61. VideoDance2002 Friday 13/9. dance, CINEMA GERMAN expressionism. 1900, dance, GERMAN expressionism,2000, 60' Montage de la Cinematheque de la danse. ECHOS FROM ELSEWHERE. http://www.filmfestival.gr/videodance/2002/uk/programme.htm

ATHENS THESSALONIKI HOMEPAGE PROGRAMME : ATHENS The meeting point of dance and cinema, a field of experimentation on vision and movement, video dance shares the qualities of its medium, film: it is experimental material in a creative medium and at the same time - perhaps unwittingly - archival material, preserving performances of dance. It is therefore valuable material, keeping alive the memory of dance in the 20th century - a formative period for contemporary dance and also a time of turbulent change in this as in other art forms. There is a lot at stake: not only to capture the dancer's movement and expression but also the sense of space; to record the essence of a choreography instead of the mere linear unfolding of movement, even to capture on film the spectators' experience of communication with the dancing body. In this manner, the choreographer becomes a cinematographer in part, and the cinematographer ends up being the choreographer of the film. The most distinctive and exciting quality of this art is precisely this hybrid aspect - the fact that it belongs neither to purely representational arts nor to visual ones; that it is neither dance nor cinema. This fact enables video dance to reflect the most extreme explorations of both fields most clearly. For this same reason, the study of this material offers a great overview of the status of visual culture at this point in time.

62. VideoDance2002 Monday 16/9. dance, CINEMA GERMAN expressionism. 1900, dance, GERMAN expressionism,2000, 60' Montage de la Cinematheque de la danse. ECHOS FROM ELSEWHERE. http://www.filmfestival.gr/videodance/2002/uk/programme_thessaloniki.htm

ATHENS THESSALONIKI HOMEPAGE PROGRAMME : THESSALONIKI The meeting point of dance and cinema, a field of experimentation on vision and movement, video dance shares the qualities of its medium, film: it is experimental material in a creative medium and at the same time - perhaps unwittingly - archival material, preserving performances of dance. It is therefore valuable material, keeping alive the memory of dance in the 20th century - a formative period for contemporary dance and also a time of turbulent change in this as in other art forms. There is a lot at stake: not only to capture the dancer's movement and expression but also the sense of space; to record the essence of a choreography instead of the mere linear unfolding of movement, even to capture on film the spectators' experience of communication with the dancing body. In this manner, the choreographer becomes a cinematographer in part, and the cinematographer ends up being the choreographer of the film. The most distinctive and exciting quality of this art is precisely this hybrid aspect - the fact that it belongs neither to purely representational arts nor to visual ones; that it is neither dance nor cinema. This fact enables video dance to reflect the most extreme explorations of both fields most clearly. For this same reason, the study of this material offers a great overview of the status of visual culture at this point in time.

63. The Village Voice: Dance: Nothing Left To Lose By Deborah Jowitt In 1927, around the time Duncan died, Martha Graham redesigned her body and hervision of dance in accord with principles of modernism and expressionism. http://www.villagevoice.com/issues/0002/jowitt.shtml

Ridgeway's War Log: US Military Stretched Dangerously Thin Ridgeway's War Log: The US Sends Its Poor to Fight Did the Media Blow Baghdad Blogger's Cover? by Anya Kamenetz Laura Bush: Read to a Dead Iraqi Child cartoon by Ward Sutton Iraq's Patriots Return to Fight by Kareem Fahim Why OPEC Isn't Worried by James Ridgeway Resources (advertisements) Free Software Giveaway Say Goodbye to Verizon Lose Weight In Debt Get Help ... Buy Gourmet CoffeeAM The Changing Nature of Freedom Nothing Left to Lose by Deborah Jowitt January 12 - 18, 2000 Free to be you and me: Isadora Duncan (photo: Bettmann/Corbis) n 1890s London, George Bernard Shaw's music reviews frequently took ballet to task. How weary he was of illogical plots and the empty virtuosity of what he referred to as "teetotum spins." After one disheartening visit to the Empire in 1892, he yearned for dance to find its Wagner: " . . . what I want now is dance-drama." He didn't have long to wait. In 1900, Isadora Duncan hit London as a free spirit, animating great paintings and great music with her own elemental longings. A few years later, Mikhail Fokine and his colleagues in Diaghilev's Ballets Russes began to demand realism in fantasy and to expand ballet's subject matter and vocabulary. The story of western dance is in part a tale of squabbled-over dichotomies: virtuosity vs. expressiveness, dance that emphasizes mute narrative vs. dance that presents itself as movement and form. But these extremes are constantly being redefined. Shaw might not be taken with Pina Bausch's dramatic collages, and fans of Anna Pavlova would find the hit-the-moon arabesques of today's ballerinas not only mind-boggling but indecent.

