dance-par-art - 6/20/92 ਀ഊWhat the future might think of 20th dance. ਀ഊNOTE: See also the files: dance-msg, ME-dance-msg, Belly-Dance-art, Maypole-Dance-art, 15C-Ital-Dce-art. ਀ഊ************************************************************************ ਀一伀吀䤀䌀䔀 ⴀഊ ਀吀栀椀猀 昀椀氀攀 椀猀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 瘀愀爀椀漀甀猀 洀攀猀猀愀最攀猀 栀愀瘀椀渀最 愀 挀漀洀洀漀渀 琀栀攀洀攀 琀栀愀琀 䤀 栀愀瘀攀 挀漀氀氀攀挀琀攀搀 昀爀漀洀 洀礀 爀攀愀搀椀渀最 漀昀 琀栀攀 瘀愀爀椀漀甀猀 挀漀洀瀀甀琀攀爀 渀攀琀眀漀爀欀猀⸀ 匀漀洀攀 洀攀猀猀愀最攀猀 搀愀琀攀 戀愀挀欀 琀漀 ㄀㤀㠀㤀Ⰰ 猀漀洀攀 洀愀礀 戀攀 愀猀 爀攀挀攀渀琀 愀猀 礀攀猀琀攀爀搀愀礀⸀ഊ ਀吀栀椀猀 昀椀氀攀 椀猀 瀀愀爀琀 漀昀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 昀椀氀攀猀 挀愀氀氀攀搀 匀琀攀昀愀渀✀猀 䘀氀漀爀椀氀攀最椀甀洀⸀ 吀栀攀猀攀 昀椀氀攀猀 愀爀攀 愀瘀愀椀氀愀戀氀攀 漀渀 琀栀攀 䤀渀琀攀爀渀攀琀 愀琀㨀 栀琀琀瀀㨀⼀⼀眀眀眀⸀昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ ਀䤀 栀愀瘀攀 搀漀渀攀 愀 氀椀洀椀琀攀搀 愀洀漀甀渀琀 漀昀 攀搀椀琀椀渀最⸀ 䴀攀猀猀愀最攀猀 栀愀瘀椀渀最 琀漀 搀漀 眀椀琀栀 猀攀瀀愀爀愀琀攀 琀漀瀀椀挀猀 眀攀爀攀 猀漀洀攀琀椀洀攀猀 猀瀀氀椀琀 椀渀琀漀 搀椀昀昀攀爀攀渀琀 昀椀氀攀猀 愀渀搀 猀漀洀攀琀椀洀攀猀 攀砀琀爀愀渀攀漀甀猀 椀渀昀漀爀洀愀琀椀漀渀 眀愀猀 爀攀洀漀瘀攀搀⸀ 䘀漀爀 椀渀猀琀愀渀挀攀Ⰰ 琀栀攀 洀攀猀猀愀最攀 䤀䐀猀 眀攀爀攀 爀攀洀漀瘀攀搀 琀漀 猀愀瘀攀 猀瀀愀挀攀 愀渀搀 爀攀洀漀瘀攀 挀氀甀琀琀攀爀⸀ഊ ਀吀栀攀 挀漀洀洀攀渀琀猀 洀愀搀攀 椀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀 愀爀攀 渀漀琀 渀攀挀攀猀猀愀爀椀氀礀 洀礀 瘀椀攀眀瀀漀椀渀琀猀⸀ 䤀 洀愀欀攀 渀漀 挀氀愀椀洀猀 愀猀 琀漀 琀栀攀 愀挀挀甀爀愀挀礀 漀昀 琀栀攀 椀渀昀漀爀洀愀琀椀漀渀 最椀瘀攀渀 戀礀 琀栀攀 椀渀搀椀瘀椀搀甀愀氀 愀甀琀栀漀爀猀⸀ഊ ਀倀氀攀愀猀攀 爀攀猀瀀攀挀琀 琀栀攀 琀椀洀攀 愀渀搀 攀昀昀漀爀琀猀 漀昀 琀栀漀猀攀 眀栀漀 栀愀瘀攀 眀爀椀琀琀攀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀⸀ 吀栀攀 挀漀瀀礀爀椀最栀琀 猀琀愀琀甀猀 漀昀 琀栀攀猀攀 洀攀猀猀愀最攀猀 椀猀 甀渀挀氀攀愀爀 愀琀 琀栀椀猀 琀椀洀攀⸀ 䤀昀 椀渀昀漀爀洀愀琀椀漀渀 椀猀 瀀甀戀氀椀猀栀攀搀 昀爀漀洀 琀栀攀猀攀 洀攀猀猀愀最攀猀Ⰰ 瀀氀攀愀猀攀 最椀瘀攀 挀爀攀搀椀琀 琀漀 琀栀攀 漀爀椀最椀渀愀琀漀爀⠀猀⤀⸀ഊ ਀吀栀愀渀欀 礀漀甀Ⰰഊ Mark S. Harris AKA: THLord Stefan li Rous ਀                                          匀琀攀昀愀渀 愀琀 昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ************************************************************************ ਀ഊFrom: justin at inmet.camb.inmet.COM (Justin du Coeur MKA Mark Waks) ਀䐀愀琀攀㨀 ㈀㔀 一漀瘀 㤀㄀ ㈀㈀㨀㔀　㨀㐀㄀ 䜀䴀吀ഊ ਀伀欀愀礀㬀 䤀 搀漀渀✀琀 渀漀爀洀愀氀氀礀 瀀漀猀琀 愀爀琀椀挀氀攀猀 昀爀漀洀 琀栀攀 䰀攀琀琀攀爀 漀昀 䐀愀渀挀攀Ⰰ 戀甀琀ഊthe current discussion of future archaeology (and particularly Joshua's ਀瀀愀爀愀最爀愀瀀栀 漀渀 䌀漀欀攀⤀ 猀椀洀瀀氀礀 昀漀爀挀攀猀 洀攀 琀漀⸀ 吀栀椀猀 爀愀渀 愀戀漀甀琀 ㄀ ㄀⼀㈀ 礀攀愀爀猀 愀最漀Ⰰഊin the first April issue of the Letter of Dance. ਀ഊRudiments of *Ballo Dimenio* of the Late 20th Century ਀ⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀⴀഊ ਀戀礀 䨀愀洀攀猀 伀挀琀漀戀攀爀ഊ ਀䤀渀 琀栀攀 氀愀琀琀攀爀 栀愀氀昀 漀昀 琀栀攀 琀眀攀渀琀椀攀琀栀 挀攀渀琀甀爀礀Ⰰ 愀 昀漀爀洀 漀昀 搀愀渀挀攀 搀攀瘀攀氀漀瀀攀搀 琀栀愀琀 眀愀猀 ഊunique to the time period; nothing quite like it has been seen before or since. ਀䤀琀 眀愀猀 瀀愀爀琀椀愀氀氀礀 椀洀瀀爀漀瘀椀猀愀琀椀漀渀愀氀 椀渀 昀漀爀洀Ⰰ 戀甀琀 琀栀攀 搀攀琀愀椀氀猀 漀昀 椀琀猀 洀漀琀椀漀渀猀 栀愀瘀攀 ഊbeen long regarded as lost. ਀ഊNow, however, a newly-discovered cache of ancient picture books (known to that ਀挀甀氀琀甀爀攀 愀猀 ∀䈀䄀匀䘀 ㄀㈀　∀ⴀⴀ 琀栀攀 挀漀爀爀攀挀琀 瀀爀漀渀甀渀挀椀愀琀椀漀渀 漀昀 ∀䈀䄀匀䘀∀ 椀猀 挀甀爀爀攀渀琀氀礀 甀渀搀攀爀 ഊdebate) has shed new light upon this mysterious dance form. Using computerized ਀愀渀愀氀礀猀椀猀 琀攀挀栀渀椀焀甀攀猀Ⰰ 眀攀 栀愀瘀攀 攀砀琀爀愀挀琀攀搀 攀渀漀甀最栀 瘀椀猀甀愀氀 椀渀昀漀爀洀愀琀椀漀渀 昀爀漀洀 琀栀攀猀攀 ഊbooks to begin reconstructing the dances contained therein. ਀ഊThere is one caveat to the information contained herein: we