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Recognized as an “American Treasure” in 2000 by the White House Millennium Project, Cross-Cultural Dance Resources (CCDR) Collections at Arizona State University provides research materials to support the interdisciplinary study of dance as a human universal and enrich understanding of dance in all its societal functions and cultural contexts. CCDR Collections at ASU functions as a special collections library, cultural artifact museum, and archive of scholarly collections.
From this site you can…
The CCDR Collections museum includes: collections of dolls, puppets, masks, and costumes, as well as the musical instrument collections of ethnomusicologists Daniel Crowley, Richard Haefer, and Robert MacGimsey.
CCDR Collections is located Room 107B Bulldog Hall at 611 E. Orange St. on ASU’s Tempe Campus.
The CCDR Collections archive includes the collections of: Isa Partsch Bergsohn, Elsie Dunin, Gertrude Kurath, Eleanor King, Joann Kealiinohomoku, Sharon Lowen, Barbara Mettler, Daniel Nagrin, Nadia Chilkovsky Nahumck, and Allegra Fuller Snyder.
Gertrude Prokosch Kurath was a dancer at heart. She was also an accomplished scholar, ethnomusicologist, and dance ethnologist. Gertrude studied primarily with Native Americans, learning about their dance and customs. She published hundreds of articles in journals such as: Journal of American Folklore, Folklore Americas, El Palacio, and many many more. Gertrude was a major part of organizations such as The Society for Ethnomusicology and Congress on Research in Dance. She also served her community in Ann Arbor, Michigan, where she wrote for the Ann Arbor News, and founded the Dance Research Center. Gertrude Kurath was a great woman of her time.
"Mexican Moriscas: a problem in dance acculturation." Journal of American Folklore 62(244): 87–106. 1949.
"Dance relatives of mid-Europe and middle America: a venture in comparative choreology." Journal of American Folklore 69(273):286–298. (Slavic Folklore: a symposium). 1956.
"Panorama of dance ethnology." Current anthropology 1(3):233–254. 1960.
"Iroquois music and dance: ceremonial arts of two Seneca longhouses." Smithsonan Institution Bureau of American Ethnology Bulletin 187. 1964.
Half a century of dance research. Flagstaff, Arizona: Cross-Cultural Dance Resources. 1986.
with Antonio Garcia. Music and dance of the Tewa Pueblos. Santa Fe, New Mexico: Museum of New Mexico Press. 1970.
with Jane Ettawageshik, Fred Ettawageshik, Michael D. McNally, and Frank Ettawageshik. The art of tradition: sacred music, dance, and myth of Michigan's Anishinaabe, 1946–1955. East Lansing, Michigan: Michigan State University Press. 2009.
with June Helm and Nancy Oestreich Lurie. The Dogrib Hand Game. Ottawa: Queen's Printer. 1966.
The Kurath Collection at Cross-Cultural Dance Resources includes:
Books and Articles
Films and Sound Tapes from her research
Gertrude knew many people. These people were proud to call Gertrude their friend, mentor, colleague, or mother. To her friends and audience she was known as "Tula." Gertrude was given this name by her Native American friends, who recognized her spirit. Among the many people with whom Kurath corresponded were:
Nadia Chilkovsky Nahumck
"Eleanor King struck out from the Humphrey-Weidman Company in 1935 to concentrate on her own choreography. Teaching led her to professor emeritus status in 1971 when she retired from 19 years work at the University of Arkansas. But she never stood still, in mind or body—teaching here, choreographing there, studying mime with Etienne Decroux when she was nearly 50, tackling Noh in Kyoto at 54, tai chi two years later, at 70 beginning the study of classical Korean dance in Seoul, making and performing her 'East–West dances,' and turning out a wonderful autobiography, Transformations.
