Relevant bibliographies by topics / Flying dance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Flying dance'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 February 2023

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Journal articles on the topic "Flying dance"

1

Augugliaro, Federico, Angela P. Schoellig, and Raffaello D'Andrea. "Dance of the Flying Machines: Methods for Designing and Executing an Aerial Dance Choreography." IEEE Robotics & Automation Magazine 20, no. 4 (December 2013): 96–104. http://dx.doi.org/10.1109/mra.2013.2275693.

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고경희. "World View of Flying Deva Inherent in Goguryeo Dance." Journal of Korean Dance 33, no. 2 (August 2015): 1–30. http://dx.doi.org/10.15726/jkd.2015.33.2.001.

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Evangelista, C., P. Kraft, M. Dacke, T. Labhart, and M. V. Srinivasan. "Honeybee navigation: critically examining the role of the polarization compass." Philosophical Transactions of the Royal Society B: Biological Sciences 369, no. 1636 (February 19, 2014): 20130037. http://dx.doi.org/10.1098/rstb.2013.0037.

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Although it is widely accepted that honeybees use the polarized-light pattern of the sky as a compass for navigation, there is little direct evidence that this information is actually sensed during flight. Here, we ask whether flying bees can obtain compass cues derived purely from polarized light, and communicate this information to their nest-mates through the ‘waggle dance’. Bees, from an observation hive with vertically oriented honeycombs, were trained to fly to a food source at the end of a tunnel, which provided overhead illumination that was polarized either parallel to the axis of the tunnel, or perpendicular to it. When the illumination was transversely polarized, bees danced in a predominantly vertical direction with waggles occurring equally frequently in the upward or the downward direction. They were thus using the polarized-light information to signal the two possible directions in which they could have flown in natural outdoor flight: either directly towards the sun, or directly away from it. When the illumination was axially polarized, the bees danced in a predominantly horizontal direction with waggles directed either to the left or the right, indicating that they could have flown in an azimuthal direction that was 90° to the right or to the left of the sun, respectively. When the first half of the tunnel provided axial illumination and the second half transverse illumination, bees danced along all of the four principal diagonal directions, which represent four equally likely locations of the food source based on the polarized-light information that they had acquired during their journey. We conclude that flying bees are capable of obtaining and signalling compass information that is derived purely from polarized light. Furthermore, they deal with the directional ambiguity that is inherent in polarized light by signalling all of the possible locations of the food source in their dances, thus maximizing the chances of recruitment to it.
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Shafir, Sharoni, and Andrew B. Barron. "Optic flow informs distance but not profitability for honeybees." Proceedings of the Royal Society B: Biological Sciences 277, no. 1685 (December 16, 2009): 1241–45. http://dx.doi.org/10.1098/rspb.2009.1802.

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How do flying insects monitor foraging efficiency? Honeybees ( Apis mellifera ) use optic flow information as an odometer to estimate distance travelled, but here we tested whether optic flow informs estimation of foraging costs also. Bees were trained to feeders in flight tunnels such that bees experienced the greatest optic flow en route to the feeder closest to the hive. Analyses of dance communication showed that, as expected, bees indicated the close feeder as being further, but they also indicated this feeder as the more profitable, and preferentially visited this feeder when given a choice. We show that honeybee estimates of foraging cost are not reliant on optic flow information. Rather, bees can assess distance and profitability independently and signal these aspects as separate elements of their dances. The optic flow signal is sensitive to the nature of the environment travelled by the bee, and is therefore not a good index of flight energetic costs, but it provides a good indication of distance travelled for purpose of navigation and communication, as long as the dancer and recruit travel similar routes. This study suggests an adaptive dual processing system in honeybees for communicating and navigating distance flown and for evaluating its energetic costs.
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Berkowitz, Roger. "Drones and the Question of “The Human”." Ethics & International Affairs 28, no. 2 (2014): 159–69. http://dx.doi.org/10.1017/s0892679414000185.