64. The Village Voice: Dance: From Louis XIV To Le Hip-Hop By Suki John from the States, and some reflect theatricality from German expressionism and theirown French. He lauds the government for helping modern dance build loyal http://www.villagevoice.com/issues/0116/john.shtml

Ridgeway's War Log: US Military Stretched Dangerously Thin Ridgeway's War Log: The US Sends Its Poor to Fight Did the Media Blow Baghdad Blogger's Cover? by Anya Kamenetz Laura Bush: Read to a Dead Iraqi Child cartoon by Ward Sutton Iraq's Patriots Return to Fight by Kareem Fahim Why OPEC Isn't Worried by James Ridgeway New Every Monday Resources (advertisements) Free Software Giveaway Say Goodbye to Verizon Lose Weight In Debt Get Help ... Buy Gourmet CoffeeAM French Choreographers Transform American Moves From Louis XIV to Le Hip-Hop by Suki John April 16th, 2001 4:00 PM Mover and movie: Philippe Decouflé’s Compagnie DCA (photo: Q. Berthoux/Enquerand) "To dedicate your life to dance is a political act," says French Albanian choreographer Angelin Preljocaj. "Not to put politics into the dance. But that to dance, instead of producing popcorn, is political." Preljocaj is one of the headliners at "France Moves," an ambitious festival of contemporary dance opening Monday. Ten companies performing 10 premieres—as well as a photo exhibit, films, and symposia—fill New York venues through May 6. Offerings, artistically and logistically dizzying, range from multimedia troupes like Philippe Decouflé's Compagnie DCA at BAM to pleather-clad flamenco diva Blanca Li at the Kitchen. Yorgos Loukos, who also runs the Lyon Opera Ballet and the Cannes Dance Festival, directs "France Moves," a shining example of the level of support for French dance. France's ministries of foreign affairs and of culture and communication, the French Embassy, and French foundations and corporations have contributed substantially, along with a few American foundations. Small wonder, with such hefty subsidy, that French dance is so vital.

65. LOLA DANCE Artistic Director Lola MacLaughlin creates compelling contemporary dance colouredby the influence of German expressionism and branded by her distinctive sense http://www.loladance.org/

Artistic Director Lola MacLaughlin creates compelling contemporary dance coloured by the influence of German expressionism and branded by her distinctive sense of style. MacLaughlin's choreography combines generosity with restraint, translating the complexity of the inner life with a wry, ironic wit that gives way to deeper undercurrents. "In my choreography, I am often drawn to romanticism and traditional archetypes as a means of giving voice to the deeper reaches of the psyche that are suppressed by the demands of our technological age." "While the influences of my work are often specific to my cultural experience, I seek to create work that speaks to our common humanity, filled with the details of the different stories that we all have to tell. Our stories, suffering and joy unite us in our experience of the human condition." LOLA DANCE - appeals to both the mind and the senses.

66. Theater And Dance Department: Course Descriptions in twentiethcentury dance from the birth of the modern dance aesthetic and to thepresent through an analysis of various styles expressionism, formalism, post http://lor.trincoll.edu/admin/public_relations/course_descriptions/thdn.html

Theater and Dance Course Descriptions Fall Term 102. Introduction to Theater Arts [106. Introduction to Dance: Elements of Movement] 109. Techniques and Applications of Theater and Dance Sec. 01: Dance Technique Sec. 02: Performance Sec. 03: Production History, Theory, and Literature [200. Anatomy of Movement] [236. 20th-Century Dance History] 237. Caribbean Dramatic Literature in English 250. Ancient World to the Enlightenment: History of Theater and Dance to 1750 270. Caribbean Carnival Literature [336. Ibsen and Strindberg] [337. Russian and Soviet Theater] 351. Shakespeare , and The Tempest Process and Performance 205. Acting 207. Improvisation Sec. 01 [Sec. 02] 209. Intermediate Techniques in Theater and Dance Sec. 04: African Dance Sec. 05: Voice and Speech Sec. 22: Body Practice I Sec. 23: Dance Technique II Sec. 29: Dance Technique I [221. Dance Composition] 309. Advanced Techniques in Theater and Dance Sec. 20: Dance Technique III [320. Dance and Music] 343. Ensemble Performance 393. Playwriting 394. Directing 409. Studies in Process and Performance: Dance