In 1987, the audience at a symposium dealing with Leonide Massine's 1930 Le Sacre du Printemps was stupefied when King, a frail and beautiful 81-year-old, burst from her panelist's chair, and started running through the very strenuous choreography. In 1988, we rejoiced over a retrospective program—of fine King solos reconstructed by dancer Andrea Seidel (who had learned and performed them), King herself, and Annabelle Garrison for Gamson's company of soloists. This February, she was in Oak Park, Illinois, for a tribute concert and another King reconstruction, when she had a heart attack, fell, and broke her hip. A friend who visited her in the hospital found her mastering a walker, calling out gaily, 'C'est la guerre!' Given her lifetime habit of hatching new plans, death didn't find her waiting passively."
— Deborah Jowitt (used with permission, reprinted From The Village Voice: Dance, March 13–19, 1991)
Erasmus Hall High School, Brooklyn, New York 1924
Clare Tree Major School of the Theatre 1925
Theatre Guild School (scholarship) 1926
Professional Dance training, and soloist with the Doris Humphrey-Charles Weidman Modern Dance Company, New York 1927–1935
Mime with Etienne Descroux, Paris 1955
Classical Nihon Buyo, Fujima Fujiko, Tokyo 1958, 1960
Classical Nihon Buyo, Yoshimara Hanayagi, Kyoto 1960–1961
Assistant to Doris Humphrey, Dalton School, New York 1930–1931
Assistant to Doris Humphrey, New School for Social Research, New York 1932–1933
Perry-Mansfield Theatre Dance Camp, Steamboat Springs, Colorado 1936, 1945, 1956
Theatre Dance Company, New York 1938–1940
Brooklyn Museum of Art 1937
Dance Instructor, Carleton College, Northfield, Minnesota 1942–1943
Director of Dance, Cornish School of Arts, Seattle 1943–1944
Director Eleanor King Creative Dance Studio, Seattle 1944–1951
Assistant Professor, University of Arkansas 1952
Rotterdam Dansschool Academie, Rotterdam, Holland 1952, 1954, 1955, 1961
American Cultural Centers, Tokyo, Kyoto, Osaka 1958,1960,1967
Associate Professor, University of Arkansas 1960
Professor Emerita, University of Arkansas 1971
Rencontres Internationales de Danse Contemporaines, Paris 1973
Toynbee Hall, London 1954–1955
Goldsmith College, London University 1978
College of Santa Fe 1979
Transformations, a memoir by Eleanor King, the Humphrey-Weidman era. Brooklyn, New York: Dance Horizons.1978. (Illustrated, 324 pages.)
"Indian dance in the northwest," Dance Observer 12 (December). 1945.
"Dance in the northwest." Music and dance in California and the West. 1947.
"Dance gains in the northwest," Christian science monitor (May 9). 1949.
"East meets West in the dance." Northwest times weekly (January). Seattle. 1950.
"The laughter lingers, Rakugoka Story Teller's Theatre." Japan Quarterly 8 (July–September). (Brush/ink illustrations). 1951.
"Dance an answer to the times" (Dutch translation). Vernieuing, Rotterdam, Holland. 1955.
"Modern dance in the arena theatre." Dance Magazine 24(September). 1950.
"Another way," Journal of health, physical education and recreation (December). 1962.
"Magic of masks." Dance magazine 37 (August).1963.
"The influence of Doris Humphrey." Focus on Dance 5, composition. Washington, D.C.: American Association of Health, Physical Education and Recreation. 1969.
"Kagura, the search," Excerpt from Ch. I, The Way of Japanese Dance. Dance Research Monograph One. New York: CORD (Committee on Research in Dance). 1971–1972.
"Reflections on Korean dances." Korea Journal 17. Seoul. 1977.
"Shamanism." Arirang Magazine 14(2). Seoul. 1977.
"Reflections on Korean Dances," Arirang Magazine 17(3). Seoul. 1978
"Transcendent dance," Korea Journal 19(9). Seoul. (Brush/ink illustrations.) 1979.
"Kagura," Ch. I from The way of Japanese dance, mime, mask and marionette, Quarterly journal of performing arts 2(2). New York: Marcel Dekker. (Brush/ink illustrations.) 1979–1980.
"The holy-unholy shamans." Korean Culture 4(4). 1983.