could not be ਀挀攀爀琀愀椀渀 漀昀 琀栀攀 猀瀀攀攀搀 愀琀 眀栀椀挀栀 琀栀攀 爀攀愀搀攀爀 眀愀猀 猀甀瀀瀀漀猀攀搀 琀漀 爀攀愀搀 琀栀攀 戀漀漀欀猀⸀ 䐀爀⸀ ഊHindmity of the Princeton Parahistorical Institute suggested that the total ਀氀攀渀最琀栀 漀昀 琀栀攀 戀漀漀欀猀 猀栀漀甀氀搀 戀攀 ㄀㈀　 洀椀渀甀琀攀猀Ⰰ 栀攀渀挀攀 琀栀攀 氀愀戀攀氀椀渀最㬀 琀栀椀猀 椀猀Ⰰ ഊhowever, clearly erroneous -- to be a reasonable recording of human action, ਀琀栀攀礀 洀甀猀琀 琀愀欀攀 戀攀琀眀攀攀渀 昀椀瘀攀 愀渀搀 攀椀最栀琀 栀漀甀爀猀⸀ 䐀爀⸀ 䜀漀琀琀爀漀渀最 漀昀 夀愀氀攀 倀栀礀猀椀漀琀攀挀栀渀椀挀 ഊhas analyzed the motions of the people on the books, and concluded that, for ਀琀栀攀 洀漀琀椀漀渀猀 琀漀 戀攀 挀漀洀昀漀爀琀愀戀氀攀 琀漀 愀渀 愀瘀攀爀愀最攀 栀甀洀愀渀Ⰰ 琀栀攀 琀愀瀀攀猀 猀栀漀甀氀搀 氀愀猀琀 ഊapproximately seven-and-a-half hours each. This is the assumption that we are ਀眀漀爀欀椀渀最 甀瀀漀渀⸀ഊ ਀吀栀攀 戀漀漀欀猀 愀瀀瀀攀愀爀 琀漀 戀攀 瀀愀爀琀 漀昀 愀 猀攀爀椀攀猀 漀昀 爀攀挀漀爀搀椀渀最猀Ⰰ 愀渀搀 愀爀攀 琀椀琀氀攀搀 ∀䌀氀甀戀 ഊMTV". (The pronunciation of "MTV" is also under debate -- it is argued that ਀䄀洀攀爀椀挀愀渀 挀甀氀琀甀爀攀 漀昀 琀栀攀 琀椀洀攀 洀愀礀 栀愀瘀攀 爀攀琀甀爀渀攀搀 琀漀 琀栀攀 愀渀挀椀攀渀琀 瀀爀愀挀琀椀挀攀 漀昀 甀猀椀渀最 ഊ`v' and `u' interchangeably, which would result in "Muh-too".) ਀ഊThe exact purpose of these recordings is unclear. Some scholars have suggested ਀琀栀愀琀 琀栀攀 猀甀戀樀攀挀琀猀 漀昀 琀栀攀 爀攀挀漀爀搀椀渀最猀 眀攀爀攀 琀栀攀 愀爀椀猀琀漀挀爀愀琀猀 漀昀 琀栀攀 搀愀礀Ⰰ 愀渀搀 琀栀愀琀 ഊtheir actions were being recorded for posterity; this idea is reinforced by the ਀瀀爀攀猀攀渀挀攀 漀昀 愀瀀瀀愀爀攀渀琀氀礀 洀愀樀漀爀 洀甀猀椀挀椀愀渀猀 漀昀 琀栀攀 搀愀礀Ⰰ 猀甀挀栀 愀猀 ∀䴀漀琀氀攀礀 䌀爀甀攀∀ 愀渀搀 ഊ"Bon Jovi", who would come to perform for this elite crowd. (NB: it is assumed ਀琀栀愀琀 琀栀攀猀攀 洀甀猀椀挀椀愀渀猀 眀攀爀攀 椀洀瀀漀爀琀愀渀琀Ⰰ 戀愀猀攀搀 甀瀀漀渀 琀栀攀 愀洀漀甀渀琀 漀昀 爀攀猀瀀攀挀琀 ഊapparently paid to them. However, no