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Domino's Pizza is testing “Domicopter” drones to deliver pizzas, which will compete with Taco Bell's “Tacocopter” drones. Not to be outdone, Amazon is working on an army of delivery drones that will cut out the postal service. In Denmark, farmers use drones to inspect fields for the appearance of harmful weeds, which reduces herbicide use as the drones directly apply pesticides only where it is needed. Environmentalists send drones into glacial caves or into deep waters, gathering data that would be too dangerous or expensive for human scientists to procure. Federal Express dreams of pilotless aerial and terrestrial drones that will transport goods more cheaply, reliably, and safely than vehicles operated by humans. Human rights activists deploy drones over conflict zones, intelligently searching for and documenting abuses for both rhetorical and legal purposes. Aid agencies send unmanned drones to villages deep in jungles or behind enemy lines, maneuvering hazardous terrain to bring food and supplies to endangered populations. Medical researchers are experimenting with injecting drone blood cells into humans that can mimic good cholesterol carriers or identify and neutralize cancerous cells. Parents in Vermont are using flying drones to accompany children to school, giving a whole new meaning to helicopter parenting. And Pilobolus, a New York dance company, has choreographed a dance in which drones and humans engage each other in the most human of acts: the creation of art.
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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 167, no. 2-3 (2011): 333–69. http://dx.doi.org/10.1163/22134379-90003597.

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Jan J. Boersema, Beelden van Paaseiland: Over de duurzaamheid van een cultuur (H.J.M. Claessen) Henri Chambert-Loir (ed.), Sadur: Sejarah terjemahan di Indonesia dan Malaysia (E.P. Wieringa) Andrée Feillard and Rémy Madinier, The end of innocence? Indonesian Islam and the temptations of radicalism (Andy Fuller) Andrew Goss, The floracrats: State-sponsored science and the failure of Enlightenment in Indonesia (Andreas Weber) Rachel V. Harrison and Peter A. Jackson (eds), The ambiguous allure of the West: Traces of the colonial in Thailand (Luuk Knippenberg) Brigitta Hauser-Schäublin and I Wayan Ardika (eds), Burials, texts and rituals: Ethnoarchaeological investigations in North Bali, Indonesia (Thomas Reuter) Carolyn Hughes, Dependent communities: Aid and politics in Cambodia and East Timor (Helene Van Klinken) J.A. de Moor, Generaal Spoor: Triomf en tragiek van een legercommandant (Harry A. Poeze) Peter J. Rimmer and Howard Dick, The city in Southeast Asia: Patterns, processes and policy (Sheri Lynn Gibbings) Knut M. Rio and Olaf H. Smedal (eds), Hierarchy: Persistence and transformation in social formations (Toon van Meijl) Henry Spiller, Erotic triangles: Sundanese dance and masculinity in West Java (Paul H. Mason) Rupert Stasch, Society of others: Kinship and mourning in a West Papuan place (Anton Ploeg) Susanto Zuhdi, Sejarah Buton yang terabaikan: Labu rope labu wana (Muhammad Fuad) Terutomo Ozawa, The rise of Asia: The ‘flying geese’ theory of tandem growth and regional agglomeration (Mark Beeson) Uka Tjandrasasmita, Arkeologi Islam Nusantara (Hélène Njoto)
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Varsha, Rani, Sinha Ankit, and Kanaujia Amita. "Status, Distribution and Food Availability for Sarus Crane (Grus antigone) in Hassanganj and Bangarmau Tehsil under Unnao District, Uttar Pradesh, India." International Journal of Zoological Investigations 08, no. 01 (2022): 592–98. http://dx.doi.org/10.33745/ijzi.2022.v08i01.066.

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Almost all crane species rely on wetlands at some time during their annual life cycle, primarily for nesting but also for foraging and protective cover. Many species also have close affiliation with agricultural fields. The sarus cranes have coexisted with wetlands for thousands of years. The sarus crane is the tallest flying bird as categorized as Vulnerable species in the IUCN Red List of Threatened Species. Sarus crane (Grus antigone) is a large nonmigratory bird. Their primary habitat included wetlands, marshes and water bodies. But now these sarus cranes species have adapted to using agricultural lands and crops in some way – consuming waste grains or other crops, feeding in rice paddies, or foraging in pastures. The regular observation was done from July 2020 to September 2021 in Hassanganj and Bangarmau tehsil under Unnao district of Uttar Pradesh, India. Total number of individuals was counted by using point count method. Total number of 526 sarus crane were observed --Adults ( 384 ) and Juvenile (142 ). Most of the sarus were observed in agricultural fields and water bodies. Present study concluded that there are moderate number of sarus crane in Unnao district but they are under threat due to encroachment of wetlands and expanding agriculture. They play important role in maintaining ecological balance. Crop fields provide abundant, predictable, and often high-energy foods that can be particularly valuable during flight and mating dance behaviour and have literally fueled their growing populations .They are eternal symbol of unconditional love, devotion and good fortune with high degree of marital fidelity.
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Im, Mihyun. "A Study on Women’s Chivalry Painting(女俠圖) in the Late Joseon Dynasty." Paek-San Society 124 (December 31, 2022): 315–42. http://dx.doi.org/10.52557/tpsh.2022.124.315.

