Tony Barrand John Roberts at The Ark, 1977

[Morris dancing on Ark I, lawn]

Tony Barrand John Roberts at The Ark, 1977

[Morris dancing on Ark I, lawn]

Tony Barrand John Roberts at The Ark, 1977

[Morris dancing on Ark I, lawn]

Children's corner = Coin des enfants : petite suite pour piano seul.

Doctor Gradus ad Parnassum. -- Jimbo's lullaby. -- Sérénade for the doll. -- The snow is dancing. -- The little shepherd. -- Golliwogg's cake walk.

Theory and practice of physical education /

v. 3, 1915.

Cleaner shrimp use a to advertise cleaning rocking dance service to clients

Signals transmit information to receivers about sender attributes, increase the fitness of both parties, and are selected for in cooperative interactions between species to reduce conflict [1, 2]. Marine cleaning interactions are known for stereotyped behaviors [3-6] that likely serve as signals. For example, dancing and tactile dancing in cleaner fish may serve to advertise cleaning services to client fish [7] and manipulate client behavior [8], respectively. Cleaner shrimp clean fish [9], yet are cryptic in comparison to cleaner fish. Signals, therefore, are likely essential for cleaner shrimp to attract clients. Here, we show that the yellow-beaked cleaner shrimp [110] Urocaridella sp. c [11] uses a stereotypical side-to-side movement, or rocking dance, while approaching potential client fish in the water column. This dance was followed by a cleaning interaction with the client 100% of the time. Hungry cleaner shrimp, which are more willing to clean than satiated ones [12], spent more time rocking and in closer proximity to clients Cephaiopholis cyanostigma than satiated ones, and when given a choice, clients preferred hungry, rocking shrimp. The rocking dance therefore influenced client behavior and, thus, appears to function as a signal to advertise the presence of cleaner shrimp to potential clients.

ASPECTOS COMUNICATIVOS E CULTURAIS NOS HÁBITOS CULINÁRIOS CAIÇARA DA COMUNIDADE QUILOMBOLA DA FAZENDA PICINGUABA, DE UBATUBA SP

Estudo sobre os processos comunicativos envoltos na transformação dos hábitos culinários da comunidade quilombola da Fazenda Picinguaba de Ubatuba, SP. O objetivo é entender as origens e as causas que provocaram alterações nos hábitos culinários da comunidade do Quilombo da Fazenda, a partir de uma análise comparativa entre os fazeres primitivos e os praticados hoje. Foi analisado também o processo comunicacional desenvolvido para a transmissão da cultura alimentar entre as gerações, identificando as linguagens utilizadas. Como instrumento para o entendimento desses fenômenos, esta pesquisa foi realizada à luz das teorias e conceitos dos estudos culturais; dos conceitos sobre comunidades e identidades, além da teoria da folkcomunicação desenvolvida por Luiz Beltrão. Para tanto, foi realizada pesquisa bibliográfica e estudo de documentos, além de entrevistas utilizando-se a modalidade história oral com os membros da comunidade. Os resultados obtidos apontam uma mudança nos hábitos alimentares da comunidade do Quilombo da Fazenda, devido à facilidade de acesso ao comércio de gêneros alimentícios, decorrente da construção da rodovia Rio-Santos, e a influência trazida pela televisão, a partir da implantação da rede de energia elétrica em 2008. No entanto, observamos que apesar dessa mudança, a base da cultura alimentar quilombola vem mantendo muito dos seus aspectos originais. A comunicação dentro da comunidade quilombola e a transmissão dos saberes e fazeres tradicionais da comunidade ocorrem predominante pela oralidade. Identificamos a presença de dança, música, roda de conversa, culinária, artesanato que correspondem aos gêneros da folkcomunicação.