amount of coaxing of the sound track of ਀琀栀攀 戀漀漀欀猀 栀愀猀 洀愀渀愀最攀搀 琀漀 瀀爀漀搀甀挀攀 愀渀礀琀栀椀渀最 爀攀挀漀最渀椀稀愀戀氀攀 愀猀 洀甀猀椀挀⸀ 匀漀洀攀 戀攀氀椀攀瘀攀 ഊthat there is a secret form of encoding being used here, such that this music, ਀猀愀挀爀攀搀 琀漀 琀栀攀 愀爀椀猀琀漀挀爀愀琀猀Ⰰ 挀漀洀攀猀 漀甀琀 愀猀 猀椀洀瀀氀攀 渀漀椀猀攀 椀昀 渀漀琀 瀀爀漀瀀攀爀氀礀 搀攀挀漀搀攀搀⸀⤀ഊ ਀伀渀攀 爀愀搀椀挀愀氀 猀挀栀漀漀氀 漀昀 琀栀漀甀最栀琀 戀攀氀椀攀瘀攀猀 琀栀愀琀 琀栀攀 爀攀挀漀爀搀椀渀最猀 眀攀爀攀 搀椀猀琀爀椀戀甀琀攀搀 愀猀 ഊsimple entertainment to the masses. This is absurd on the face of it, for a ਀渀甀洀戀攀爀 漀昀 爀攀愀猀漀渀猀⸀ 䘀椀爀猀琀Ⰰ 琀栀攀 琀椀琀氀攀 洀愀欀攀猀 椀琀 挀氀攀愀爀 琀栀愀琀 琀栀椀猀 椀猀 猀漀洀攀 猀漀爀琀 漀昀 ഊ"Club", which was, in 20th-century terms, an exclusivist gathering. Even more ਀椀洀瀀漀爀琀愀渀琀氀礀Ⰰ 椀琀 椀猀 爀攀愀搀椀氀礀 漀戀瘀椀漀甀猀Ⰰ 戀礀 䴀愀渀渀猀栀愀昀琀✀猀 吀栀攀漀爀攀洀Ⰰ 琀栀愀琀 愀渀礀 昀漀爀洀 漀昀 ഊparticipatory dance is considerably more enjoyable than simple vicarious ਀瀀氀攀愀猀甀爀攀⸀ 吀栀椀猀 ∀瘀椀猀甀愀氀 攀渀琀攀爀琀愀椀渀洀攀渀琀∀ 琀栀攀漀爀礀 椀猀 漀戀瘀椀漀甀猀 爀甀戀戀椀猀栀⸀ഊ ਀吀栀攀 愀甀琀栀漀爀 椀猀 昀椀爀洀氀礀 漀昀 琀栀攀 漀瀀椀渀椀漀渀 琀栀愀琀 琀栀攀猀攀 戀漀漀欀猀 愀爀攀 愀 昀漀爀洀 漀昀 昀愀爀ⴀ猀椀最栀琀攀搀 ഊdance instruction. It was far-sighted because gestalt-theory education, though ਀挀漀洀洀漀渀 琀漀搀愀礀Ⰰ 眀愀猀 愀氀洀漀猀琀 甀渀栀攀愀爀搀ⴀ漀昀 戀愀挀欀 椀渀 琀栀攀 匀攀挀漀渀搀 䴀椀氀氀攀渀椀甀洀Ⰰ 眀栀攀渀 氀椀渀攀愀爀 ഊeducation was still the norm. However, the use of rapid movement from one ਀猀挀攀渀愀爀椀漀 琀漀 琀栀攀 渀攀砀琀Ⰰ 瀀爀攀猀攀渀琀椀渀最 愀 猀攀琀 漀昀 昀漀爀洀猀 愀氀洀漀猀琀 猀椀洀甀氀琀愀渀攀漀甀猀氀礀Ⰰ 洀愀欀攀猀 椀琀 ഊclear that primitive gestalt education is exactly what this was, designed to ਀攀搀甀挀愀琀攀 洀攀洀戀攀爀猀 漀昀 琀栀攀 ∀䌀氀甀戀∀ 椀渀 瀀爀漀瀀攀爀 搀愀渀挀攀 攀琀椀焀甀攀琀琀攀 愀渀搀 猀琀礀氀攀⸀ 䤀 瀀爀攀猀攀渀琀 ഊhere an analysis of the rudiments of this dance style, which I have termed ਀∀眀椀最最氀攀 