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First appearing in unofficial records during the Later Han period in China, Women’s Chivalry became a frequent topic of literature in the Tang Dynasty and fictions such as Hongsun and Sugeunrang garnered popularity. Later in the Ming Dynasty, illustrations were inspired by literature with women as protagonists based on the success of a variety of plays and novels, also resulting in artists producing paintings on Women’s Chivalry. Meanwhile in Joseon, as a result of two wars, chivalry was an emerging interest in literature, drawing attention to novels and paintings on Women’s Chivalry as well. Introduced in the Goryeo Dynasty, Chinese novels on Women’s Chivalry became widely popular and read and in the 17th century, and paintings on Women’s Chivalry such as Guyoung’s Yuhyupdo and Maeng Youngkwang’s Paegummiindo were circulated and appreciated among writers. In Korea, Women's Chivalry became a frequent topic of painting during the Late Joseon Dynasty with the main character of the Tang Dynasty’s novel Hongsun as a prominent inspiration. The reason for this prominence of Hongsun appears to be a combination of factors, including the impact of Chinese literature, the impact of artists such as Guyoung and Maeng Youngkwang and their paintings of Women’s Chivalry, and the association with naksindo paintings. Iconically, images reminiscent of sword dance were drawn with a beautiful woman holding a sword with her robe fluttering in the wind. Paintings of Women’s Chivalry in the Late Joseon Dynasty can be represented by eight paintings; iconically, the paintings can be classified into Maeng Youngkwang’s (孟永光, 1590-1648) style and Yunduseo’s (尹斗緖, 1668-1715) style. In Mangyunggwang’s paintings, the women produce a static atmosphere as she stands or sits gazing at somewhere, while in Yunduseo’s paintings, the paintings have a strong dynamic image as women are shown flying in the air motivated by a scene from a novel.
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Bull Christiansen, Lene. "Basim Mouhajid’s (non)immigrant celebrity: flying the flag ‘as a Dane’." Celebrity Studies 7, no. 3 (April 14, 2016): 405–11. http://dx.doi.org/10.1080/19392397.2016.1165939.

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Shaffer, Joyce. "Enhancing Neuroplasticity Is Urgent: Music and Dance for the UN/WHO Decade of Action for Healthy Ageing for All." Journal of Ageing and Longevity 2, no. 3 (June 22, 2022): 178–92. http://dx.doi.org/10.3390/jal2030015.

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This descriptive overview responds to a rising tide of reviews and RCTs which encourage evidence-based interventions from the first moments of life and across the life course that could increase the Flynn effect and improve global statistics on neurocognitive functioning with a healthspan that approximates longer lifespans. We need to learn more from our centenarians who achieve Healthy Ageing. Evolving neuroscience empowers us to drive neuroplasticity in a positive direction in ways that are associated with enhancing neurocognitive functioning across the entire lifespan for vigorous longevity. Music and Dance could meet these urgent needs in ways that also have physical, emotional, neurobiological, neurochemical, immunological, and social health benefits. Interventions using Music and Dance are likely to have high initial and ongoing use because people are more inclined to do what is fun, easy, free (or low cost), portable, and culturally adaptable.
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Dissertations / Theses on the topic "Flying dance"

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Yoo, Doo-Sung. "Organ-machine Hybrids (Artificial Animals)." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281418915.

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Li, Nein-Yun, and 李念澐. "A Study of Guzheng Compositions with Dance Element:Examples from “Dream of Sleeve Dance”and "Flying Apsaras Dance”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8v76b3.