67. Dance Spirit Magazine - Dancing Through History These iconoclastic artists created Ausdruckstanz (also called New dance), influencedby the drama and expressionism of contemporary visual artists Wassily http://www.dancespirit.com/backissues/april02/legends.shtml

Dancing Through History Segment Four Dancers lost between 1930 and 1939 include the most famous ballerina of all time, groundbreaking modern dancers and one of the glitziest producers ever. By Susie Eisner Eley Issue: April 2002 JEAN Sergei Legat and Pierina Legnani PIERINA LEGNANI NICOLAI LEGAT ANNA PAVLOVA VERA SKORONEL While we often think of the beginnings of modern dance as an American phenomenon, Germany had its own very active movement. Experimental choreographers, including Rudolf von Laban, Mary Wigman and Vera Skoronel, spearheaded the German rebellion against the formalism of classical dance. Though she only lived to age 23, Skoronel opened a dance studio and formed her dance group in Berlin, helping to lay the foundation for her peers. These iconoclastic artists created Ausdruckstanz (also called New Dance), influenced by the drama and expressionism of contemporary visual artists Wassily Kandinsky, Emil Nolde, Oskar Kokoschka and others. HEMSLEY WINFIELD FLORENZ ZIEGFELD, Jr

68. Expatsonline.nl: AYS Dance A chance to hone your dance knowledge and support a stellar venue. That he’ll sethis music to the expressionism of the Cello Octet Conjunto Ibérico, award http://expatsonline.intermax.nl/content/pages/4/72/default.asp

Search the web News At Your Service Ex Peer Ience Books ... Distribution AYS Performance Check out what's shaking and breakin around the Randstad's performance spaces Reduced Returns! Called back to Amsterdam, those manic thespians of the Reduced Shakespeare Company are staged to perform four shows in April. Seems it took a trio of flower stomping California actors/writers to give the Bard a royal send—up. Adam Long, Reed Martin and Austin Tichenor are respectively the creators of the The Reduced Shakespeare Company, taking the improbable task of condensing all, that’s right all of William Shakespeare’s plays, 39 in all and creating The Complete Works of William Shakespeare (abridged), a piece that spans 97 minutes. That abridging or speed compiling is half the fun as the cast change costumes quicker than Clark Kent and create characters at the blink of an eye. Get ready for the quickest speed acting you’ve every seen (Hamlet’s first 20 minutes are recited in 10 seconds) but faithful to the master’s oeuvre it always remains. 10-04—13-04-2003 The Complete Works of William Shakespeare (abridged), Nieuwe de la Mar. Amsterdam

69. SF Weekly | Sfweekly.com | Culture : Dance Beauty And The Beast,Angelin Preljoca and use of movement styles, Preljocaj has his dancers mix idioms deconstructedballet, postCunningham modern, expressionism, and social dance with each http://www.sfweekly.com/issues/2001-02-07/dance.html

ARCHIVE SEARCH HOME LETTERS DINING ... CAREERS Beauty and the Beast Angelin Preljocaj's ballet company dips its toe in art, literature, and history with stunning results BY ANN MURPHY feedback@sfweekly.com Paysage Apres La Bataille Details: Ballet Preljocaj. Feb. 8-11 at 8 p.m. and Feb. 12 at 2 p.m. at Tickets are $28-35; call 392-4400 or visit www.sfperformances.org Where: Yerba Buena Center for the Arts , 700 Howard (at Third Street), S.F. From the Week of Wednesday, February 7, 2001 Stuff Back to the Future Robert Wise finishes Star Trek: The Motion Picture 22 years later Stage The High Road An inexpensive community production may be the best show currently playing in Berkeley Josephine the Mouse Singer Last Planet Theatre production Ballet and intellectuality often seem to fit together about as well as George W. Bush and a good book. On the one hand, you've got ballet's anachronistic courtly pretension, with women in hooped gowns bowing beautifully, and men like so many Napoleons wearing smug facades of noblesse oblige. On the other hand, you've got ballet's air of upper-class disdain for inquiry, especially inquiry into the legitimacy of one way of life over another. That's when classical dance can begin to look like the Russian aristocracy in the Battle of Austerlitz well dressed, superior, and graceful, but ultimately foolish. Fortunately, the anachronistic face of ballet is only one of many fronts the dance has shown in the last 100 years. In fact, since the Diaghilev era in the early 20th century, artists have strived to revolutionize the art form. French-Albanian Angelin Preljocaj, director of his own Ballet Preljocaj, is in the vanguard of young choreographers using ballet with the soul of an intellectual, the ingenuity of a matador, and the ferocity of a prizefighter. He does it, in part, by mixing ballet unselfconsciously with any other dance form he likes.

