Relevant bibliographies by topics / Hanya Holm

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

Academic literature on the topic 'Hanya Holm'

Author: Grafiati
Published: 9 March 2023
Last updated: 31 July 2025

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Journal articles on the topic "Hanya Holm"

1

Cristofori, Marilyn. "Hanya Holm." Dance Research Journal 25, no. 1 (1993): 70. http://dx.doi.org/10.1017/s014976770000807x.

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Cristofori, Marilyn. "Hanya Holm Resource Videotapes." Dance Research Journal 22, no. 1 (1990): 56–57. http://dx.doi.org/10.1017/s0149767700011050.

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Gitelman, Claudia. "Finding a place for Hanya Holm." Dance Chronicle 23, no. 1 (2000): 49–71. http://dx.doi.org/10.1080/01472520008569371.

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Gitelman, Claudia. "CEO Migrant: The Case of Hanya Holm." Congress on Research in Dance Conference Proceedings 39, S1 (2007): 80–84. http://dx.doi.org/10.1017/s2049125500000145.

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Peter Meilaender reminds us that a CEO relocating to a foreign country to head up an international branch is as much an immigrant as is an impoverished refuge. This paper situates Hanya Holm within structural and personal paradigms of migration theory to examine her first year in the United States, when she faced the prospect of financial ruin in the host country and a threat to loyalties and interdependencies in the sending country.
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Kant, Marion. "A Review of: “Mary Wigman and Hanya Holm: A Special Relationship”." Dance Chronicle 28, no. 3 (2005): 417–23. http://dx.doi.org/10.1080/01472520500301365.

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Gitelman, Claudia. "Dance, business, and politics: Letters from Mary Wigman to Hanya Holm, 1930–1971." Dance Chronicle 20, no. 1 (1997): 1–21. http://dx.doi.org/10.1080/01472529708569264.

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Kattner, Elizabeth. "From Totenmal to Trend: Wigman, Holm, and Theatricality in Modern Dance." Dance Research Journal 50, no. 3 (2018): 20–37. http://dx.doi.org/10.1017/s0149767718000347.

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This article examines the development of theatricality in modern dance by comparing two dances: Mary Wigman's Totenmal (1930) and Hanya Holm's Trend (1937). By looking at the interplay between group and solo choreography, lighting design and themes, this paper will show how Holm combined the skills she learned codirecting Totenmal at the Dancers’ Congress in Munich to her work with American dance artists at the Bennington School of the Dance to create her first important work. It will examine why Trend was successful as a collaborative project, as well as show how it diverged ideologically fro
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Resende, Fellipe Santos, and Suzane Weber da Silva. "ECOS LABANIANOS NA PEDAGOGIA DANÇANTE DE EVA SCHUL." Cena, no. 32 (December 11, 2020): 259–74. http://dx.doi.org/10.22456/2236-3254.104787.

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Este artigo busca trazer a noção de ecos labanianos a partir de elementos técnicos presentes nas aulas de dança contemporânea de Eva Schul, considerando aspectos relacionados à filiação de movimento de Rudolf Laban que alcançam Eva Schul através de Hanya Holm e Irmgard Bartenieff. Seu delineamento metodológico inclui observação e prática regular das aulas de Schul, entrevista semiestruturada com a mesma, descrição e contextualização imagética de elementos presentes em suas aulas e contribuições teóricas que os respaldam. Exemplos de elementos que corporificam ecos labanianos nas aulas de Schul
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McPherson, Elizabeth. "Mutual Inspiration: Choreographers and Composers at the Bennington School of the Dance." Congress on Research in Dance Conference Proceedings 2012 (2012): 108–17. http://dx.doi.org/10.1017/cor.2012.14.

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Visual artists, designers, composers, photographers, poets, and choreographers were vital participants in the Bennington School of the Dance, which ran on the Bennington College campus in Bennington, Vermont, from 1934–1942 with one year, 1939, spent at Mills College in California. Collaborations were an integral component of the school, occurring between faculty and staff members as well as between students and faculty/staff. Of particular importance were the collaborations between musicians (including Louis Horst, Gregory Tucker, Norman Lloyd, and Alex North) and choreographers (including Ma
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Kristanto, Dedy, Hariyadi ., Wibowo ., and Windyanesha Paradhita. "PENENTUAN SWELLING FACTOR DAN TEKANAN TERCAMPUR MINIMUM UNTUK PENERAPAN INJEKSI GAS KARBONDIOKSIDA DI LAPANGAN MINYAK." Lembaran publikasi minyak dan gas bumi 53, no. 3 (2019): 179–92. http://dx.doi.org/10.29017/lpmgb.53.3.435.

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Pengembangan (swelling) minyak dan tekanan tercampur minimum (TTM) merupakan dua faktor yang penting dari mekanisme pendesakan gas karbondioksida (CO2 ) yang terjadi di reservoir untuk penerapan injeksi CO2 di lapangan dalam upaya meningkatkan perolehan minyak tahap lanjut. Dalam paper ini penentuan swelling factor dilakukan menggunakan PVT cell, dimana fluida rekombinasi diinjeksikan dan dikondisikan pada temperatur reservoir. Sedangkan penentuan TTM antara sampel minyak dengan gas CO2 dilakukan menggunakan tiga cara, yaitu persamaan empiris, secara korelasi dan percobaan laboratorium menggun
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Dissertations / Theses on the topic "Hanya Holm"

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Randall, Tresa M. "Hanya Holm in America, 1931-1936: Dance, Culture and Community." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/14993.