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碩士
國立臺灣藝術大學
中國音樂學系
103
Since 1980s, composing materials of zheng music become increasingly various. Sources and types of these materials are diverse, and among them, pieces containing elements of both music and dance come up to certain number such as Muqam Portamento & Dance（1981）, Dance of the Yi People（1986）and Capriccio on the Western Regions（1996）. The thesis therefore takes this type of pieces as research object to investigate the connection between elements of music and dance. The thesis selects Dream of Sleeve Dance inspired by dance image, and Flying Apsaras Dance combined music and dance materials as the research objects. Through the process of literature review, we see the relationship between the two zheng pieces and dance. Through the interview with composers, we comprehend the composing backgrounds, minds and thoughts. Through the analyses of the musical structure, melodic contains and rhythmic traits, we discuss the performing interpretation based on dance athletics, and further probe into how to efficiently have the artistic conception and image of pieces in hand. The result has revealed that Dream of Sleeve Dance combines materials from different realms, making the richly expressive zheng music fully present a high aesthetic pursuit and revitalize the dancing motion in the piece. Flying Apsaras Dance fuses aesthetic perception, imagination and creativity, and contributes to develop body language of zheng performance to draw a vivid musical image through the organic combination of body motion and music. Concerning the interpretation of this type of compositions, the performer’s feeling, experiences and comprehension of the whole process will trigger a series of imaginal thinking like imagination, association based on one’s emotional resonance. Starting from imaginal thinking inspired by the piece, then referring to related dance contents and characteristics, the whole process will much complete, activate, brighten and elevate artistic integrity of this kind of compositions. Therefore, while interpreting the genre of work, it is essential to comprehend elements like musical traits, dance images and contents. Through the thesis, the author concludes that the combination of music and dance not only can concretely present visual and audio images of arts, but efficiently conduce performer’ s interpretation to present one’s aesthetic though and emotion in spiritual aspect.
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WANG, CHIUNG-JUNG, and 王瓊瑢. "THE RESEARCH ON THE PERFORMING ARTS FORM OF DUNHUANG DANCE-ANALYSES ON “FLYING ANGELS DANCE” AND “ALONG THE SILK ROAD”." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/9ud736.

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碩士
國立臺灣體育運動大學
體育舞蹈學系碩士班
104
Dunhuang Dance, inspired by and choreographed from the paintings in Dunhuang Mogao Caves, has been developed to various dance works by different choreographers in China and in Taiwan. The most famous Dunhuang Dance production is “Along The Silk Road” created in 1979 and performed by the Gansu Province Ensemble. This production and the following developed Dunhuang Dance training system stimulated the world’s interest in Dunhuang Dance and increased its popularity. This reseach investigates the performing arts form of Dunhuang Dance and its relationality to Dunhuang Caves Arts. The methodology of this study consistes of historical literature reviews, interviews, and dance analyses of the two performances, “Flying Angels Dance” by Professor Tian-Min Lee and the two scenes ‘Ying-Niang’s Street Performance’ and ‘Flying Apsara with a Pipa on her Back’ in the “Along The Silk Road” This study compares the dancing images with the dance poses in the two performances and states the analyses from poses and movements. The conclusion of this study suggests that the dance poses in “Flying Angels Dance” and “Along The Silk Road” represent a renewal and revival of the dancing images in Dunhuang cave paintings. Therefore, Dunhuang Dance is not only an imitation of the cave painting images but also the creations of various choreogrpahers. The special Dunhuang dancing style of S-shape with three curves has enriched classical dance and ushered in a new age.
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Wei, Hsiao-Tzu, and 魏小慈. "A Study of the Modern Creative Guzheng Repertoires to Dance Imagery Based on《Flying Apsaras Dance》、《Ballad of Malan》and《Reincarnation》." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/52725932742079068206.

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碩士
中國文化大學
音樂學系碩士班中國音樂組
101
Zheng music, or Chinese zither music, has become more innovative and vibrant in recent years as new compositions are being written and fragments of many traditional pieces are being rearranged. More and more inspirable elements are available for choice. Whether in terms of compositional ideas, performance techniques, notation methods, new ideas are being incorporated into modern zheng music. The study selects three dance imagery related modern zheng compositions to delve into the potential possibility of zheng music development. Moreover, in addition to practicing what is written on the score, it is important for the performer to analyze the music, understand the composer’s background and compositional ideas, as well as use the imagination to bring their own interpretation to the pieces. Only by exploring the music in depth on multiple levels and through multiple perspectives can the performer present a deeply touching performance to the audience. This study selects three compositions— Huang Hao-Yin’s solo zheng piece “Flying Apsaras Dance,” daw-Sheng Lin’s solo zheng piece “Ballad of Malan,” Huang Hao-Yin’s “Reincarnation,” a zheng composition with piano accompaniment written by Zhu Xiaogu— and analyzes them in depth. The writer attempts to discuss and analyze many facets of zheng music, including instrument characteristics, performance techniques, timbre, musical vocabulary, chordal applications and certain melodic traits. It is hoped that this study would provide useful information and valuable insight to the future development of zheng music. The writer starts out by analyzing and offering various interpretations of the three pieces mentioned above, and interviews with the composers in an attempt to understand their musical backgrounds and compositional motives, further discussing their ideas on composition and how these ideas have evolved over time. In the end, the writer summarizes the important aspects of performing the pieces and how the music relates to the times we live in.
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LI, FEI, and 黎霏. "Reflections on My Praxis of Committing Drama Education to Youth Theatre-The Case of” Home” Project from Devising to Performing by Flying Horse Dance Theatre." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/m5xp4w.