"Dionysus in Seoul: notes from the field on a shaman ritual in Korea," Dance as cultural heritage 1. Betty True Jones (editor), Dance research annual 14, New York: Congress on Research in Dance. 1983.
"Bugaku: the dance two thousand years young," Ch. 2 from The way of Japanese dance. mime mask and marionette, Quarterly journal of performing arts 2(2-3). New York: Marcel Dekker. (Brush/ink illustrations.) 1980.
John Martin, America dancing, and The book of the dance
Margaret Lloyd, The Borzoi book of modern dance (half a chapter)
Chujoy-Manchester, The dance encyclopedia
Donald MacDonagh, Complete guide to modern dance
Thomas Leabhart, Eleanor King: forty Years of creative dance, 1927–1967. Master's Thesis, University of Arkansas.
Jane Cowl Romeo and Juliet Essay Contest gold medal 1923
Bennington School of the Dance, Fellowship, 1938
Off-Campus duty assignment to study traditional dance and drama, Japan 1960-1966
Fulbright Research grant, dance and drama, Japan 1967
Fulbright Research grant, dance and drama, Korea 1976, renewal 1977
Vogelstein Foundation travel grant 1976-1977 for Japan and Bali
Independent study, Sri Lanka, Burma, 1977
Independent study Greece, 1955, 1973, 1980
American Association of Dance Companies, honoree, 1975
Santa Fe Dance Umbrella, dedication, 1980
American National Theatre Association, paper on Rhythm, 1952
American National Theatre Association, workshop demonstration: Experimental Approach to Movement. 1966
Asia-Pacific Dance Conference, Hawaii, sponsored by CORD and American Dance Guild: paper on Dionysus in Seoul, performance of Salutation, a Meditation on the East (Hovhanes), 1978
Lecture-demonstration: Toward New Noh, illustrated with slides, with performance of masked solo "Hagoromo," and film of Arthur Little's "St. Francis" (first Noh play in English based on rhythmic structure of Japanese Noh); Universities of Maine, Florida, Earlham, Pomona, Radcliffe, St. John's, USC, and other colleges
Lecture-demonstration: Dionysus in Seoul, (Korean Shaman Dance) with performance of "Sal Puri": Performing Arts Theatre, Lincoln Center, and Korean Cultural Service, New York; Amsterdam Drama School, Holland; UC Davis, Berkeley; London University; Pomona, St. John's College, and for Royal Asiatic Society, Fulbright Forum, American Center, in Seoul, Korea
Finding Aid for the Allegra Fuller Snyder Collection, Inclusive Dates 1927-2010, Bulk Dates 1970-2000
Allegra Fuller Snyder is Professor Emerita of Dance and former Director of the pioneering Graduate Program in Dance Ethnology at UCLA. She has also served as Chair of the Faculty, School of the Arts and chaired the Department of Dance as well as directed the World Arts and Cultures, inter-college, interdisciplinary program intermittently from 1974 until her retirement in 1991. She was Visiting Professor of Performance Studies at New York University 1982-83, and Honorary Visiting Professor at the University of Surrey, Guildford, England 1983-84. She has also taught at CalArts and at Naropa Institute.