搀愀渀挀攀∀Ⰰ 漀爀 ⨀戀愀氀氀漀 搀椀洀攀渀椀漀⨀⸀ഊ ਀䄀甀琀栀漀爀猀栀椀瀀ഊ ਀䤀琀 椀猀 挀氀攀愀爀 昀爀漀洀 琀栀攀 戀漀漀欀猀 琀栀愀琀 琀栀攀 瀀爀攀ⴀ攀洀椀渀攀渀琀 搀愀渀挀攀 洀椀猀琀爀攀猀猀 漀昀 琀栀攀 琀椀洀攀 眀愀猀 ഊnamed Julie Brown, who appears repeatedly in the books. She appears throughout, ਀搀椀猀挀甀猀猀椀渀最 椀洀瀀爀漀瘀椀猀愀琀椀漀渀猀 眀椀琀栀 栀攀爀 猀琀甀搀攀渀琀猀⸀ 匀栀攀 猀栀漀眀猀 愀氀氀 漀昀 琀栀攀 猀椀最渀猀 漀昀 ഊbeing the teacher-in-charge, providing encouragement to the students who would ਀眀漀爀欀 漀甀琀 渀攀眀 瘀愀爀椀愀渀琀猀 漀昀 琀栀攀 搀愀渀挀攀猀⸀ 吀栀攀爀攀 椀猀 渀漀 爀攀昀攀爀攀渀挀攀 琀漀 愀渀礀 漀琀栀攀爀 洀愀樀漀爀 ഊchoreographers, so we conclude that she was the primary author of this dance ਀猀琀礀氀攀⸀ഊ ਀刀栀礀琀栀洀ഊ ਀圀椀最最氀攀 搀愀渀挀攀 椀猀 甀渀椀焀甀攀 椀渀 琀栀攀 搀愀渀挀攀 眀漀爀氀搀 椀渀 琀栀愀琀 椀琀 椀猀 挀漀洀瀀氀攀琀攀氀礀 椀渀瘀愀爀椀愀渀琀 ഊwith rhythm. That is, it is danced in basically the same manner, regardless of ਀琀栀攀 洀攀琀攀爀 漀昀 琀栀攀 洀甀猀椀挀⸀ 吀栀椀猀 攀砀琀爀愀漀爀搀椀渀愀爀礀 昀氀攀砀椀戀椀氀椀琀礀 椀猀 琀攀猀琀椀洀漀渀礀 琀漀 琀栀攀 ഊgenius of Julie Brown and her compatriots. Essentially, the dance reduces the ਀洀甀猀椀挀 琀漀 椀琀猀 洀漀猀琀 昀甀渀搀愀洀攀渀琀愀氀 攀氀攀洀攀渀琀Ⰰ 琀栀攀 戀攀愀琀Ⰰ 爀愀琀栀攀爀 琀栀愀渀 琀栀攀 瀀栀爀愀猀攀Ⰰ 愀猀 椀猀 ഊcommon in contemporary dance. This reduction of music to beat is also apparent ਀椀渀 琀栀攀 ∀洀甀猀椀挀∀ 琀栀愀琀 愀挀挀漀洀瀀愀渀椀攀猀 琀栀攀 搀愀渀挀攀Ⰰ 眀栀椀挀栀 挀愀渀 戀攀 挀漀洀瀀愀爀攀搀 琀漀 䨀愀瀀愀渀攀猀攀 ഊKodo drumming in its sublimation of everything beneath the all-pervasive ਀搀爀甀洀戀攀愀琀猀⸀ 吀栀攀 漀琀栀攀爀 椀渀猀琀爀甀洀攀渀琀猀 洀攀爀攀氀礀 猀甀瀀瀀氀礀 愀搀搀攀搀 琀椀洀戀爀攀 琀漀 琀栀攀 搀爀甀洀Ⰰ 眀栀椀挀栀 ഊtruly controls the dance. ਀ഊMotion ਀ഊPerhaps the most extraordinary thing about wiggle dance is that it does not ਀爀攀焀甀椀爀攀 礀漀甀 琀漀 洀漀瘀攀 礀漀甀爀 昀攀攀琀⸀ 吀栀攀 洀漀猀琀 昀甀渀搀愀洀攀渀琀愀氀 眀椀最最氀攀 猀琀攀瀀Ⰰ 眀栀椀挀栀 䤀 栀愀瘀攀 ഊtermed the *anca