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碩士
國立臺南大學
戲劇創作與應用學系碩士班
107
Inspired by drama education, the researcher guided some teenagers to establish an out-of-school performance group “Flying Horse Dance Theatre”. Through the practical process of organization, training, curation and rehearsal of theatre, the researcher developed the way of leadership and integrated the creation methods such as “reminiscence theatre”, “process drama” and “collective improvisation”, and the team accomplished the first performance “Home”. Taking the performance “Home” of the group as the “field of practice” of youth theatre while bearing the ideal of drama education to be implemented, this study aims to reflect on the process and to make sense of the effects of drama education on practice of youth theatre. The researcher is also the practitioner, and this study is the reflection on the action. According to the findings, youth theatre under the guidance of drama education may help the teenagers obtain multi-dimensional self-growth opportunities and inspiration, which convinces the researcher as a reflective practitioner of the value and the commitment to cultivate youth theatre. However, out-of-school youth theatre will inevitably encounter various challenges. As an experimental and practical case, this study is hoped to serve as a reference for future practice and research.
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Chen, Yi-Chun, and 陳宜君. "The Yellow Butterfly Flying to the South――Japanese Female Dancer-choreographer Hata-Kanoko,Her Works and the First Butoh Company in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/73shnw.

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碩士
國立臺北藝術大學
舞蹈理論研究所
98
The Japanese Butoh originated in 1959, inheriting the German expressionism and the reflexive Dadaism. There emerged a reflexive dance that shocked the contemporary dance field around the globe. A Japanese Butoh dancer and choreographer, Hata-Kanoko paid a visit to Taiwan and then stayed in Taipei County. While in Taiwan, she presented many pieces of Butoh and in 2005 she established the first Butoh company in Taiwan――“The Yellow Butterfly Flying to the South Butoh Company” to deepen and strengthen her dialogue with the culture in Taiwan. Between the years 1998-2010, Hata-Kanoko presented the following dance pieces in Taiwan: The Princess Who Loves Worms (2000), The Pure Land of Collage (2002), King of Moments (2005), The Beauty of Nature (2006), Fleur du Mal (2009). This study aims at examing the triple marginalities embedded in these dances from a postcolonial perspective: (1) With the spirit of anti-modernity, the Japanese Butoh, especially in the high capitalist society, still maintains its leftwing marginal political potition to resist against the structural domination of the State apparatus on one’s body in its attempt to subvert the mainstream aesthetic value. More importantly, it expresses the beauty and dignity of one’s body inmarginality (2)Hata-Kanoko transplants Butoh from Japan to Taiwan in order to create dialogues with this former colony of the Japanese Empire. Using Taiwan as her base of creation, she establishes her aesthetics of “Asian-Baroque” in an attempt go beyond the Japanese imperialist viewpoint of the North-East Asia. (3) Butoh, though mainly performed and choreographed by male performers, is now created by a female body exposing a woman’s body experience and subjectivity. This is also an issue that this study would then discuss. Hence, this study mainly aims at explicating the deeper implication of Hata-Kanoko’s dance pieces through postcolonial and feminist perspectives. Moreover, it also attempts to elucidate the evolvement of Japanese Butoh from the post-war to the cold war periods and explore the possibility of the development of this avant-garde dance theatre in Taiwan.
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Books on the topic "Flying dance"

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James, Stevenson. Flying feet: A Mud Flat story. New York: Greenwillow Books, 2004.

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ill, Petersen Sheli 1969, ed. Voladores. Columbus, OH: Peter Bedrick Books, 2002.

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ill, Dees Leighanne, ed. Flying feet: A story of Irish dance / by Anna Marlis Burgard ; illustrated by Leighanne Dees. San Francisco: Chronicle Books, 2005.