She has a comprehensive perspective of dance as she has been not only a performer and choreographer, but she has been involved with dance from the anthropological, historical, and therapeutic points of view. All of these concerns she feels can be explored and communicated through the use of film and video. Recent (2006) prestigious Marion Chace Foundation lecturer for the American Dance Therapy Association; and recipient of an award for Outstanding Leadership in Dance Research from the Congress on Dance Research, Dance Resource Center of Los Angeles (2006) Gary Bates Service to The Field Award (2006), as well as the 1992 Honoree of the Year, American Dance Guild,
Her research interests in Dance Ethnology have led her to serve as Chairperson of the Congress on Research in Dance (CORD) 1975-77. She has directed or co-directed numerous national conferences such as the one on "Dance and Anthropology" for CORD (1972). She work has included field observation among certain American Indian tribes particularly the Yaqui, and research in Africa and Asia, including a brief Fulbright Visiting Lectureship in Bombay, and three months of research in the State of Kerala, South India. She was recipient of a Fulbright-Western European Regional Research Scholarship 1983-84. In Nov.'86 she was delegate of the American Institute of Indian Studies to attend the inauguration of the Indira Gandhi National Center for Arts in New Delhi, India and in Dec.'87 was participant in the Eleventh Taniguchi Foundation International Symposium, sponsored by the National Museum of Ethnology, Osaka, Japan. She was a selected presenter at the Hong Kong International Dance Conference, July 1990. The summers of '88, "92 and 2000 took her to Copenhagen, Denmark; Naplion, Greece and Korcula, Croatia where she delivered papers at meetings of the Study Group on Ethnochoreology of the International Council for Traditional Music. She served as conference co-organizer for the 1994 meeting in Poland.
Her firm commitment to the important and unique relationship, which exists between film, and now other visual media, and dance, was crystallized through her work with the International Film Foundation, in New York City, in 1949-1951. She was one of the few people in the field of dance to recognize the critical importance of film to all aspects of dance, a literature as well as a creative form. She organized and presented "A Look at Dance and Its History," a series of seven lectures with extensive use of film, including the first showing on the West Coast of Martha Graham's "Night Journey," New Dance Theatre, Los Angeles 1961 Created the series, "Dance-Film" for Committee of Fine Arts Productions, UCLA Royce Hall, (6 programs) January - February 1966 Her concern for the relation between dance and media caused her, in the Spring of 1968 to take a Leave of Absence from UCLA, to be a staff member of the National Endowment for the Arts - Office of Dance Programs - as an "Expert" to do an evaluation of the role films were now playing in connection with dance. The resulting conclusions were reflected in a report for NEA in 1968, which has served as a model for future developments in the field. She co-directed the first "Dance/Television Workshop" held at the American Dance Festival (1973) and a conference on "Researching Dance Through Film and Video" sponsored by the Human Studies Film Archives, Smithsonian Institution (1986).. She has directed a number of films on dance including BAYANIHAN, (which won a special award as the best folkloric documentary at the Bilboa, Spain Film Festival, and also won a Golden Eagle Award), GESTURES OF SAND, REFLECTIONS ON CHOREOGRAPHY. A grant from the National Endowment for the Humanities allowed her to make BAROQUE DANCE, 1675-1725, and WHEN THE FIRE DANCES BETWEEN THE TWO POLES, a film on Mary Wigman, was funded by the NEA. She more recently finished THOUGHTS ON THE ART OF DANCE-ISADORA DUNCAN 1877-1927. She served as a Core Consultant for DANCING, an eight-hour series for PBS. She currently continues work on projects which concern themselves with documentation and preservation of dance through media and as a Board Member of Dance Camera West since its founding.
She served in various capacities on the Dance Program of the National
Endowment for the Arts almost since its inception. She has been a Seminar Director of the Summer Programs for College Teachers sponsored by the National Endowment for the Humanities on several occasions. She has also served as panelist and reader for the organization, and on the Advisory Screening Committee, Council for International Exchange of Scholars. . From 1971 – 76 she served on the Executive Committee, Western Division, of the Association of American Dance Companies which was the precursor of the Los Angeles based Dance Resource Center
Since 1983 she has served, first as Exec. Dir. and then as President and Chairperson, now Honorary member of the Board of Directors, of the Buckminster Fuller Institute. She is cited in The Who's Who in America, Who's Who of American Women, Who's Who in Society, Who's Who in the West, World Who's Who of Women in Education, and others.
No finding aid available at this time. Contact curator for assistance.
