By Libby Worth
This guidebook lines the life's paintings of radical dance-maker Anna Halprin, documenting her early occupation as a latest dancer within the Nineteen Forties via to the improvement of her groundbreaking method of dance as an obtainable artwork shape. lifestyles and paintings -- thought and perform -- The mountain performances, Circle the earth, and The planetary dance -- sensible explorations
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Additional info for Anna Halprin (Routledge Performance Practitioners)
Key aspects of this method include a holistic approach to teaching dance, an acknowledgement of, and respect for, both differences and commonalties between people and a commitment to collective creativity. Although the political and philosophical implications of this path were not new in Halprin’s work, as demonstrated by her community-based projects and Marin co-operatives, the performance aesthetic had become more precisely determined. There seemed to her to be little point in doing ‘dances that were about being inventive and cute and funny when our planet is in such danger’ (Halprin 1992: 53).
The application of this process to a community LIFE AND WORK 35 36 LIFE AND WORK project that began as a series of workshops ‘The Search for Living Myths and Rituals’, and continues today as a yearly large scale ritual dance performance is examined in depth in Chapter 3. Tamalpa Institute students were closely involved with the project from its inception. Over the years it has shifted and altered form from the series of dances on the mountain that addressed an urgent local community issue, through to a ﬂexible structure of workshops and performance called Circle the Earth designed to run in any country.
The Grandfather Dance mentioned at the beginning of this chapter is the third solo in Memories from My Closet. Performed to the music of a Jewish Klezmer band, this tender and exuberant celebration of her relationship with grandfather is the liveliest and most physically ambitious piece in the sequence and is danced by Halprin with verve. Gratitude, the ﬁnal vignette, is also the slightest. It is a personal ritual in which Halprin acknowledges her lineage. She performs in a Bedouin shepherd’s robe which reminds her of her ﬁrst visit to Israel in 1948 shortly after the establishment of the state, an experience which evoked a deep feeling of belonging and of homecoming.
Anna Halprin (Routledge Performance Practitioners) by Libby Worth