70. D A N C E! A Universal Language Dance Is A Movement That Can Be !Back to the top!! It would be ideal to say the dance began as a resultof expressionism. expressionism, which originated in painting http://mockingbird.creighton.edu/english/150/cyberf98/11/

D a n c e A Universal Language Dance is a movement that can be created from any individual. Dance is not biased to how it is created. Dance movement can be concerned with what it means to be alive, to create, and to understand the body in its universal language. This page is an attempt to see dance in its various forms of practice and to view it from an individual perspective as well. What is Dance? The Art of Ballet Where did dance begin? The Art of Jazz ... Where was dance movement created? Featuring Canadian Children's Dance Theatre and Circle Modern Dance. The Art of Modern Dance and how it relates to all other dance forms. Featuring companies like Paul Taylor and Dallas Black Dance Theatre. The term "dance" should be broad enough to cover all the diverse approaches existing now and likely to exist in the future. Rather than a concise definition of what dance is, it is more important to note what dance can contribute to the enrichment of your life. Aside from keeping your body trim, it gives you grace and poise to all of your movements. It also contributes to your general sense of well being. Dance is a form you can experience the joy of movement and compete solely. !!Back to the top!! It would be ideal to say the dance began as a result of expressionism. Expressionism, which originated in painting, is an expression of an artist's personal reaction to events or objects through distortion, abstraction, or feelings.

71. Eiko & Koma: Biographies in 1972. There they studied with Manja Chmiel, a disciple of Mary Wigman,a pioneer of German expressionism in dance. In 1973, they http://www.eikoandkoma.org/ekbiographies.html

Biographies Eiko (female) and Koma (male) were law and political science students in Japan when, in 1971, they each joined the Tatsumi Hijikata company in Tokyo. Their initially experimental collaboration soon developed into an exclusive partnership. The following year, Eiko and Koma started working as independent artists in Tokyo. At the same time, they began to study with Kazuo Ohno, who along with Hijikata was the central figure in the Japanese avant-garde theatrical movement of the 1960s. Neither Eiko nor Koma have studied traditional Japanese dance or theater forms; they have preferred to choreograph and perform only their own works. Their interest in Neue Tanz, the German modern dance movement which flourished alongside the Bauhaus movement in art and architecture, and their desire to explore nonverbal theater took them to Hanover, Germany in 1972. There they studied with Manja Chmiel, a disciple of Mary Wigman, a pioneer of German Expressionism in dance. In 1973, they moved to Amsterdam, and for the next two years toured extensively in Germany, the Netherlands, Switzerland and Tunisia. It was the late Lucas Hoving, a wonderful dancer who had toured with the early Jose Limon Dance Company, who suggested that they go to America. Their first American performance

72. Dance, Etc. Home Class instruction also includes warm ups, aerobics for kids, simple dance routinesrelated to a song or story, self expressionism and creativity, basic http://www.richhost.com/danceetc/danceetc.htm

is proud to bring the joy of dance and fitness to child care centers. With a combination of dance and fitness activities, as well as basic rhythm, movement exploration and locomotor skills, children learn to gain coordination and self confidence, develop gross motor skills and learn fitness habits early in life. Class instruction also includes warm ups, aerobics for kids, simple dance routines related to a song or story, self expressionism and creativity, basic tumbling and balance beam skills, and obstacle course sequencing for memory and following directions through repetition. Props are used to enhance other skills such as ball-handling, hand-eye coordination and partnering. Movement activities are known also to aid in the development of a child's intellectual and perceptual skills. All props, equipment, paperwork and music are provided by Dance, Etc. Scheduled payments may also be handled directly by Dance, Etc. There are a few different ways payments can be handled. There are also several different programs available to suit the needs of all children at your center. Children love dance and fitness and use it as an outlet for their own creativity and they have such wonderful imaginations! Some parents are unable to get their children to activities so most will probably be happy to have this option. Parents are kept informed by information posted concerning class activities, reminders, notices and a monthly calendar of events. Center Directors are always kept informed of all matters concerning the program. Dance, Etc. also provides its own liability and professional teachers insurance.