Joann Wheeler Kealiinohomoku (also Keali`inohomoku) (1930-2015) is an American anthropologist and educator, co-founder of the dance research organization Cross-Cultural Dance Resources. She has written and/or edited numerous books and articles, including contributions on dance-related subjects to multiple encyclopedia, such as writing the entry for "Music and dance in the United States" in the Garland Encyclopedia of World Music. Among her best known works are "An anthropologist looks at ballet as a form of ethnic dance" (1970) and Theory and methods for an anthropological study of dance (1976). An associate professor of anthropology at Northern Arizona University, she was retired as Professor Emerita in 1987. In 1997, she received the first annual award for "Outstanding Contribution to Dance Research" from Congress on Research in Dance. In 2000, the CCDR Collection was named by President Bill Clinton's White House Millennium Council, as a resource to be preserved under the "Save America's Treasures" program.
Ph.D. Indiana University, 1976, Cultural Anthropology, minor - Folklore
M.A. Northwestern University, 1965, Cultural Anthropology
Thesis: A comparative study of dance as a constellation of behaviors among African and United States Negroes
Course work in anthropology, music, dance - University of Hawaii, 1960, 1962
B.S.S. Northwestern University, 1955, Speech and Theater
Hopi Indians and Hopi-Tewa Indians of northern Arizona, 1965, 1966-1968, 1970-1971, intermittent to date
Yaqui, Zuni, Apache Indians of the southwest U.S.,1965, intermittent to date
Polynesian and Micronesian dancers located in Hawaii, 1958-1964, intermittent to date
Mrs. John Wilson (Auntie Jennie) of Hawaii, taped interviews on hula and oral history 1962, research about Jennie Wilson intermittent to date
African American dance in Illinois, Wisconsin, Michigan, 1957-1958, 1964-1966
Southwest Chapter Society for Ethnomusicology named newly created award the "Joann Keali'inohomoku Graduate Student Paper Award" - 2000
Arizona Humanities Council, Distinguished Public Scholar, 1996
Outstanding Contribution to Dance Research, first recipient, Congress on Research in Dance, 1996
Senior Research Associate, Center for Colorado Plateau Studies, NAU, 1987-1992
Professor Emerita, Northern Arizona University, 1987
N.E.H. Summer Stipend, 1986
Sabbatical, awarded by Northern Arizona University, fall semester, 1981
Research Fellow, Culture Learning Institute, East-West Center, Hawaii, Fall, 1981
Weatherhead Resident Scholar, School of American Research, Santa Fe, New Mexico, 1974-1975
Grant for field research, Wenner-Gren Foundation for Anthropological Research, 1970-1971
Subsidy for Penrose Fund, Wenner-Gren Foundation for Anthropological Research, 1967-1968
Grant for field research, American Philosophical Society, Phillips Fund, 1965,1966; Penrose Fund, 1967-1968
Grant for field research equipment, University of Hawaii Committee for the Study and Preservation of Hawaiian Language, Art and Culture, 1962
Workshop in folkdance - Wisconsin, 1964
Japanese dance - University of Hawaii, 1961
Erdman, Jean - Workshop in modern dance, 1958
Taylor, Josephine - Graham technique in modern dance, Honolulu, 1958-1964, 1978, 1981
Huhm, Halla Pai - Korean dance, Honolulu, 1958-1962
Johnson, Helen Holt -"Body Rhythms," Shorewood, Wisconsin, 1957-1958
Analisa - workshop in modern dance and Jooss Technique, Northwestern University, 1956
Graham, Martha - summer course, 1956
Schmidt, Nancy - Graham Technique of modern dance, Milwaukee, Wisconsin, 1952-1955
Keaney, Marian - tap, ballroom, Keaney Studio, Winnetka, Illinois, 1951-1952
Limon, Jose - workshop in modern dance, 1952
Bannister, Delta - modern dance, Northwestern University, 1948-1952
Craig, Marjorie - modern dance, Whitefish Bay High School, Wisconsin, 1945-1948
