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010   $a9786613168825
010   $a0-252-09306-2
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100   $a20110506d2011      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aTeaching dancing with ideokinetic principles$b[electronic resource] /$fDrid Williams
210   $aUrbana $cUniversity of Illinois Press$dc2011
215   $a1 online resource (145 p.)
300   $aDescription based upon print version of record.
311   $a0-252-07799-7 
311   $a0-252-03608-5 
320   $aIncludes bibliographical references and indexes.
327   $aCover -- Title page -- Copyright page -- Contents -- Foreword -- Introduction -- Chapter 1. Beams of Light -- Appendix: Lexicons of the Body -- Chapter 2. Relaxation -- Appendix: Constructive Rest by Lulu E. Sweigard -- Chapter 3. Baking Biscuits and Kinesthesia -- Appendix: The Dancer's Posture by Lulu E. Sweigard, with Introduction by Martha Hill -- Chapter 4. Doctors, Dancing, and Ideokinesis -- Appendix: Better Dancing through Better Body Balance by Lulu E. Sweigard -- Chapter 5. Mirror, Mirror . . . -- Appendix: Accentuate the Positive  -- Chapter 6. Imagery and HabitAppendix: Walking Bundles of Habit by William James -- Chapter 7. More about Teaching Dancing -- Appendix: Letter XI by Jean-Georges Noverre -- References Cited -- Author Index -- Subject Index.
330   $a"In examining ideokinesis and its application to the teaching and practice of dancing, Drid Williams introduces readers to the work of Dr. Lulu Sweigard (1895-1974), a pioneer of ideokinetic principles. Drawing on her experiences during private instructional sessions with Sweigard over a two-year span, Williams discusses methods using imagery for improving body posture and alignment for ease of movement. Central to Williams's own teaching methods is the application of Sweigard's principles and general anatomical instruction, including how she used visual imagery to help prevent bodily injuries and increasing body awareness relative to movement. Williams also emphasizes the differences between kinesthetic (internal) and mirror (external) imagery and shares reactions from professional dancers who were taught using ideokinesis. Williams's account of teaching and practicing ideokinesis is supplemented with essays by Sweigard, William James, and Jean-Georges Noverre on dancing, posture, and habits. Teaching Dancing with Ideokinetic Principles offers an important historical perspective and valuable insights from years of teaching experience into how ideokinesis can shape a larger philosophy of the dance"--Provided by publisher.
606   $aDance$xStudy and teaching
606   $aDance$xPhysiological aspects
606   $aHuman mechanics
606   $aMovement, Aesthetics of
608   $aElectronic books.
615  0$aDance$xStudy and teaching.
615  0$aDance$xPhysiological aspects.
615  0$aHuman mechanics.
615  0$aMovement, Aesthetics of.
676   $a792.8071
700   $aWilliams$b Drid$f1928-$0628650
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910457378003321
996   $aTeaching dancing with ideokinetic principles$92290930
997   $aUNINA