The conscious use of energetically transformative processes in contemporary dance

554 Aufrufe

PDF an Freunde weiterleiten:

Ihre IP-Adresse wird aus Sicherheitsgründen gespeichert um kriminelle Aktivitäten und unerlaubten Spam zu unterbinden. Leiten Sie nur E-Mails weiter, wo der Empfänger mit dem Versand auch einverstanden ist.

The conscious use of energetically transformative processes in contemporary dance  
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	2	T a b l e o f c o n t e n t s 			1 INTRODUCTION  2    2 THEORETHICAL PART 3    2.1 Energy - a term with many meanings 4    2.2 Energy conservation 5    2.3 Kinetic energy 6    2.4 Perception      3 PRACTICAL PART     3.1 Phase 1: Perception of what exists 8    3.2 Phase 2: The first impulse 9    3.3 Phase 3: Continuation of the impulse and 11   transition into a transformative process  3.4 Phase 4: Abrupt stop of the movement phrase, phase-out 12   to trace and reflect on the resulting traces          4 CONCLUSIO 13    5 BIBLIOGRAPHY 14    6 Curriculum vitae 15     	 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	3	1 INTRODUCTION  The question I try to answer in the following paper is:  Can we use energetically transformative processes in contemporary dance in a conscious way?  My motivation to deal with this topic arose from the fact that, in dance, we very often use the word energy. Although as dancers we usually know what is meant in these moments, I feel that this term is not yet firmly contextualized in contemporary dance.  "Rather, different body techniques speak of energy in the most diverse spiritual figurations, which means that their qualities are associated with aspects of the religious rather than the aesthetic. It is probably also for these reasons that the (aesthetic) dance discourse has so far avoided treating energetic aspects as an aesthetic category, and has indeed avoided to grant these energetic aspects a form of transparency that could form a basis for a mutual understanding."1  My first idea was to approach the subject from the perspective of physics. During my research, I conducted an interview with the quantum physicist Tim Petz. This interview was very informative for me and my research. During the conversation I noticed that my knowledge of physics is not well-founded enough to base an artistic scientific paper on it. Therefore, I decided to use physical laws as a source of inspiration and to apply them to contemporary dance. At some point during the interview we came to talk about the law of conservation of energy, which immediately fascinated and inspired me. Further research led me to the energetically transformative processes and thus to my research question. These energetically transformative processes, together with the entire field of energy in relation to contemporary dance, have been the most appropriate starting point for my research. An energetically transformative process is nothing more than a body transforming from one energetic state to another, and - when we dance - this change of the body from one state to another takes place regularly. In practical research, the perception, attention and reflection of movements very quickly came to the fore. I focus not only on the movement taking place in the moment, but also on the moments before and after. 																																																								1 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 203. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	4	In his research on movement, Rudolf von Laban already mentioned traces that arise from movement in a space. The traces Laban is talking about have, for a long time, been a phenomenon I wanted to investigate. The movement material, which will be shown during the presentation, was developed from improvisations. To touch on all the different approaches would go beyond the scope of this paper. In writing this paper, I turned to physics and the book "Scenarios of Energy" for inspiration. 2 THEORETICAL PART  In the theoretical part of this paper, I try to look at the research topic from different angles. For this purpose, I have collected material from the fields of physics, philosophy, dance science and social science. In the theoretical part of this work, it is important to me to direct the perspective and mind to a certain way of thinking - a way that aims at the invisible and plays with our imagination. What I would like to add at this point are explanations of terms. First, the concept of contemporary dance.  "Contemporary dance should not be understood on the basis of just one technique or aesthetic form, but on that of diversity. It seeks to break down the barriers between the artforms and repeatedly breaks with existing forms. In this sense, contemporary dance has an open structure that consciously sets itself apart from the fixed, linear designs of classical and modern dance."2  Contemporary dance is the right dance language for me because, time and again, it seeks to cross borders and thereby enables us to generate new fields within dance. In an energetically transformative process in contemporary dance, I understand not only the body that changes, but also the energy level that can change through various movement sequences. Furthermore, there is a constant exchange of the energy level with the movement space of the body and therefore also with the space, and in the end with the audience. If we try to keep the energetic levels in mind, this will also influence our movements in contemporary dance. I will illustrate my acquired knowledge so that the process of practical work can be understood later on. 																																																								2 Johannes Odentahl https://de.wikipedia.org/wiki/Zeitgenössischer_Tanz last accessed on 20.06.18 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	5	2.1 Energy - a term with many meanings  Energy is a physical quantity that we need to live, to work, to heat a substance and for many other everyday activities. Energy has "[...]a large number of different forms, and there is a formula for each one."3  We can calculate energy, but we do not know what it looks like or what it is exactly. Next to all other possibilities, energy is also a physical quantity. Energy is always there and in a closed system we always have the same quantity of energy. Let's imagine that the room is filled with "energy pathways" that feed information to me and my body. But it also happens the other way around. I transmit information into the room with my body, which is also pervaded by "energy pathways", and this information is passed on to the audience, who can then perceive and experience the information. The problem is that, for most people, this image is very difficult to imagine and accept. Here is a first quotation that describes energy best for me so far. "Energy does not have the nature of a thing, it is an "aura" that only shows itself in transformation and transfer processes."4 That means we must look between things and perceive the small, fine nuances that change something from point A to point B. Unfortunately, this is often not the case in our performance-oriented society. Most of the time, we want to define and name things so that they can be described clearly for us human beings. But we are all aware that energy is there, "Although the sensory perception of energy is limited, we still perceive its effects and notice when we are tired, overexcited, relaxed, tense or irritated. We are always able to perceive how our own energy level changes."5 2.2 Energy conservation  After I came across the law of conservation of energy, I was fascinated by how something can impose a framework in such a clearly defined way, but still leave so much room for freedom. 																																																								