Daly, Agnes - ballet, Des Plaines, Illinois, 1939-1942
Wheeler, Leona Moore - ballet, interpretive, Scottish, Irish, Spanish dance, rhythms, piano, castanets, Kansas City, Missouri; Chicago and Des Plaines, Illinois; Whitefish Bay, Wisconsin, 1933-1945
Kurath, Gertrude Prokosch - tutorial in dance ethnology, Ann Arbor, Michigan, 1957
American Anthropological Association (Fellow)
American Ethnological Society
American Folklore Society
Bishop Museum Association
CORD (Congress on Research in Dance) (Board of Directors 1974–1977)
Cross-Cultural Dance Resources, co-founder 1981, (President Board of Directors 1981–1992)
Dance Critics Association. 1999–Present
International Association East-West Center Alumni
International Council on Traditional Music
Pan Pacific & Southeast Asia Women's Association
Society for Ethnomusicology (council member 1967–1970, 1980-1983)
Society for Dance History Scholars
Society for Visual Anthropology
Association for the Study of Play
Zeta Phi Eta (professional speech fraternity)
Executive Director, Cross-Cultural Dance Resources, Flagstaff, Arizona 1992–1998
Researcher/ Consultant, Cross-Cultural Dance Resources, Flagstaff, Arizona, 1981–present
Visiting Faculty, World Arts and Culture, University of California at Los Angeles (UCLA), winter quarter 1998
Visiting faculty, Drama and Dance Department, University of Hawaii-Manoa campus, Honolulu, April 1991
Associate Professor Department of Anthropology, Northern Arizona University, Flagstaff, Arizona 1980-1987, summers 1987–1996
Assistant Professor, Department of Anthropology, Northern Arizona University 1975–1980, 1970–1972
Visiting faculty, Department of Music, University of Hawaii - Manoa, fall, 1981
Faculty Institute on Hawaiian Studies, University of Hawaii - Hilo campus, 1974
Visiting faculty, Department of Anthropology, U. of Hawaii - Hilo Campus, summers 1974, 1973, spring 1973
Faculty, World Campus Afloat, Chapman College, Orange, California, fall, 1972, 1973
Teaching Assistant, Department of Anthropology, Indiana University, 1968–1970
Visiting Instructor, Department of Physical Education, Indiana University, summer, 1968
Research Assistant, Archives of Traditional Music, Indiana University, 1965–1967
ACADEMIC LECTURES - Amsterdam Maastricht Summer University at Tropenmuseum, Arizona State University, Buckeye Community College, Florida International University, Florida State University, Fort Lewis College, Indiana University, Northern Iowa University, Ohio State University, Sweetbriar College, University of Arizona, University of California at Los Angeles, University of Cape Town (South Africa), University of Hawaii-Manoa, University of Louisville, University of North Carolina at Greensboro, University of Oregon, Wesleyan University, York University
PAPERS PRESENTED FOR - African Studies Association; American Folklore Society; Anthropological Society of Hawaii; Association for Applied Anthropology; "Confluences" Conference at University of Cape Town, South Africa; Congress on Research in Dance; Hearst Center for the Arts; International Council on Traditional Music; Society for Dance History Scholars; Society for Ethnomusicology; UCLA Graduate Dance Ethnology Forums
OTHER PROFESSIONAL SERVICES - committees for theses and dissertations: Case Western, Northern Arizona University, The Union Institute, University of New Mexico, UCLA; Consultant for Dancing (1993), 8-hour PBS series; co-chair with Allegra Fuller Snyder of CORD Conference Anthropology and Dance, Tucson (1972)
Native Americans For Community Action, Flagstaff Indian Center, Flagstaff, Arizona - Board of Directors,1977-1982, Secretary 1979-1982; Advisory Board, Adult Education Program 1978-1980 Advisory Board; Youth Outreach Program 1987-1990
Board of Directors, Cross-Cultural Dance Resources, Flagstaff, Arizona 1981–1993, 1999–present.