In memoriam: Dimitar Shishkov

Bulgarian and world computer science lost a prominent colleague: Dimitar Petrov Shishkov 22th January 1939, Varna – 8th March 2004, Sofia D. Shishkov graduated mathematics at Sofia University in 1962. In the last year of his studies he started a specialization as a programmer at the Joint Institute of Nuclear Research – Dubna which lasted three years. Then he worked at the Institute of Mathematics for two years. In 1966 D. Shishkov together with a group of experts transferred to the newly created Central Laboratory for Information Technologies. In 1976 he defended his PhD dissertation. He has been an associate professor in computer science at Sofia University since 1985 and a professor in computer science since 2000. His scientific interests and results were in the fields of computer architectures, computational linguistics, artificial intelligence, numerical methods, data structures, etc. He was remarkable with his teaching activities. D. Shishkov was the creator of high-quality software for the first Bulgarian electronic calculator “ELKA” – one of the first calculators in the world as well as for the series of next calculators and for specialized minicomputers. He was the initiator of the international project “Computerization of the natural languages”. He was a member of a range of international scientific organizations. Among his numerous activities was the organization of the I-st Programming competition in 1979. D. Shishkov was the initiator of sport dancing in Bulgaria (1967) and founder of the first sport-dancing high school education in the world. D. Shishkov was a highly accomplished person with a diversity of interests, with a developed social responsibility and accuracy in his work. In 1996 D. Shishkov was awarded with the International Prize ITHEA for outstanding achievements in the field of Information Theories and Applications. We are grateful to D. Shishkov for the chance to work together with him for establishment and development of IJ ITA.

As inter-ações entre espaço do corpo e o movimento dançado

This dissertation seeks to reflect about the relations between danced movement and body space (Kinesphere), and their contributions to the expansion of the expressive possibilities of the subject on dancing. According to Rudolf Laban there is no space that is empty, because it is always being modified and signified at every moment by the movement. Space exists because we interact with it, at the same time movement occours configuring a signifcant space that is incessantly transformed. In this sense, space, body and movement appear in this research as interconnected and interdependent. For this discussion we have as main interlocutor the studies of Rudolf Laban. The nature of this research is qualitative and descriptive. This is a context that embraces the phenomenon of dance and as such it is based on a dimension that doesn't deal with mensurability, but with the art scene, fruitful in its infinite openness to the creation of multiple significances for what has been lived. We also propose to present a report about the practical study developed in the discipline Coreologia in the licentiate course of Dance in UFRN, as well as the analysis of the interviews applied to students of this curricular component. The questions were developed in a way that lead to a reflection about the experience of those interviewed in this discipline, thus generating material for us to discuss how the students perceive dance based on the relational study between space and movement. We realize that this study may favor an understanding of the relations that the experienced movement in the act of the dance weaves along the spatiality that receives and fills our bodies, resignifying the vision of a space which is restrict to the mere place were the body moves and occupies. It also favors the reflections concerning the body that moves and creates spatiality when dancing, thereby bringing to the Performing Arts a chance to think and to experience on the expansion of the expressive gesture in dance and beyond it, led by the recognition of the principles that organize human movement pointed by Laban. It also contributes on the formation of the students in licentiate courses of Dance by questioning the ways to appropriate the contents worked in a graduation discipline as regards to the availability of the body for dance. This dissertation is divided in three parts, called Impulsos. In the First Impulso: “Primeiros Gestos Textuais”, we find an introduction to concepts and ideas of body, movement and space that permeates all the work. In the Second Impulso: "Nós", the triad body-space-motion is discussed using the metaphorical image of a knot that binds these three concepts. The third and final Impulso: "Enlaces" deal with impressions and discoveries lived during the experimentation of the principles of inter-actions studied here, in the lessons of the already mentioned discipline

Daniela Gioseffi, Feminist poet and belly dancer

General note: Title and date provided by Bettye Lane.

Central Park Be-In

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Woman in a gazebo

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Katya Delakova

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Katya Delakova

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].

Cerridwen Salon attendees

Inscriptions: Verso: [stamped] Photograph by Freda Leinwand. [463 West Street, Studio 229G, New York, NY 10014].