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Dance demands a lot from the body, both physically and mentally, and dancers are very in tune with their body.

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They can often tell when there is restriction in the tissues when performing dance movements. It is important for dancers to listen to their body when these restrictions are felt, because if the dancer chooses to ignore it, it could lead to compensation movement patterns, unnecessary load on other areas of the body and dysfunctional movement patterns.

When the dancers feel restriction, they can try some self-release work to that area using foam rollers, massage balls, heat therapy and stretching, but if restriction is still felt, this is the time to book an appointment with a Manual Therapist. September 13, Jodie Comer.

The Dancers’ Body Book – Part 1

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January 2. December 2. November 4. It is important to consider how archives can reproduce and reinforce hierarchies. As scholars like Randy Martin have noted, dance criticism tends to isolate a performance from broader influences of social, political, and economic forces. By asking this question I do not mean to diminish the important roles Halprin has played as a performer and director.

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As an archival object, the catalogue makes it possible to circulate their ideas to broader communities. How did these transitions occur?

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What motivated these shifts? Why and how did Halprin select Los Angeles? In one striking image on page 77, Halprin stands on her deck with Ruth Beckford and Merce Cunningham. The intertwining of dance and activism that the curators describe in the catalogue continues to be a defining feature in projects by Bay Area practitioners, many of who are overlooked in history books and dance publications: Sara Shelton Mann and Contraband, Ed Mock, Amara Tabor-Smith, Patricia Berne, and Marc Bamuthi Joseph——to name a few.