Flagstaff Arts Council 1980–1997, Vice-President 1992–1996, Secretary-Treasurer. pro-tem 1997
Women's Study Advisory Committee 1986–1987
International Students Admissions Committee 1985–1986
Performing Arts Committee 1985–1987
Beautification Committee, College of Social and Behavioral Sciences 1985–1958
Promotion and Tenure Committee, College of Social and Behavioral Sciences 1982–1985
Department Status Committee, Department of Anthropology 1983–1984. Chair
Committee on Indian Education, College of Social and Behavioral Sciences 1982–1988
Screening Committee to Select Deanof College of Social and Behavioral Sciences, 1982
Sponsor Native Americans United, University Indian Club 1978–1982, 1984
Sponsor Hopi Senom Club 1975–1980
Presentations of workshops on Native American World Views - for Faculty Seminars 1979
Presentations of workshops on Expressive Culture - for Faculty Seminars 1978
Interdisciplinary experiments in team-teaching of literature, Karl Doerry, Director 1978–1980
Admissions and Scholastic Regulations Committee 1979–1980
University Indian Education Committee 1978–1979, 1981-1982
Faculty Senate 1977–1979
1972. "Folk dance." Richard M. Dorson (editor), Folklore and folklife: an introduction: 381-404. Chicago: University of Chicago.
1979. "Culture change: functional and dysfunctional expressions of dance, a form of affective culture," John A.R. Blacking and Joann W. Keali'inohomoku (editors), The performing arts : 47-64. World anthropology Series. The Hague: Mouton.
1979. "You dance what you wear & you wear your cultural values," J.M. Cordwell, R.W. Schwarz (editors), The fabrics of culture: 77-83. World anthropology series. The Hague: Mouton.
1980. "The drama of the Hopi ogres." Charlotte J. Frisbie (editor), Southwestern indian ritual drama: 37-69. A School of American Research Book, Advanced Seminar Series. Albuquerque, New Mexico: University of New Mexico Press.
1981. "Dance as a rite of transformation," Caroline Card and others (editors), Discourse in ethnomusicology II: a tribute to Alan P. Merriam: 131-152. Bloomington, Indiana: Ethnomusicology Publications Group, Indiana University.
1983. "An anthropologist looks at ballet as a form of ethnic dance" Roger Copeland, Marshall Cohen (editors), What is dance?: 533-549. Oxford: Oxford University Press. (Original 1969-1970)
"The would-be Indian," Charlotte J. Frisbie (editor), Explorations In ethnomusicology: essays in honor of David McAllester: 111-126. Detroit Monographs in Musicology Number 9. Detroit: Information Coordinators in Detroit.
1989. "The Hopi katsina dance event 'doings'," Lowell John Bean (editor), Seasons of the Kachina: 51-64. Hayward, California: A Ballena Press/California State University, Hayward Cooperative Publication.
1992. "Hopi and Hawaiian music and dance: responses to cultural contact," Carol E. Robertson (editor), Musical repercussions of 1492: 429-450. Washington and London: Smithsonian Institution Press.
1993. "Music and dance of the Hawaiian and Hopi peoples," Richard L. Anderson and Karen L. Field (editors). Art in small scale societies: contemporary readings: 334-348., Englewood Cliffs, New Jersey.: Prentice-Hall (originally published in 1985. Becoming human through music, the Wesleyan symposium on the perspectives of social anthropology in the teaching and learning of music: 5-22. Reston, Virginia: Music Educators National Conference.)
2001. "Signatures embodied in dance: their transformative power," Helen Lawrence (editor), Traditionalism and modernity in the music and dance of Oceania: Essays in honour of Barbara B. Smith: 33-44. Oceania Monograph 52. New South Wales: Australia: University of Sidney.
2008. Theory and methods for an anthropological study of dance. Flagstaff, Arizona: Cross-Cultural Dance Resources, Inc. (original: Ph.D. dissertation, 1976)
No finding aid available at this time. Contact curator for assistance.
Elsie Ivancich Dunin (born 1935 in Chicago, Illinois) is a dance ethnologist (ethnochoreologist), choreographer, professor, and author specializing with dance studies in Croatia, Macedonia, and of Roms (Gypsies) in Macedonia. Her research has focused on Croatian diaspora communities and associated sword dances in both Old and New World contexts. She is Professor Emerita of dance ethnology from the University of California at Los Angeles (UCLA) and is currently an external dance research associate with the Institute of Ethnology and Folklore Research in Zagreb, Croatia.
