Spain's contribution to the evolution of theatrical dance is acknowledged within the categories of ballet and ethnic dance. Spanish folk dance elements have been incorporated into the classical ballet vocabulary, and exotic adaptations of dances from Spain have enriched the established ballet repertory: Fanny Ellsler's Cachucha, Petipa's "Spanish Dance" divertissement in Swan Lake, and Leonide Massine's Tricorne (The Three Cornered Hat) are wellknown examples. Soloists such as Pastora Imperio, La Argentina, Jose Greco, and Carmen Amaya have popularized around the world what has become known as the Spanish style of dance (for example, fandango, bolero, seguidillas, flamenco). However, Spain has not been associated with the history of early modern dance, a phenomenon largely attributed to a handful of American and German dancers. Tortola Valencia (1882-1955) claimed Spain as her country of origin, and made a flamboyant contribution to early modern dance in western Europe, Spain, and Latin America from 1908-1930. Her vast, eclectic repertory of Oriental, classical, and Spanish themes echoed the preoccupations of her contemporaries with whom she was favorably compared-in particular, Isadora Duncan, Maud Allan, Ruth St. Denis, Mikhail Fokine, and Anna Pavlova (1). In her time she received critical acclaim as one of the most famous dancers in Europe, yet she is not cited in the English language history of dance (2). This is only part of the mystery that weaves through the fabric of Tortola Valencia's intriguing life and career. Her vast repertory of Oriental, classic, and Spanish numbers included: Danza drabe (Tchaikovsky), La serpiente (Delibes), Danza del incienso (Buccalossi), Danza mora (Chapi), La bayadera (Delibes), Muerte de Aase (Grieg), Marcha funebre (Chopin), La bacanal (Rubenstein), La gitana de lospies desnudos (Saint-Saens), La maja (Aroca), La primavera (Grieg), and La muerte del Cisne (Saint-Saens). She was most renowned for her Oriental themes, although Muerte de Aase, Marcha funebre, La gitana de los pies desnudos, and La maja were staples of her repertory and critically acclaimed throughout her career. Tortola Valencia is situated within that strand of modernism before World War I that engaged European intellectuals and artists with the essential, the primitive and the exotic in a search for lost spiritual values during the rapid technological changes of the fin de siecle. The myth of origins took on new significance in the quest for universal knowledge and truth (3).
Experimentation with an individzmlized program, imorporating forward-looking compts, ii providing a practial approach to the physical education requirement at the University of Wmhington Orientation to Physical Education IRIS G A R L A N D , formerly an instructor at theUniversity of Washington is now assistant professor, Physical Development Centre, Simon Fraser University, Burnaby, British Colrimbia, Canada. N O R M A C A R R is instructor and RUTH M . WILSON is professor, Department of Physical Edzrcation for Women, University o f Washington. The staff referred to are members of the faculty of the Department of Physical Edzrcation for Women, University of Washington, Seattle, Washington.ntering a college or university as a new student is an E impressive and thrilling experience. Freshmen embark on this educational venture with a desire to excel, to learn, and to become part of a new and vital community. What do we in physical education offer women students? At present, the climate is right for physical educators to be critical of physical education activity courses in which too often the "how to" receives major emphasis, excluding the "why" of these activities.Physical education has outgrown the "arbitrary credit requirement" concept. The development of the proposal discussed here was undertaken to provide a course experience which deviates from traditional methods, provides for relating courses to one another, and avoids the possibility of static course content. An attempt was made to reshape and improve our program of physical education for women by incorporating forward-looking concepts. Proficiency ConceptSince students enter the university with certain proficiencies and deficiencies in physical education, it was decided to ascertain their levels of achievement, which then should determine the university requirement. Therefore, a freshman orientation course was developed. Its design was predicated upon the philosophy that before graduation from a university, students should be able to demonstrate reasonable proficiency in gross movement. As a result of extensive staff exploration and discussion, the following areas of proficiency were established: Basic Skills. Knowledge and understanding of the principles of movement, and the ability to efficiently perform movements involving propulsion of the M y , manipulation of objects, and muscular relaxation.Aquatic Skills. Understanding and knowledge of safety procedures and demonstration of minimal swimming skill as a necessity for survival. Recreational Skills.Understanding and knowledge of the values which can be gained through participation in various specific activities and of the adaptability of these activities to different age levels and varying physical capacities. Proficiency in at least two recreational activities of the student's choice.Physical Fitness. Understanding the importance of physical activity to total fitness; the contributions of various specific types of exercise; and the methods by which a state of fitness can be maintained or regained in ...
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