000			03694cam a2200445 i 4500
001			ocn753627509
003			OCoLC
005			20240726105356.0
008			200424s2011 ilu ob 001 0 eng
010			_a2019716437
040			_aDLC _beng _erda _cDLC _dYDXCP _dE7B _dNT _dJSTOR _dOCLCF _dP@U _dIDEBK _dCOO _dEBLCP _dDEBSZ _dAZK _dCOCUF _dAGLDB _dMOR _dPIFAG _dZCU _dMERUC _dIOG _dU3W _dEZ9 _dSTF _dWRM _dBRL _dJBG _dVTS _dICG _dINT _dVT2 _dWYU _dLVT _dCUY _dA6Q _dDKC _dM8D _dKCP _dCDX
016	7		_a015775849 _2Uk
020			_a9780252093067 _q((electronic)l(electronic)ctronic)
020			_a9781283168823
042			_apcc
050	0	0	_aGV1589 _b.T433 2011
049			_aMAIN
100	1		_aWilliams, Drid, _d1928- _e1
245	1	0	_aTeaching dancing with ideokinetic principles /Drid Williams.
260			_aUrbana : _bUniversity of Illinois Press, _c(c)2011.
300			_a1 online resource
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
520	0		_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.
505	0	0	_aCover -- _tTitle page -- _tCopyright page -- _tContents -- _tForeword -- _tIntroduction -- _tChapter 1. Beams of Light -- _tAppendix: Lexicons of the Body -- _tChapter 2. Relaxation -- _tAppendix: Constructive Rest by Lulu E. Sweigard -- _tChapter 3. Baking Biscuits and Kinesthesia -- _tAppendix: The Dancer's Posture by Lulu E. Sweigard, with Introduction by Martha Hill -- _tChapter 4. Doctors, Dancing, and Ideokinesis -- _tAppendix: Better Dancing through Better Body Balance by Lulu E. Sweigard -- _tChapter 5. Mirror, Mirror . . . -- _tAppendix: Accentuate the Positive . .
505	0	0	_aChapter 6. Imagery and HabitAppendix: Walking Bundles of Habit by William James -- _tChapter 7. More about Teaching Dancing -- _tAppendix: Letter XI by Jean-Georges Noverre -- _tReferences Cited -- _tAuthor Index -- _tSubject Index
530			_a2 _ub
650		0	_aDance _xStudy and teaching.
650		0	_aDance _xPhysiological aspects.
650		0	_aHuman mechanics.
650		0	_aMovement, Aesthetics of.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=569688&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hGV _m2011 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c98314 _d98314
902			_a1 _bCynthia Snell _c1 _dCynthia Snell