Louise Hanson-Dyer : leading by example

The article provides an example of music patronage, which can be sustained and realized in challenging conditions and focuses on the contribution of music publisher Louise Hanson-Dyer (1884-1962) . Her example demonstrates how patronage inspires confidence in music, elevates standards, and generates more creativity.

Gustav Holst and British Music Society of Victoria collections at the State Library of Victoria

The paper presents a content-based evaluation, tracing the historical background of two heritage music collections at the State Library of Victoria (Melbourne, Australia).  In the case of the Gustav Holst and the British Music Society of Victoria Collections, history and content intertwine for the reason that both collections were initiated at the same time and by the same visionary power. During the early 1930s Louise Hanson-Dyer, a patron of Gustav Holst, issued a complete catalogue of the composer’s works and donated to the State Library of Victoria the first batch of Holst scores. This was to be the initial installment of a complete collection of published British music, which, however, was stopped due to duty tax complications. At the same time, the British Music Society of Victoria, founded by Louise Hanson-Dyer in 1921, maintained the first open library of chamber music in Australia. The BMS of Victoria Collection came to the State Library of Victoria in the 1980s. The most valuable materials in the collection are manuscripts of Australian twentieth century works, concert programs and first publications of British music from the 1920s and 1930s, which also supplement the Gustav Holst Collection. The collections are valuable reference and research collections, which document musical taste and music-making in Melbourne from 1920s well into the 1970s. The collections are also sources for studies into Louise Hanson-Dyer’s gift in collection development and her efforts to raise the professional standards of music performance in Melbourne and Australia.

Physical activity parenting measurement and research : challenges, explanations and solutions

Physical activity (PA) parenting research has proliferated over the past decade, with findings verifying the influential role that parents play in children's emerging PA behaviors. This knowledge, however, has not translated into effective family-based PA interventions. During a preconference workshop to the 2012 International Society for Behavioral Nutrition and Physical Activity annual meeting, a PA parenting workgroup met to: (1) Discuss challenges in PA parenting research that may limit its translation, (2) identify explanations or reasons for such challenges, and (3) recommend strategies for future research. Challenges discussed by the workgroup included a proliferation of disconnected and inconsistently measured constructs, a limited understanding of the dimensions of PA parenting, and a narrow conceptualization of hypothesized moderators of the relationship between PA parenting and child PA. Potential reasons for such challenges emphasized by the group included a disinclination to employ theory when developing measures and examining predictors and outcomes of PA parenting as well as a lack of agreed-upon measurement standards. Suggested solutions focused on the need to link PA parenting research with general parenting research, define and adopt rigorous standards of measurement, and identify new methods to assess PA parenting. As an initial step toward implementing these recommendations, the workgroup developed a conceptual model that: (1) Integrates parenting dimensions from the general parenting literature into the conceptualization of PA parenting, (2) draws on behavioral and developmental theory, and (3) emphasizes areas which have been neglected to date including precursors to PA parenting and effect modifiers.

Louise Lightfoot : in search of India

 Louise Lightfoot, a trained architect by profession and an ardent balletomane, is best known for moving away from pure Western classical Ballet to a fusion of classical technique and romantic emotion in Australia through her First Australian Ballet group and school. During late 1920s, she was impressed by the performances of Anna Pavlova and Uday Shankar and to bring more appropriateness and authenticity to her own Indian classical dance style that she was trying to experiment with, virtually unknown and unseen in Australia till then in its original form, Lightfoot took a few weeks stopover in India. This short holiday eventually stretched to months and then eight years as she travelled to Tamil Nadu and Kerala’s Kalamandalam, where she began her study of the complex traditions of Kathakali and Bharata Natyam dance. Here she also became a Stage Manager cum Artistic and Publicity director for local troupes and artistes in residence. She was so thrilled by the whole experience of learning Kathakali – involving poetry, song, acting and dance – that soon she started appealing to the British in India to not only appreciate the Indian dance but also to Indian parents to allow their sons and daughters to dance. Lightfoot, as Dance Director of Shivaram, Janaki Devi, Priyagopal Singh and Lakshman Singh, supported by an ensemble of Australian dancers including Ruth Bergner, Moya Beaver, Leona Welch, Pat Martin and Betty Russell, successfully toured and promoted a range of Indian classical dance forms, like Kathakali, Manipuri, Bharatanatyam, throughout Australia, New Zealand, and Fiji. As an early image-maker, she also paved the way for many other noted Indian dancers and troupes. In spite of decades of hard work and dedication to Indian dancing and creating awareness about India in Australia her work and life is little known! Her journey is fascinating because of the workings of race relations not just in Australia but also India – existing prejudices against “Whites.” In this paper I try to chart out through Australian and Indian newspaper reports her search for India.

Louise Lightfoot and Rajkumar Priyagopal Singh: the first Manipuri dance tour of Australia, 1951

Manipur, a small state in the North-Eastern corner of India, is traditionally regarded as the home of gandharvas (the celestial dancers). Manipuri is one of the 11 dance styles recognized by the Ministry of Culture of India that have incorporated various key techniques mentioned in the ancient treatises like the Natya Shastra and Bharatarnava and has been placed under 'a common heritage' called Indian classical dance forms (shastriya nritya) - Bharata Natyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In 1951 Louise Lightfoot, the 'Australian mother of Kathakali' dance, visited the remote mountain state of Manipur to learn more about Manipuri dance. Soon she was successful in persuading and bringing eminent exponents of Manipuri dancing style Jagoi, Rajkumar Priyagopal Singh and Lakshman Singh, to tour Australia. Priyagopal, with the help of Lightfoot and their international tours, to some extent, de-provincialized and also popularized the Manipuri dance and paved the way for other dancers from North-eastern region of India in the International art world. Through this paper I attempt to highlight the contribution of Lightfoot in the promotion of Manipuri dance and in Australia. I here also engage explicitly with Priyagopal and Lightfoot's unusual dance collaboration and trace the historical journey and reception of a Manipuri dance in Australia. © 2014 © 2014 Taylor & Francis.

Louise Lightfoot and Ibetombi Devi: the second Manipuri Dance Tour of Australia, 1957

Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi’s cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.

Staging a cultural collaboration: Louise Lightfoot and Ananda Shivaram's first Indian Dance Tour of Australia, 1947-1949

One of the most highly stylized of the Indian forms of dance-drama, Kathakali has also received the greatest amount of attention on the global stage. We argue that its international exposure began with the performances of Ananda Shivaram, as managed by the Australian impresario Louise Lightfoot, in a landmark intercultural collaboration. From 1947 to 1949, Shivaram, along with an ensemble of Australian dancers, successfully toured Australia, adapting a range of Kathakali dance-dramas to performance in an international context. Lightfoot organized and publicized the tour, translated texts, and explained the art of Kathakali - virtually unknown - to excited Australian audiences. Using newspaper reports, advertisements, program brochures, and promoter's notes, we chart the performer's and the impresario's journeys, how they fostered intercultural understanding, and how Shivaram became a cultural ambassador for India.