North Carolina Opera Association), Jonny Spielt Auf (Long Beach Opera)

92. ERG Status International Seminars dance Theater - Youth Theater - Workshops such asReleasing, Polish Contemporary dance, German expressionism, Butho, http://www.cyberrex.org/erg/sir-eng.html

Srpski International Seminars - Dance Theater - Youth Theater - Workshops ERGstatus Dance Theater Youth Theater ERGstatus Seminars Seminars are organized as educative programs and their general goal is to create basis and to promote development of contemporary dance in the country and in the region of South-Eastern Europe. These seminars educated over 60 young participants, who were introduced to various techniques of contemporary dance, such as: Releasing, Polish Contemporary Dance, German Expressionism, Butho, Israeli Contemporary Dance and Hawkins technique. Presentations of those seminars were visited by audience and critics who create important part of newly established society of contemporary dance in the country. Education and public lectures on different themes were organized by our experts in this field: Jelena ©antic, Vedran Vucic and Boris Cak¹iran, as well as by pedagogues and artists from abroad: Uri Ivgy - Israel, Jacek Luminski - Poland, Christine Brunel - Germeny, Amir Kolban - Israel and Valery Green - USA. ERGstatus workshops Multimedia and multicultural workshops for training, physical theatre, contemporary dance and drama structures are led by Boris Cak¹iran, Janet Forrest, Sanja Mitrovic and Du¹ko Trajkovic. These workshops are also organized on tours.

93. Dance Theatre Of Ireland Their earliest dance training was in Abstract expressionism with Nancy Hauserand Hanya Holm at the Centre for the Performing Arts in Minneapolis, http://www.dancetheatreireland.com/pages/artdirec.htm

Dance is a language with a power to encourage the spirit, evoke memory and reflect ideas. In our work we construct dance, imagery and music that reflects on living, life, people, or on qualities of movement which – in and of themselves – take our imaginations to those places. Dance, and dancers, are perhaps one of the last remarkable vestiges of living in the moment—of working in ways that don’t necessarily compute—of working with one’s body and imagination, and ultimately with each other a rigorous place where we rely on the body’s wisdom to respond in new ways to what it already knows or to what the mind reflects upon. There are many ways into that centre it’s a hard life, but a magnificent world.” Robert Connor and Loretta Yurick have been at the forefront of the development of contemporary dance in Ireland throughout their careers as performers, choreographers, teachers and producers. Robert and Loretta hold BA's in Psychology and Urban Studies, respectivly. Their earliest dance training was in Abstract Expressionism with Nancy Hauser and Hanya Holm at the Centre for the Performing Arts in Minneapolis, where they were also taught by then Company members, Ralph Lemon and Steve Koester. Since then they have worked in a variety of contemporary dance styles including Limon, Cunningham, Nikolais and release techniques as well as contact improvisation. Together and separately they have created over 30 original works for Dance Companies and Festivals

94. Belly Dancing By Zamoras - Meet The Tribe: Gay Marie I enjoy all forms of dance including contemporary and expressionism. I have taughtbaton, dance and fire for years, and find my greatest joy in teaching http://www.bellydancingbyzamoras.com/tribe/gay_marie.html

Gay Marie About Gay Marie My name is Gaymarie...and I fell in love with dance when I was three years old when my mother took me to my very first ballet lesson. at local, State and National levels winning hundreds of awards in the twirling and strut divisions. At the age of eleven I was handed my very first fire baton, and fell in love with the element immediately. I enjoy all forms of dance including contemporary and expressionism. I have taught baton, dance and fire for years, and find my greatest joy in teaching children. All these years of training and experience have brought me to this wonderful place where my dancing spirit has found it's true expression as a dancer and drummer with Zamora's Bellydancing. The spirit and power of the fire fuels my inspiration and brings the fire in my soul to fruition through dance! I especially enjoy the appreciation and zeal the young children seem to have with the dance of the fire. I am so blessed to be a part of Zamora's Gypsy Family and so enjoy the combined spirits of our beautiful tribe! ***Fire Dancer*** ... a gift of prose written by Phillip Stiles

95. The British Theatre Guide : Reviews - Merce Cunningham Dance Company (Barbican T A review of the Merce Cunningham dance Company, part of BITE05 at the in person to the origins of modern American dance in German expressionism. http://www.britishtheatreguide.info/reviews/mercecummingham-rev.htm