73. Guggenheim Collection - Neo-Expressionism - Salle - Comedy revived the formal elements of German expressionism and Abstract expressionism, More referto Salle’s set and costume designs for theater and dance, as well http://www.guggenheimcollection.org/site/movement_work_md_NeoExpressionism_140A1

Neo-Expressionism Rejecting the restrictions against imagery and gestural treatment set by their Minimalist and Conceptual teachers and contemporaries, the Neo-Expressionists revived the formal elements of German Expressionism and Abstract Expressionism, More Shortcut Full search David Salle, Comedy, When David Salle The left half of the diptych Comedy Salle also created a pendent for the diptych entitled Tragedy (1995) with the same four grisaille figures in a similar arrangement but with different expressions and gestures; for example, the man who grins in an exaggerated fashion in Comedy likewise frowns in Tragedy. Search and Destroy Joan Young

74. IHT The Lure Of Expressionism figures, outsized and elongated, sway in a townscape where the towers themselvesseem to dance. Novelty is a significant factor in the lure of expressionism. http://www.iht.com/articles/77191.htm

75. BookPage Review: Dance For Two and the only way a writer knows what rings true is to have experienced it. Theessays that comprise dance for Two Abstract expressionism is similar. . http://www.bookpage.com/9604bp/nonfiction/dancefortwo.html

Dance for Two Spirit in the material world: A conversation with Alan Lightman By Alan Lightman Pantheon, $12 ISBN 0-679-75877-1 Interview by Ron Fletcher "Science, for me, was the most rigorous and extreme expression of order in the physical world," writes Alan Lightman in the foreword to his new collection of essays. "Yet the desire for that order, and often the means to declare it, were human, oddly nestled against the emotion and wild flight of the human world. Where those two worlds met seemed a subject for literature." Dance for Two , 24 meditations culled from 15 years of chronicling the curious interplay between the logic of science and the cryptic designs of the human heart, finds the physicist and novelist again moving gracefully between two words to render them one. The protean imagination at work in Lightman's first novel, Einstein's Dreams, a spirited and spiritual contemplation of time, appears throughout his essays, enabling the author to tether the abstract to the actual. He assembles sundry facts of the physical world and places them in a context that makes apparent once veiled meaningsan endeavor that blurs the supposed line between science and art. "Art demands interpretation and recasting of the naked experiences of life," writes Lightman. "To some extent the same is true of science. Nature does not reveal herself in easy glimpses of scientific truths . . . . Without an interpretive theory, without a design offered by the beholder, observations of the physical world are just so many loose, meaningless facts."

76. HallHistory.com How Russia Shaped The Modern World From Art The book is well researched and very readable. It makes accessible littleknown facts about anarchists, expressionism, dance and politics. http://www.hallhistory.com/index.php/Mode/product/AsinSearch/0691096848/name/How

77. Dance Europe - General Interest Dance Publications Fraleigh explores botuh's ties to German expressionism, as she remembers her own isnot an aesthetic movement grafted onto Western dance, Fraleigh concludes http://www.danceeurope.net/docs/SHOP/BOOKS/GEN/GENBOOK.SHTML

Contents Jobs Site Map Links ... Books/Videos Dance Books - General Interest New Publication The Royal Ballet in House Photographs by Bill Cooper Description: Featuring the Royal Ballet's leading dancers and guest artists, including Alina Cojocaru, Darcey Bussell, Tamara Rojo, Sylvie Guillem, Jonathan Cope, Mara Galeazzi, Edward Watson and many more, this beautifully produced book is a fitting record of the performances which have taken place since the Royal Opera House's re- opening after refurbishment three years ago. A former dancer and Dance Europe's associate photographer Bill Cooper performed with companies in Portugal, Switzerland, Belgium and Germany. He spent the last five years of his dancing career with Scottish Ballet where Peter Darrell encouraged his interest in dance photography. Published by the ROH/Oberon Press Click here for price and ordering Stravinsky and Balanchine - A Journey of Invention by Charles M. Joseph Description: The unique working relationship between Igor Stravinsky and George Balanchine, two of the most influential artists of the 20th century, is the focus of this book which offers a revealing insight into their collaborative masterpieces including Agon and Apollo . There are some fascinating quotes. 'In order to compose dances for Agon ', Balanchine confessed in 1957, 'I have abandoned my attitude as a cook and tried to put myself in the mind of a carpenter... I must try to find some visual equivalent which is a complement; not an illustration.'