botta* ("hip thrust"), is a fine example. This step begins by ਀挀愀猀琀椀渀最 漀渀攀✀猀 栀椀瀀猀 最攀渀琀氀礀 琀漀 漀渀攀 猀椀搀攀 ⴀⴀ 眀攀 栀愀瘀攀 渀漀琀 礀攀琀 愀猀挀攀爀琀愀椀渀攀搀 眀栀椀挀栀 猀椀搀攀 ഊis supposed to come first, so I arbitrarily choose the left, making this a ਀⨀戀漀琀琀愀 猀椀渀攀猀琀爀愀⨀⸀ 匀椀洀甀氀琀愀渀攀漀甀猀氀礀Ⰰ 漀渀攀 猀攀琀猀 漀渀攀✀猀 猀栀漀甀氀搀攀爀猀 椀渀 琀栀攀 漀瀀瀀漀猀椀琀攀 ഊdirection, thus, to the right. While doing all of this, raise the hands above ਀琀栀攀 栀攀愀搀Ⰰ 愀渀搀 猀氀椀最栀琀氀礀 戀攀栀椀渀搀 椀琀Ⰰ 愀渀搀 琀栀爀甀猀琀 琀栀攀 樀愀眀 猀氀椀最栀琀氀礀 昀漀爀眀愀爀搀⸀ 夀漀甀 眀椀氀氀 ഊsee, upon attempting this step, the richness of physical ability that was ਀瀀漀猀猀攀猀猀攀搀 戀礀 琀栀攀 愀瘀攀爀愀最攀 氀愀琀攀 ㈀　琀栀 䌀攀渀琀甀爀礀 䄀洀攀爀椀挀愀渀⸀ 吀栀攀 愀戀漀瘀攀 昀椀最甀爀攀 椀猀 愀 ഊcrude artist's representation of a dancer doing this motion. [Stick figure ਀搀爀愀眀椀渀最 漀洀椀琀琀攀搀Ⰰ 愀猀 椀琀 眀漀甀氀搀 戀攀 攀瘀攀渀 挀爀甀搀攀爀 椀渀 䄀匀䌀䤀䤀⸀⸀⸀崀ഊ ਀一漀琀攀 琀栀愀琀 渀漀眀栀攀爀攀 椀渀 琀栀椀猀 洀漀琀椀漀渀 搀漀 礀漀甀 洀漀瘀攀 礀漀甀爀 昀攀攀琀℀ 吀栀椀猀 椀猀 猀甀爀攀氀礀 愀渀 ഊinnovative and exciting enhancement to the theory of dance, reducing it to its ਀洀漀猀琀 瀀爀椀洀愀氀 攀氀攀洀攀渀琀猀⸀ഊ ਀䄀渀漀琀栀攀爀 洀漀瘀攀洀攀渀琀 椀渀 琀栀椀猀 搀愀渀挀攀 猀琀礀氀攀 䤀 琀攀爀洀 琀栀攀 ⨀瀀椀攀搀攀 愀氀 瀀愀瘀椀洀攀渀琀漀⨀ ⠀∀昀漀漀琀 琀漀 ഊthe floor"), which is representative of its motions. In this step, almost the ਀瀀攀爀昀攀挀琀 漀瀀瀀漀猀椀琀攀 漀昀 琀栀攀 瀀爀攀瘀椀漀甀猀 漀渀攀Ⰰ 漀渀攀 欀攀攀瀀猀 漀渀攀✀猀 戀漀搀礀 焀甀椀琀攀 猀琀椀氀氀⸀ 伀渀攀 ഊraises the leg quite high, so that the knee is level with the chest, then ਀戀爀椀渀最猀 椀琀 猀栀愀爀瀀氀礀 搀漀眀渀 漀渀 琀栀攀 渀攀砀琀 戀攀愀琀⸀ 吀栀椀猀 洀漀瘀攀洀攀渀琀 椀猀 最攀渀攀爀愀氀氀礀 爀攀瀀攀愀琀攀搀Ⰰ ഊperhaps eight or ten times, always keeping with the same foot. Note that one ਀猀栀漀甀氀搀 渀漀琀 猀椀洀瀀氀礀 欀椀挀欀㬀 琀栀攀 洀漀琀椀漀渀 椀猀 洀愀搀攀 攀渀琀椀爀攀氀礀 戀礀 琀栀攀 甀瀀瀀攀爀 氀攀最Ⰰ 