· 1979. South Slavic dance in California: a compendium for years 1924-1977. Palo Alto, California: Ragusan Press.
· 1987. "Linđo in the context of village life in the Dubrovnik area of Yugoslavia." Dance research annual 16:1-4. New York: Congress on Research in Dance
· 1988. "'Salonsko Kolo' as cultural identity in a Chilean Yugoslav community(1917-1986)." Narodna umjetnost:109-122. Zagreb, Yugoslavia: Institute of Folklore Research.
· 1995. Dances in Macedonia: performance genre-Tanec. Skopje, Macedonia: Tanec Ensemble. (In Macedonian and English; Labanotation.)
· 1995. (Editor), Dance research: published or publicly presented by members of the Study Group on Ethnochoreology. Zagreb, Croatia: Institute of Ethnology and Folklore Research. (Third volume.)
· 1998. St. George's Day—Coming of summer 1967-1997. Skopje, Republic of Macedonia: Association of "Romano Ilo" (Monograph and catalog in three languages: English, Macedonian and Romani.)
· 2006. "Romani dance event in Skopje, Macedonia: research strategies, cultural identities, and technologies." Dancing from past to present: nation, culture, identities:175-198. Madison, Wisconsin: University of Wisconsin Press.
· 2006. Korčulanska Moreška. Korčula: Turistička Zajednica Grada Korčule.
· 2007. "Swords of dances on Korčula island: a living history." Godišnjak Grada Korčule 12:138-148. Korčula: Gradski Muzej.
· 2009. "Organized dance group repertoire and unrehearsed dancing in Macedonia (1988, 1989)." EVIA Digital Archive: ethnographic video for instruction & analysis. Bloomington, Indiana: EVIA Digital Archive Project. Online.
· 2010. (Co-author: Candi Harrington deAlaiza), DdA reference format for dance. Tempe: Cross-Cultural Dance Resources. (Revised 1988 edition.)
· 2011. "In search of continuity: tombstones and dance in the Dubrovnik area." Imaging dance: visual representations of dancers and dancing:53-76. Hildesheim, Germany: Georg Olms Verlag AG
· 2011. (Editor), ICTM International Council for Traditional Music Study Group on Ethnochoreology Proceedings 1988–2008 (DVD). [—: "Heritage Culture" Educational Electronic Library; ICTM Study Group on Ethnochoreology.
· 2013. "After the ashes of war: continuity and change in the costume, music, and dance of a Croatian village." Resplendent dress from southeastern Europe: a history in layers. Fowler Museum textile series 2:194–205.Los Angeles: Fowler Museum at UCLA.
· 2013. Prošlost u sadašnjosti: svadbe u Dubrovačkom Primorju. Past into the present: weddings of the Dubrovačko Primorje. Dubrovnik: Matica Hrvatska-ogranak Dubrovnik.
· 2014. "Emergence of ethnochoreology internationally: the Janković sisters, Maud Karpeles, and Gertrude Kurath." Musicology 17: 197-217. Beograd: Institute of Musicology of the Serbian Academy of Sciences and Arts.
· 2015. (Editor). Dance, Narrative, Heritage: 28th symposium of the International Council for Traditional Music (ICTM) Study Group on Ethnochoreology. Zagreb: Institute of Ethnology and Folklore Research: ICTM Study Group on Ethnochoreology.
The ASU Library acknowledges the twenty-three Native Nations that have inhabited this land for centuries. Arizona State University's four campuses are located in the Salt River Valley on ancestral territories of Indigenous peoples, including the Akimel O’odham (Pima) and Pee Posh (Maricopa) Indian Communities, whose care and keeping of these lands allows us to be here today. ASU Library acknowledges the sovereignty of these nations and seeks to foster an environment of success and possibility for Native American students and patrons. We are advocates for the incorporation of Indigenous knowledge systems and research methodologies within contemporary library practice. ASU Library welcomes members of the Akimel O’odham and Pee Posh, and all Native nations to the Library.