Smith, Nancy Stark; Dilley, Barbara
June 2005
Contact Quarterly;Summer/Fall2005, Vol. 30 Issue 2, p33
Interviews Barbara Dilley, a choreographer in Boulder, Colorado. Ways of enhancing dance improvisation practices; Relation of eye practices in some way to Buddhist practice; Identification of the specific movements used in the beginning of the dance rehearsal.


Related Articles

  • REMY CHARLIP.  // Contact Quarterly;Winter/Spring2013, Vol. 38 Issue 1, p12 

    The article focuses on the life and works of dancer and choreographer Remy Charlip. Born and raised in Brooklyn, New York City, he studied textile design in high school and attended college at the Cooper Union School of Fine Arts. Details on how he started dancing as well as his accomplishments...

  • THE IMAGINATION AND THE ENGINEER. Zaporah, Ruth; Smith, Nancy Stark // Contact Quarterly;Winter/Spring2013, Vol. 38 Issue 1, p28 

    Several excerpts are presented from three conversations between the author and choreographer Ruth Zaporah in December 2009 at her home in Santa Fe, New Mexico.

  • THIS INTERVIEW. BUDWIG, STORMY // Brooklyn Rail;Dec2014/Jan2015, p130 

    An interview with choreographer Neil Greenberg is presented. Greenberg discusses the method he uses to explain to the dancers their role in the dance production "This," the factors he considers to create space in stage and his style of discussing presence with the dancers. He also talks about...

  • Ishmael Huston-Jones, Choreographer and Dancer. Wilmoth, Charles // Advocate;7/3/90, Issue 554, p54 

    Profiles gay choreographer and dancer Ishmael Huston-Jones. Migration to New York City in 1979; Performance of disturbing dance moves like caressing, kissing and licking a cinder block; Improvisational dancer.

  • Framing the gap: Contact [and] improvisation. Dey, Misri; Sarco-Thomas, Malaika // Journal of Dance & Somatic Practices;Dec2014, Vol. 6 Issue 2, p119 

    An introduction is presented in which the editor discusses various reports within the issue on topics including the translation of contact improvisation (CI) principles, the value of attention training in the practice of CI, and performance writing.

  • 36-Hour Pass the Dance.  // Contact Quarterly;Winter/Spring2009, Vol. 34 Issue 1, p31 

    A photograph of dancers during the 36-hour Pass the Dance at Contact Improvisation's 36th anniversary in Huntingdon, Pennsylvania is presented.

  • BONNIE BAINBRIDGE COHEN.  // Contact Quarterly;Winter/Spring2013, Vol. 38 Issue 1, p33 

    An interview with choreographer and improviser Bonnie Bainbridge Cohen is presented. She offers insight about her workshop entitled "Embodying the Organs from a Develomental Perspective" that took place in Berkeley, California from September 29 to October 2, 2012. She compares her style of...

  • Artist Statement. Shuster, Wendy // Dance Research Journal;Winter2011, Vol. 43 Issue 2, following p121 

    The author offers insights on drawing with charcoal on paper while she works directly from and with dancers and dance improvisation and explorations.

  • RIDING THE RIDDIM. Muller, Nazma // Caribbean Beat;2009, Issue 96, p56 

    The author discovers the dance styles of the Jamaicans. She relates how the clothes and the body movements of Jamaican dancers shocked her as she entered a famous nightclub which show their movementations. She has observed the way dancers executed the latest craze in Jamaica known as passa passa...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics