In January 1969, just months before the Stonewall Riots, Ted Shawn (1891-1972) wanted to tell a story about how his life, writings, and dances contributed to the rapidly evolving gay liberation movement around him. Shawn died before he was able to put forth a candid account about how he, the "Father of American Dance," was homosexual, but he scrupulously archived his correspondence, diaries, photographs, and motion pictures of his dances, anticipating that the full significance of his choreography would reveal itself in time. Ted Shawn: His Life, Writings, and Dances tells that story.
The Peabody lectures of 1938 delivered at the George Peabody College for Teachers in Nashville. Reprint of the original edition without illustrations. First published in Great Britain by Dennis Dobson in 1946.
Shawn Stevenson is a health expert with a background in biology and kinesiology who has helped thousands of people worldwide to improve their health, through his private work as well as his #1 Nutrition and Fitness podcast on iTunes. In his work, Shawn brings a well-rounded perspective to the perennial question: how can we feel better? In investigating complex health issues such as weight loss, chronic fatigue and hormone imbalance, Shawn realised that many health problems start with one criminally overlooked aspect of our routine - sleep. In Sleep Smarter Shawn explores the little-known and even less-appreciated facts about sleep's influence on every part of our life. Backed by the latest scientific research and packed with personal anecdotes and tips from leaders in the field of sleep research, this book depicts the dangers of insufficient sleep - from weight retention to memory loss to bad sex to increased risk of disease. In his clear, personable and relatable style Shawn offers 21 simple, immediately applicable ways for readers to take their well-being into their own hands and improve their sleep now
“With cutting-edge research, penetrating insights, and practical examples, Shawn Achor describes a new conception of ‘success,’ and in doing so, reveals exciting new strategies we can use to meet our highest potential.”—Gretchen Rubin, bestselling author of The Happiness Project “A vibrant book on how to bring out the best in others—and how they can bring out the best in us.”—Adam Grant, #1 New York Times bestselling author of Think Again and host of the podcast WorkLife In a world that thrives on competition and individual achievement, we’re measuring and pursuing potential incorrectly. Pursuing success in isolation—pushing others away as we push ourselves too hard—not only limits our potential but makes us more stressed and disconnected than ever. Harvard-trained researcher Shawn Achor reveals a better approach. With exciting new research combining neuroscience and psychology with Big Data, Achor shows that our potential is not limited by what we alone can achieve. Instead, it is determined by how we complement, contribute to, and benefit from the abilities and achievements of people around us. When we—as individuals, leaders, and parents—chase only individual achievement, we leave vast sources of potential untapped. But once we put “others” back into the equation, and work to make others better, we ignite a Virtuous Cycle of cascading successes that amplify our own. The dramatic shifts in how we approach work today demand an equally dramatic shift in our approach to success. In Big Potential, Achor draws on cutting-edge original research as well as his work with nearly half of the Fortune 100 and with places like NASA, the NFL and the NBA, and offers a new path to thriving in the modern world.
During the past thirty years, Native American dance has emerged as a visible force on concert stages throughout North America. In this first major study of contemporary Native American dance, Jacqueline Shea Murphy shows how these performances are at once diverse and connected by common influences. Demonstrating the complex relationship between Native and modern dance choreography, Shea Murphy delves first into U.S. and Canadian federal policies toward Native performance from the late nineteenth through the early twentieth centuries, revealing the ways in which government sought to curtail authentic ceremonial dancing while actually encouraging staged spectacles, such as those in Buffalo Bill’s Wild West shows. She then engages the innovative work of Ted Shawn, Lester Horton, and Martha Graham, highlighting the influence of Native American dance on modern dance in the twentieth century. Shea Murphy moves on to discuss contemporary concert dance initiatives, including Canada’s Aboriginal Dance Program and the American Indian Dance Theatre. Illustrating how Native dance enacts, rather than represents, cultural connections to land, ancestors, and animals, as well as spiritual and political concerns, Shea Murphy challenges stereotypes about American Indian dance and offers new ways of recognizing the agency of bodies on stage. Jacqueline Shea Murphy is associate professor of dance studies at the University of California, Riverside, and coeditor of Bodies of the Text: Dance as Theory, Literature as Dance.
Two traditionally divided strains of American dance, Modern Dance and Negro Dance, are linked through photographs, reviews, film, and oral history, resulting in a unique view of the history of American dance.
In 1930, dancer and choreographer Martha Graham proclaimed the arrival of "dance as an art of and from America." Dancers such as Doris Humphrey, Ted Shawn, Katherine Dunham, and Helen Tamiris joined Graham in creating a new form of dance, and, like other modernists, they experimented with and argued over their aesthetic innovations, to which they assigned great meaning. Their innovations, however, went beyond aesthetics. While modern dancers devised new ways of moving bodies in accordance with many modernist principles, their artistry was indelibly shaped by their place in society. Modern dance was distinct from other artistic genres in terms of the people it attracted: white women (many of whom were Jewish), gay men, and African American men and women. Women held leading roles in the development of modern dance on stage and off; gay men recast the effeminacy often associated with dance into a hardened, heroic, American athleticism; and African Americans contributed elements of social, African, and Caribbean dance, even as their undervalued role defined the limits of modern dancers' communal visions. Through their art, modern dancers challenged conventional roles and images of gender, sexuality, race, class, and regionalism with a view of American democracy that was confrontational and participatory, authorial and populist. Modern Bodies exposes the social dynamics that shaped American modernism and moved modern dance to the edges of society, a place both provocative and perilous.