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Dance<br>Ph.D.<br>Though she is widely considered one of the "four pioneers" of American modern dance, German-American Hanya Holm (1893-1992) occupies a shadowy presence in dance history literature. She has often been described as someone who fell in love with America, purged her approach of Germanic elements, and emerged with a more universal one. Her "Americanization" has served as evidence of the Americanness of modern dance, thus eclipsing the German influence on modern dance. This dissertation challenges that narrative by casting new light on Holm's worldview and initial intentions in the
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Pirotto, Margherita. "HANYA HOLM: MOTION AND DISCOVERY. La poetica e la scrittura scenica." Doctoral thesis, Università degli studi di Padova, 2017. http://hdl.handle.net/11577/3425371.

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The thesis reconstructs the theory, the pedagogy and the chorographic language of Hanya Holm (Worms, 1893 – New York, 1992), german dancer and choreographer, naturalized American. Hanya Holm is a central personality of the dance of the twentieth century. She has been little studied by specific literature. The reconstruction Hanya Holm’s theory, pedagogy and choreographic language is based on manuscripts of Hanya Holm Paper of the New York Public Library. The thesis’s work begins from Holm’s artistic biography: from her dance training at Mary Wigman school of Dresden to her artistic work to
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Maxwell, Carol Ann. "American musical theater choreography : an investigation of selected dances by Agnes DeMille, Hanya Holm, and Bob Fosse." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1240664737.

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Forster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.

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Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentat
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Books on the topic "Hanya Holm"

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Marilyn, Cristofori, ed. Hanya Holm: A pioneer in American dance. Harwood Academic, 1992.

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2

Underwood, Sharry Traver. Broadway and concert dance in the 1940s: A memoir of dancing with Ted Shawn, Agnes De Mille, Martha Graham, Charles Weidman, Hanya Holm, and others. E. Mellen Press, 2011.

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Tang, Bridget-Tao. Hold on tight: A novel. China Bridge Books, 2000.

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Hanya Holm. Wesleyan University Press, 2018. http://dx.doi.org/10.1353/book.77793.

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Liebe Hanya: Mary Wigman's letters to Hanya Holm. University of Wisconsin Press, 2003.

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Randall, Tresa. Hanya Holm and an American Tanzgemeinschaft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036767.003.0006.

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Hanya Holm arrived in the United States in September 1931 to open the New York Wigman School, created under the patronage of impresario Sol Hurok. On the heels of Mary Wigman's first, highly acclaimed U.S. tour from 1930 to 1931, interest in the Wigman method was high among American dancers, and a small staff from the Wigman Central Institute in Dresden, led by Holm, were sent to New York to capitalize on it. This chapter counters the standard narrative of Holm's assimilation and Americanization. Focusing on Holm's writings during her early years in the United States, it demonstrates how she s
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Gitelman, Claudia. Liebe Hanya: Mary Wigman's Letters to Hanya Holm (Studies in Dance History). University of Wisconsin Press, 2003.

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8

Cristofori, M. Hanya Holm: A Pioneer in American Dance (Choreography and Dance). Routledge, 1992.

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9

Dancing With Principle: Hanya Holm in Colorado, 1941-1983. University Press of Colorado, 2001.

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Gitelman, Claudia. Dancing with Principle: Hanya Holm in Colorado, 1941-1983. University Press of Colorado, 2001.

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Book chapters on the topic "Hanya Holm"

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Huxley, Michael. "Hanya Holm." In Dance, Modernism, and Modernity. Routledge, 2019. http://dx.doi.org/10.4324/9780429457845-10.

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Randall, Tresa. "Holm, Hanya (1893–1992)." In Routledge Encyclopedia of Modernism. Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1920-1.

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Hanya Holm, dancer, choreographer, and teacher, is widely considered one of the pioneers of American modern dance, and was one of the most influential figures to transfer German dance philosophies and practices across the Atlantic. In an international career that spanned eight decades, she established herself as an award-winning choreographer of diverse genres, a master teacher, and a tireless advocate for dance. Her approach to kinetic abstraction and the lived experience of movement was foundational to modern dance practice and theory. In particular, she developed elaborate theories of the d
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West, Martha Ullman. "1." In Todd Bolender, Janet Reed, and the Making of American Ballet. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813066776.003.0001.

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Chapter 1 discusses the early lives of Todd Bolender and Janet Reed and how their dance careers began, through meeting people such as Edwin Strawbridge, Hanya Holm, Alexandra Danilova, and Willam Christensen and dancing with the School of American Ballet, Ballet Caravan, and the Portland Creative Theatre and School of Music and Dance.
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Gennaro, Liza. "Introduction." In Making Broadway Dance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.003.0001.

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I come to my interest in musical theater dance genetically. My father, Peter Gennaro, was a Tony Award winning choreographer and star dancer/choreographer on Broadway and television variety shows. My mother was a ballerina-turned-Broadway-dancer who danced for Bronislava Nijinska, Agnes de Mille, and Michael Kidd. My father, before becoming a choreographer in his own right, danced for Katherine Dunham, Hanya Holm, Michael Kidd, Bob Fosse, and Jerome Robbins. My parents were voracious dance and theater goers and I spent my childhood and teenage years seeing great dance and theater that included
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