欀攀攀瀀椀渀最 ഊthe calves vertical. Dr. Pinorsky of the ITTS Ancient Biologies Division has ਀猀甀最最攀猀琀攀搀 琀栀愀琀 琀栀椀猀 洀漀瘀攀洀攀渀琀 椀猀 琀漀 戀攀 搀漀渀攀 眀栀攀渀 琀栀攀 搀愀渀挀攀爀✀猀 昀漀漀琀 栀愀猀 最漀渀攀 琀漀 ഊsleep. The author considers Dr. Pinorsky a wiseass. ਀ഊMany of the dance steps important to this period derive from imitation of the ਀搀愀渀挀攀猀 漀昀 栀椀最栀ⴀ爀愀渀欀椀渀最 漀昀昀椀挀椀愀氀猀Ⰰ 眀栀漀 眀攀爀攀 最爀攀愀琀 瀀愀琀爀漀渀猀 漀昀 琀栀攀 愀爀琀猀 愀猀 瀀愀爀琀 漀昀 ഊtheir day-to-day lives. One such step is the *girando d'Elvis*, based upon the ਀椀渀渀漀瘀愀琀椀漀渀猀 漀昀 愀 昀攀氀氀漀眀 眀栀漀 愀瀀瀀愀爀攀渀琀氀礀Ⰰ 愀猀 瀀愀爀琀 漀昀 栀椀猀 挀愀爀攀攀爀 愀猀 愀 瀀爀漀昀攀猀猀椀漀渀愀氀 ഊsoldier, would entertain his fellow troops with his bardic and terpsichoric ਀猀欀椀氀氀猀⸀ 吀栀椀猀 猀琀攀瀀 椀猀 猀椀洀椀氀愀爀 琀漀 琀栀攀 ⨀愀渀挀愀 戀漀琀琀愀⨀Ⰰ 愀渀搀 洀愀礀Ⰰ 椀渀搀攀攀搀Ⰰ 戀攀 愀 ഊprimordial version of it. The shoulders are more relaxed in the *girando*, and ਀琀栀攀 栀椀瀀 洀漀琀椀漀渀 猀洀漀漀琀栀攀爀Ⰰ 愀渀搀 洀漀爀攀 挀椀爀挀甀氀愀爀⸀ 䤀琀 洀愀礀 戀攀 琀栀愀琀 琀栀椀猀 洀漀瘀攀洀攀渀琀 眀愀猀 ഊformalized over the years, and degenerated into the somewhat jerkier motion ਀愀瀀瀀愀爀攀渀琀 椀渀 ∀䌀氀甀戀 䴀甀栀ⴀ琀漀漀∀⸀ഊ ਀匀椀洀椀氀愀爀氀礀Ⰰ 琀栀攀 ⨀爀漀琀漀氀愀渀搀漀⨀ ⠀∀爀漀氀氀椀渀最∀⤀ 昀椀最甀爀攀 椀猀 搀攀爀椀瘀攀搀 昀爀漀洀 愀 最攀渀琀氀攀洀愀渀 眀栀漀 ഊappears to have risen in rank through the ritualized tournaments of the day. ਀嘀愀爀椀漀甀猀氀礀 欀渀漀眀渀 愀猀 ∀匀氀礀∀ 漀爀 ∀刀漀挀欀礀∀Ⰰ 眀攀 栀愀瘀攀 昀爀愀最洀攀渀琀愀爀礀 瘀椀搀攀漀 攀砀挀攀爀瀀琀猀 猀栀漀眀椀渀最 ഊhim ritually rotating his clenched hands while hitting a small bag, apparently ਀琀漀 搀攀瘀攀氀漀瀀 渀攀挀攀猀猀愀爀礀 挀愀氀氀漀甀猀攀猀 昀漀爀 琀栀攀 琀漀甀爀渀愀洀攀渀琀猀⸀ 吀栀椀猀 洀漀瘀攀洀攀渀琀 愀瀀瀀攀愀爀猀 琀漀 ഊhave been appropriated by the creators of a specialized form of wiggle dance, ਀欀渀漀眀渀 愀猀 ∀搀椀猀挀漀∀ ⠀䐀爀⸀ 䠀椀渀搀洀椀琀礀 栀愀猀 猀甀最最攀猀琀攀搀 琀栀愀琀 琀栀攀 渀愀洀攀 搀攀爀椀瘀攀猀 昀爀漀洀 琀栀攀 ഊ"flying disc" paranoias present at the time. The lighting within a "disco", he ਀瀀漀椀渀琀猀 漀甀琀Ⰰ 椀猀 栀椀最栀氀礀 攀瘀漀挀愀琀椀瘀攀 漀昀 琀栀攀 氀椀最栀琀猀 琀栀愀琀 琀栀攀猀攀 洀礀猀琀椀挀 搀椀猀挀猀 眀攀爀攀 ഊsupposed to have.) Dancers of the "disco" would rotate their hands quickly in ਀昀爀漀渀琀 漀昀 琀栀攀椀爀 戀漀搀椀攀猀 ⠀愀氀琀栀漀甀最栀 眀椀琀栀漀甀琀 栀椀琀琀椀渀最 愀渀礀琀栀椀渀最⤀Ⰰ 椀渀 爀攀瘀攀爀攀渀挀攀 琀漀 琀栀椀猀 ഊimportant gentleman. ਀ഊConclusion ਀ഊThe field of 20th century dance has only just begun to be explored, and the ਀攀瘀椀搀攀渀挀攀 椀猀 猀琀椀氀氀 昀爀愀最洀攀渀琀愀爀礀⸀ 一漀渀攀琀栀攀氀攀猀猀Ⰰ 眀攀 挀愀渀 洀愀欀攀 挀漀渀昀椀搀攀渀琀 最甀攀猀猀攀猀 愀戀漀甀琀 ഊthe culture and dance of the time, based on the evidence that we do have. The ਀愀甀琀栀漀爀 攀渀挀漀甀爀愀最攀猀 漀琀栀攀爀猀 琀漀 漀戀猀攀爀瘀攀 眀栀愀琀 攀瘀椀搀攀渀挀攀 琀栀攀礀 洀愀礀 昀椀渀搀Ⰰ 愀渀搀 愀搀搀 琀漀 漀甀爀 ഊknowledge of the original Postmodern Ages. ਀ഊ------------------------------------ ਀ഊJames October is a researcher for the Institute for Trans-Temporal Studies, ਀挀甀爀爀攀渀琀氀礀 搀漀椀渀最 栀椀猀 搀漀挀琀漀爀✀猀 琀栀攀猀椀猀 漀渀 琀栀攀 瀀爀漀琀漀ⴀ挀甀氀琀甀爀攀 漀昀 氀愀琀攀 ㈀　琀栀 挀攀渀琀甀爀礀 ഊAmerica, with a particular focus on the dance of the era. Mark Waks simply has ਀愀 瀀攀爀瘀攀爀猀攀 猀攀渀猀攀 漀昀 栀甀洀漀爀⸀ഊ ਀嬀䤀渀猀瀀椀爀愀琀椀漀渀 挀爀攀搀椀琀 琀漀 䰀漀爀搀 刀椀挀栀愀爀搀 搀攀 䰀愀挀礀Ⰰ 眀栀漀 昀椀爀猀琀 猀愀椀搀 ∀吀眀攀渀琀椀攀琀栀ഊCentury Wiggle Dance" in my hearing...] ਀ഊ -- Justin du Coeur AKA James October ਀                                   圀栀漀 愀挀琀甀愀氀氀礀 ⨀眀愀琀挀栀攀搀⨀ 䌀氀甀戀 䴀吀嘀 昀漀爀 愀渀ഊ entire week, as research for this ਀                                     愀爀琀椀挀氀攀⸀⸀⸀ഊ ਀㰀琀栀攀 攀渀搀㸀ഊEdited by Mark S. Harris dance-par-art Page 4 of 4 ਀ഊ