Sign up for our Newsletter Reviews Links Articles News Reviews ... London Theatre Tickets The Merce Cunningham Dance Company BITE:05 Barbican Theatre Review by Jackie Fletcher The programme showing at the Barbican this week is one of Cunningham's Events, collages of elements from the repertory together with new material especially devised for the space of performance and with 'artwork' designed for the piece by guest artists. Last night's suitably subtle and enigmatic projected backdrop was the work of renowned British artist Richard Hamilton, and throughout the week each performance will be accompanied by artwork by a different artist. Since the first Event in 1964 Cunningham has devised work for a variety of spaces, museums, gyms, basketball courts, open spaces, St Mark's Square in Venice among them, so the main auditorium in the Barbican might seem somewhat prosaic in comparison. On the contrary, Cunningham utilises the vast and lofty space so that it collaborates with the quiet purity that has become characteristic of Cunningham's dance. In this space the dancers seem at one and the same time awesomely beautiful, yet effortlessly simple and down to earth. The dance is so superbly understated that it lulls and invigorates simultaneously. Cunningham has said that dance is the physical manifestation of inner spirituality and that the discipline and rigour of the dancer's training is a means to freedom, to liberating the body so that natural expression shines through. And this is exactly what is happening on stage at the Barbican. There is no drama, no striving for narrative, nor emotional expression, it's an 'experience of dance', as Cunningham would put it, something that balances elegantly and eloquently on the cusp of the wave between the humble and the sublime. The perfect balance lies in the intensity of stillness and the tranquillity in motion combined as the dancers bodies simply 'allow' the movements to unfold in space and time.

96. Crossover Dance - Alexandra Tomalonis Reviews and articles about ballet and modern dance performances in New York, It borrows from German expressionism (Balanchine in “Prodigal Son”) or the http://www.danceviewtimes.com/2005/Winter/05/crossover.htm

danceviewtimes writers on dancing Moved to "Where Were You Sitting?" Volume 3, No. 5 January 31, 2005 www.danceviewtimes.com DanceView Times What's On This Week Index of Revie ws ... DanceView Writers Mindy Aloff Dale Brauner Mary Cargill Christopher Correa Clare Croft Nancy Dalva Rita Felciano Marc Haegeman George Jackson Gia Kourlas Alan M. Kriegsman Sali Ann Kriegsman Sandi Kurtz Alexander Meinertz Tehreema Mitha Gay Morris Ann Murphy Paul Parish John Percival Tom Phillips Susan Reiter Jane Simpson Alexandra Tomalonis (Editor) Lisa Traiger Meital Waibsnaider Kathrine Sorley Walker Leigh Witchel DanceView The Autumn Issue of DanceView is OUT!

97. : Fine Art : Art/Photography : Urban Chic Gifts : Marketplace : CafePress.com Abstract expressionism in (see all matching stores) Can you feel the rhythm?Can you feel the dance? From the Abstracts collection at http://www.cafepress.com/shop/urbanchic/browse/N-1365 20774183_Ne-25_nr-1_bt-2

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98. Course Descriptions Enjoy learning basic dance techniques and steps in foxtrot, rumba, swing, “Impressionism” or “a la prima” painting, “abstract expressionism”, http://www.kean.edu/~cont-ed/art_dance_music.html

Art, Dance, Film, and Music Salsa Dancing (Beginner) Learn basic Salsa footwork, partner skills, turns and combinations to get you started on the floor with confidence. Register early- space is limited. $50 per person CEP 120 Sec 038 Wed 2/16-4/13 8-9pm 8 sessions No class 3/09 Luis Martinez, Assistant Professor, Physical Education/Recreation/Health Salsa Dancing (Intermediate) This course is designed for those dancers who have a working knowledge of Salsa dancing. Learn more advanced partnering and turn sequences with emphasis on styling for men and women. Singles and couples are welcome! $50 per person CEPB 120 Sec 039 Wed 2/16-4/13 9:05-10:05pm 8 sessions No class 3/09 Luis Martinez Ballroom/Social Dancing (Beginner) Enjoy learning basic dance techniques and steps in foxtrot, rumba, swing, waltz and cha-cha. No experience is necessary. Singles and couples are welcome. Register early – space is limited.

99. GoPhila.com CultureFiles - Dance At Marah dance Theatre + Eleone Two companies in search of the spiritual in dance of Martha Graham and José Limón and colored by German expressionism. http://www.gophila.com/culturefiles/dance/spiritualdance/

A t Marah Dance Theatre + Eleone: Two companies in search of the spiritual in dance At Marah Dance Theatre Print This Page E-mail To A Friend Both of these companies search for the spirituality that can be found in dance but approach it from quite different orientations. At Marah Dance Theatre Messiah Eleone named after its late founder E. Leon Evans, finds its wellspring in the techniques of Katherine Dunham and Lester Horton, proponents of American expressiveness. There can be joyous leaps, angry upraised fists and despairing drops to the floor in works that deal with the African-American experience. Choreographer Shawn LaMere Williams has taken the reins, and in addition to shepherding local season concerts, each Christmas he mounts Carols in Color Black Nativity Photo by Ed Belmonti available here At Marah Dance Theatre www.atmarah.org

100. University Week: Chamber Dance Tickets On Sale The UW’s Chamber dance Company will explore the impact of humanism and expressionismon modern dance during its annual winter concert. http://depts.washington.edu/uweek/archives/2002.02.FEB_14/news_j.html

Chamber Dance tickets on sale The UW’s Chamber Dance Company will explore the impact of humanism and expressionism on modern dance during its annual winter concert. The company will perform Feb. 21–23 at 8 p.m. and Feb. 24 at 2 p.m. in Meany Hall. Tickets are available at the UW Arts Ticket Office, 4001 University Way N.E. or by calling 206-543-4880. University Week The faculty and staff publication of the University of Washington uweek@u.washington.edu February 14, 2002

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