78. Munch Edvard, Expressionism, Masters, Artists, Art History And Visual Arts, Arti Munch, Edvard WebMuseum, Paris, painting, Paris, Norway, Norwegian, expressionism,France Munch, Edvard The dance of Life 18991900 Oil on canvas 49 1/2 x 75 in http://www.wwar.com/categories/Artists/Masters/Expressionism/Munch_Edvard/

Main Category: Artists: Masters: Expressionism: Munch Edvard The Visual Artist subcategories lead you to specialized information pertaining to visual artists. You can browse in alphabetical order, by artistic medium, subject matter, or discover art history information by following the link to Masters below. Alphabetized Resources in this category: Munch, Edvar The Murderer 1910 Oil on canvas 37 1/5 x 60 2/3 in. (94.5 x 154 cm) Munch, Edvar Separation 1894 Oil on canvas 45 1/4 x 59 in. (115 x 150 cm) Munch, Edvar Self-portrait after the Spanish Flu 1919 Oil on canvas 59 1/4 x 51 1/2 in. (150.5 x 131 cm) Munch, Edvar The Storm 1893 Oil on canvas 36 x 51 1/2 in. (91.5 x 131 cm) Munch, Edvar Vampire 1893 Oil on canvas 100 x 110 cm Munch, Edvar Model by the Wicker Chair 1919-21 Oil on canvas 48 1/4 x 39 1/3 in. (122.5 x 100 cm) Munch, Edvard WebMuseum, Paris, painting, Paris, Norway, Norwegian, Expressionism, France> Munch, Edvard Museum containing all the works of art left by the Norwegian artist Edvard Munch, to the City of Oslo. The museum has more than 1000 paintings, 17 000 prints and about 5000 drawings of Edvard Munch. The museum's homepage ... Oslo

79. Presidential Lectures: Pina Bausch - Bibliography From Free dance to dance Theatre German expressionism. Directed by SoniaSchoonejans and produced by Nicole Philibert. 53 min. Amaya, c1992. http://prelectur.stanford.edu/lecturers/bausch/biblio.html

Bibiliography Books on Reserve about Pina Bausch Materials on Reserve about Tanztheater Other Articles about Pina Bausch Other Books about Pina Bausch ... More titles (from Pina Bausch's website) About Pina Bausch: Books on Reserve in Green Library's Lane Reading Room Abeele, Maarten Vanden. Pina Bausch . Paris: Editions Plume, c1996. GV1786.T33 V36 1996 f Collection of black and white photographs by Abeele of performances by the Wuppertal Tanztheater, with an introduction by Federico Fellini and an essay by Akira Asada. Includes a chronological list of Bausch's works. Climenga, Royd. What Moves Them: Pina Bausch and the Aesthetics of Tanztheater. Ph.D. diss., Northwestern University, 1995. Strives to provide an in-depth analysis of the performance work of Pina Bausch and in so doing, arrive at a distinct aesthetic consideration for the field of tanztheater. Erler, Detlef. Pina Bausch . Zurich: Edition Stemmle, c1994. GV1785. B349 E74 1994 f Kaufmann, Ursula. Pina Bausch und das Tanztheater Wuppertal: Nur Du GV1786.T33 K38 1998 f

80. Colveyco | Services | The Evolution Workshop Project Of "The Evolutionary Expres We are in the process of completing the stage play with dance and music of TheEvolutionary expressionism of Life Energy as a visionary piece which http://colveyco.com/productsservices/evolutionworkshop.htm

"T h e E v o l u t i o n" T h e W o r k s h o p P r o j e c t O v e r v i e w "The Evolution" project has been in conceptual and writing development for more than five years. The approach we are taking is to gain insight and understanding of how our materials translate, impact and affect the attendees through seminars/workshops which enables us to become intricately familiar with transforming universal knowledge into wisdom. We are exploring the talents, motivations, intentions and purposes to master and achieve successful manifestations while passing through life in this time and space. We are in the process of completing the stage play with dance and music of "The Evolutionary Expressionism of Life Energy" as a visionary piece which encompasses every possible nuance of the human experience originated out of life perceptions in our metaphysical natures. The vast concepts deal with the freeing mind, body and soul from cycles to cycles related to psychic, intellectual, emotional dimensions of the mind. It is a highly verbal, visual, technical, vocal, physical interstellar and intergalactic production with extravagant yet simple expressions of life energy evolving out of black space where universes intersect and aspires light, (i.e. The Milky Way). "The Evolution" workshops we will be conducting are potential training grounds that mutually affirm the miracle that we are here in this universe. It is to assist in determining the levels and intentions of the talents capability at work.

A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

Page 4     61-80 of 103    Back | 1  | 2  | 3  | 4  | 5  | 6  | Next 20