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Zaleta, Leonardo. La danza de los voladores: Origen y simbolismo. Poza Rica de Hidalgo, Ver: Grupo Editorial León, 1992.

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Bertels, Ursula. Das Fliegerspiel in Mexiko: Historische Entwicklung und gegenwärtige Erscheinungsformen. Münster: Lit, 1993.

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Instituto Nacional de Antropología e Historia (Mexico), ed. La danza de los voladores. México, D.F: Editorial Raíces, 2019.

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Bothelin, Jacques. Danse avec le ciel: En vol avec la patrouille Adecco. Paris: Cherche Midi, 1997.

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illustrator, Neely Scott, ed. The secret of the flying saucer. North Mankato, Minnesota: Stone Arch Books, a Capstone imprint, 2015.

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Inc, Game Counselor. Game Counselor's Answer Book for Nintendo Players. Redmond, USA: Microsoft Pr, 1991.

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Inc, Game Counsellor, ed. The Game Counsellor's answer book for Nintendo Game players: Hundredsof questions -and answers - about more than 250 popular Nintendo Games. Redmond, Washington: Microsoft Press, 1991.

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Book chapters on the topic "Flying dance"

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Hill, Constance Valis. "Resurgence." In Brotherhood in Rhythm, 227–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197523971.003.0011.

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This chapter begins with the challenge dance scene in the 1989 movie Tap!, starring Gregory Hines; the scene includes seventy-four-year-old Henry LeTang, seventy-two-year-old Howard “Sandman” Sims, seventy-one-year-old Steve Condos, sixty-seven-year-old Bunny Briggs, sixty-four-year-old Sammy Davis Jr., sixty-two-year-old Jimmy Slyde, and fifty-six-year-old Arthur Duncan and ends in a triumphant finale with sixty-eight-year-old Harold Nicholas taking a flying leap over the backs of the men, landing in a down-and-up split with a no-hands assist, and pulling himself up into perfect form as the circle of men triumphantly shout “Olé!” The chapter then retrospects the decade of the eighties, which saw the grand resurgence of tap dance.
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Pauketat, Timothy R. "Across the Chichimec Sea." In Gods of Thunder, 108—C5P51. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197645109.003.0006.

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Abstract The religious movements of Mesoamerican inspiration extended well up into the Great Plains of North America, where a young man named Black Elk in the late 1800s would continue the worship of gods he knew as Thunderers. The Sun Dance and sweat lodge ceremonialism there were rooted in medieval-era Mesoamerica. The Mesoamerican practices, in turn, emerged from an even earlier worship of storms, clouds, and volcanoes coeval with the great imperial city of Teotihuacan. These places included Cuicuilco, all but its tallest circular pyramids buried in lava 1600 or more years ago. And they included Los Guachimontónes, circular pyramids that were the bases for early pole-flying ceremonies.
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Skeel, Sharon. "“If you don’t have money, you can’t dance.”." In Catherine Littlefield, 73–94. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0006.

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Catherine is hired by William Goldman to stage dances for the Stanley Theatre in Philadelphia. Goldman becomes her boyfriend. At the Mastbaum Theatre, she is appointed assistant to dance director Robert Alton. The Littlefield School moves to the Fuller Building. William Dollar, Douglas Coudy, and Thomas Cannon, students of Mikhail Mordkin and Ethel Phillips in Philadelphia, join Catherine’s ensemble. Mommie takes Catherine, Dorothie, and other dancers to Paris to train with Russians Lubov Egorova and Alexandre Volinine. In Paris, the sisters become friendly with choreographer George Balanchine. The Littlefields move to an elegant home in the Wynnefield neighborhood. Catherine hires Alexis Dolinoff to dance in H.P. (Horsepower), a ballet-symphony by Mexican composer Carlos Chávez in collaboration with Diego Rivera, Frances Flynn Paine, and Lincoln Kirstein. Conducted by Leopold Stokowski in March 1932, H.P. is the first piece of choreography attributed solely to Catherine.
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Conference papers on the topic "Flying dance"

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Xu, Lisi. "“Yingfeiyan Dance” the Beauty of Dunhuang Flying Apsaras." In International Conference on Education, Economics and Information Management (ICEEIM 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200401.080.

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Osipova, M. K. "Development of elevation and ballon in the study of high-flying leaps in classical dance." In Scientific achievements of the third millennium. SPC "LJournal", 2021. http://dx.doi.org/10.18411/scienceconf-06-2021-29.

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