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Becoming A Frame

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsMegan V. NicelyMEGAN V. NICELY is an artist/scholar whose research involves choreographic experimentation through the medium of the body. She combines critical dance and performance studies theory and philosophy with physical practice in release-based dance, Japanese butoh, and somatics. Nicely is Associate Professor of Performing Arts and Social Justice/Dance at University of San Francisco. She has published in TDR, Choreographic Practices, Performance Research Journal, and others. Her company Megan Nicely/Dance has performed on both U.S. coasts, in the U.K., and in Europe.Notes1 Ethan Hoffman, Mark Holborn, Tatsumi Hijikata, and Yukio Mishima, Butoh: Dance of the Dark Soul (New York: Aperture, 1987); Jean Viala and Nourit Masson-Sekine, Butoh: Shades of Darkness (Tokyo: Shufunotomo Co., 1988).2 Roland Barthes, Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Hill and Wang, 1981), 27.3 Eikoh Hosoe, Donald Keene, and Shuzo Takiguchi, Eikoh Hosoe: Kamaitachi (New York: Aperture, 2009).4 Bruce Baird, A History of Butô (New York, Oxford University Press, 2022); Tanya Calamoneri, Butoh Dance in the United States and Mexico from 1970 to the early 2000s (New York: Routledge, 2022).5 Earlier English-language titles include: Susan Blakeley Klein, Ankoku Butoh: The Premodern and Postmodern Influences on the Dance of Utter Darkness (Ithaca, NY: Cornell University Press, 1988); Nanako Kurihara, “The Words of Butoh,” in TDR 44, 1 (2000): 12-28; Kazuo Ohno and Yoshito Ohno, Kazuo Ohno’s World: From Without and Within, trans. John Barrett (Middletown, CT: Wesleyan University Press, 2004); Sondra Fraleigh, Butoh: Metaphoric Dance and Global Alchemy (Urbana, IL: University of Illinois Press, 2010); Bruce Baird, Hijikata Tatsumi and Butoh: Dancing in a Pool of Gray Grits (New York: Palgrave Macmillan, 2012); Rosemary Candelario, Flowers Cracking Concrete: Eiko and Koma’s Asian/American Choreographies (Middletown, CT: Wesleyan University Press, 2016); Bruce Baird and Rosemary Candelario, eds., Routledge Companion to Butoh Performance (London: Routledge, 2018).6 Ralph Lemon, Geography: Art/Race/Exile (Middletown, CT: Wesleyan University Press, 2000); Ralph Lemon, Tree: Belief / Culture / Balance (Middletown, CT: Wesleyan University Press, 2004); Ralph Lemon, Come home Charley Patton (Middletown, CT: Wesleyan University Press, 2013).

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Journeying Toward Center with the late Nancy Topf

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsKristin MarrsKRISTIN MARRS, MFA, M.AmSAT is an Associate Professor of Instruction at the University of Iowa, where she teaches ballet alongside somatic movement and anatomy classes. She is a certified Alexander Technique teacher with the American Society for the Alexander Technique and a certified Functional Awareness® Movement Educator; she runs a private studio in addition to teaching group Alexander classes for Iowa’s performing arts students. Marrs researches the intersections of ballet pedagogy with Alexander Technique, philosophies of writing across the curriculum, and self-reflective learning practices. As a choreographer she explores the evolution of ballet as a technique, somatic practice, and narrative form. Her most recent work is Assurance of Things Unseen (2022), performed in collaboration with the UI Symphony Orchestra.Notes1 Nancy Topf, “The Anatomy of Center by Nancy Topf: An Introduction to the Practice of Topf Technique® and Dynamic Anatomy (Excerpts), with a History of Release Technique and Writings by Barbara Clark, Marsha Paludan, Melinda Buckwalter, and Jen Harmon,” CQ Chapbook 3/37, no. 2 (Summer/Fall 2012).2 Martha Eddy, Mindful Movement: The Evolution of the Somatic Arts and Conscious Action (Chicago: Intellect 2017).3 Pamela Matt, A Kinesthetic Legacy: The Life and Works of Barbara Clark (Tempe, AZ: Clark Manuals Trust, 1993).

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