MRPJ#18/release: “Movement Research: Release Technique: Nancy Topf” by Sophia Cowing, Loraine Corfield, Tania Apelbaum and Jon Gibson

A great loss befell the dance community this fall when Nancy Topf, dancer, choreographer and teacher died in the SwissAir plane crash. For twenty-five years, Nancy was a pioneer in the areas of bodywork, release technique and dance improvisation. She was a dancer first — studying ballet and working with Delacroze teachers Lola and Mita […]

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  • 4.2.09

MRPJ#18/release: Table of Contents

Winter/Spring 1999 Editors: DD Dorvillier, Trajal Harrell, Sarah Michelson Rice Cake by Alison Foley Editors’ Notes Letters to the Editor by The Board of Directors of the Laban/Bartenieff Institute of Movement Studies and Susan T. Klein

MRPJ#18/release: Extras

[…] another interesting dichotomy, cos I think a lot of people find Graham’s technique very bound and tense, is that in reality, the way she meant it to be taught was that you only exerted enough. You were very careful with how much effort you used and there should be no tension anywhere in the […]

MRPJ#19/release: Editors’ Notes

Editors: Sarah Michelson, Trajal Harrell and DD Dorvillier Release, what is it, what are the assumptions we all make about it, a physical practice, a spiritual practice, a technique, an aesthetic, are we all doing it, are none of us doing it… do any two people mean the same thing when they use this word, […]

MRPJ#19/all about release part 2: “What is Release Technique?” by Daniel Lepkoff

My understanding of Release Technique originates from my experiences as a student of Mary Fulkerson, with whom I studied intensively between the years of 1970-1974. Mary Fulkerson referred to her work as “Anatomical Release Technique.” During these early years I also studid with John Roland and Marcha Paludin, I worked with Nancy Topf and Pamela […]

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  • 4.1.09

MRPJ#19/all about release part 2: Extras

RELEASE: is a word that describes a particular use of our tension system. It is a part of the whole bio-kinetic physical system called tension. It is the action of changing tension levels from a high level to a lower level, its intensity can vary from a sudden explosive letting go of whatever state of […]

MRPJ#19/all about release part 2: An Editorial Conversation

Editors: DD Dorvillier, Trajal Harrell, Sarah Michelson An Editorial Conversation The issue of exploring concepts of release through language primarily in the journal and the implications of that came up very often in our editorial meetings as did differences between pedagogies… distinctive bodies of work developed by artists and thinkers defining their pedagogies with their […]

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  • 4.1.09

MRPJ#17/memory/place: “The Changing Contours of Movement Research” by Laurel George

In an interview from December 1984, Cathy Edwards, former co-director of Movement Research talks with Laurel George about Richard Elovich, Performance Journal #3, the Monday night series at Judson Church, and how Movement Research grew and developed over the years.

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  • 3.26.09

MRPJ#16/Fame: Table of Contents

Spring 1998 Editors’ Notes by Linda Austin and Anya Prior On Fame by Mary Overlie Keith Hennessy on fame: Letter to MR Journal by Keith Hennessey

MRPJ#16/Fame: Extras

“If increasing power made me nervous ( I consistently declined invitations to adjudicate festivals and competitions) fame took me by surprise. By fame, I mean, the degree to which members of the dance community outside New York and those who read about dance recognize my name.

MRPJ#16/Fame: Editors’ Notes

Editors: Linda Austin and Anya Prior Why is Movement Research Performance Journal doing an issue on FAME, anyway? Isn’t FAME, with its associations with of commerciality and mass media celebrity, stunningly irrelevant for an alternative publication devoted to a phenomenon as marginalized as that or “downtown” dance and performance?

MRPJ#16/Fame: “The Application” by Daniel Nagrin

Grants: The giving of grants is implicitly an act of criticism; so- and-so gets $25,000 grant. So-and SO- receives $2,500. There is no escaping the assumption that one of these is the better artist. So many factors enter into these decisions: experience, track record, who knows who, the appraisals of critics, the tastes and opinions […]

MRPJ#15/Moving Communities: Table of Contents

Fall/Winter 1997-98 Editor’s Note by Joan T. Hocky No Blood/No Foul by Suzanne Lacy Refining a sweet process: Reflections on the Sugar Project by Jennifer Monson

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  • 3.5.09

MRPJ#15/Moving Communities: Editor’s Note

“Living the Questions” by Joan T. Hocky, co-Editor with George Emilio Sanchez The contributors to Performance Journal #15: Moving Communities come from many places. They are pioneers who have been mining the field for years; novices who are making their first forays outside of the box; artists working in quiet, unheralded ways; and others with […]

MRPJ#15/Moving Communities: “Working Through Walls” by Grady Hillman

Prisons are dangerous places in that the rules of law don’t really apply. The punitive nature of prisons in the States require that they make conditions uncomfortable for inmates. They are warehouses where people are moved back and forth between little cages and big cages, and these cages are not private; they are shared with […]

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