3 Feynmann, Richard P.; Leighton, Robert B.; Sands Matthew: Vorlesung über Physik 1. Mechanik. 6th edition. Berlin/Boston: Walter de Gruyter GmbH 2015, 60.      4 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 1. 5 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 201. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	6	 "There is a fact, or if you wish, a law, governing all natural phenomena that are known to date. There is no known exception to this law - it is exact so far as we know. The law is called the conservation of energy. It states that there is a certain quantity, which we call energy, that does not change in the manifold changes which nature undergoes. That is a most abstract idea, because it is a mathematical principle; it says that there is a numerical quantity which does not change when something happens."6  Thus, the quantity of energy in the room always remains the same. However, it can be transformed into other forms and through this transformation it becomes perceptible and palpable for our senses. The concept of the law of conservation of energy was essential for the practical part of my work. In my improvisations I imagined that this physical law serves as the framework for the improvisations I did in the process leading up to this paper. By thinking of the space as my system in which there is a quantity to which I cannot add anything or take anything away from it, I have developed a sense of how I can concentrate on the changes in space or the body. The law of conservation of energy led me to think in terms of change during my improvisations. 2.3 Kinetic energy  In contemporary dance, kinetic energy is the form of energy we deal with most. Kinetic energy is the energy that is generated when a body or object is moved. "In dance, energy takes the form of movement and unfolds through the bodies present on stage in transformation processes based on movement and composition."7   But how can I use these transformation processes as a dancer and make myself aware of them? As dancers we have what is called "kinesthetic awareness". In improvisation classes, we are often told to, "react to the movement of others." 																																																								6 Feynmann, Richard P.; Leighton, Robert B.; Sands Matthew: Vorlesung über Physik 1. Mechanik. 6th edition. Berlin/Boston: Walter de Gruyter GmbH 2015, 59. 7 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 202. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	7	What was important for me, was to find out in what ways the movements of the other dancers or the audience affect me and how I react to them. Do I react to their movement because I can see or hear it, or are there other levels of "transmission?" Since the impulsive processing of impressions has a lot to do with our perception, my next step was based on the following question: "How can we perceive energetically transformative processes?" 2.4 Perception  Because we cannot directly perceive the energy that occurs in transformative processes in a palpable way, I wondered how we perceive our bodies, the environment and the space around us in contemporary dance. Through our daily training, we have gained a more conscious perception of space and movement than somebody who, for example, works with computers.  "Body techniques and aesthetic movement procedures are aware [...] of specific qualities of energy, since they are based on the movement procedures and skills that are created."8  In Stephan Brinkmann's work "Bewegung erinnern", I came across a section that - as far as I am concerned - explains how we can create movements in a self-evident way when it comes to improvisation in contemporary dance.  "The muscle memory is the memory of the body that always directs its movement to the activity and thus to the action. It consists of motor mechanisms comprised of movements that have been acquired through work in order to be controlled by the mind. In this way, our muscle memory remembers not the memories that are self-acting, but those that have been learned."9  Much of contemporary dance is taken over by our body memory. We train our body every day, learn movements and deal with them. This routine helps us to internalize movements until they become automatic. For me, this also means that we can focus our perception on those energetically transformative processes that take place during, after, and before the movements. These processes also occur during individual movements, but it is easier to reflect on them 																																																								8 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 202. 9 Brinkmann, Stephan: Bewegung Erinnern. Gedächtnisformen im Tanz. Bielefeld: transcript Verlag 2013, 158. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	8	following a movement curve. For this purpose, it is important that we not only focus on the body after a sequence of movements, but also observe the effects that our sequence of movements leaves behind in space. By doing so, I go into an instant reflection - however, not from a mental context but rather by feeling out this instant reflection and experiencing it with my senses. In a way, this resembles exceptional situations where I no longer have time to think about what is immediately right, but simply do the right thing based on my intuition. In contemporary dance this is often called "being in the moment." Another term for it is "flow." To summarize the perception of energy once again, a final thought-provoking impulse:  "In summary, energy is defined by its conservation. There is no phenomenological similarity between the kinetic and potential energies of a body. Even worse: We cannot tell at all whether a thing is moved or lifted. And we cannot tell either whether something is chemically active, warm, or electrically charged. A transformation process only takes place when contact with a system of different properties is established. This means that the energy becomes visible and measurable, up to the enormous effects of a natural disaster or the explosion of a nuclear power plant."10  3 PRACTICAL PART  To me, a dancer's energy consists of the body energy, the energy environment and the social energy. In the process of dance training, we transform energy from one form to another every day. These energetic transformation processes usually take place without us being consciously aware of them. Perhaps, this problem is due to the fact that in our Western world we trust empirical perception more than our intuition. We always focus on the visible and tangible and find it difficult to deal with phenomena that occur outside of this empirical perception. Energy is everywhere and although we cannot see it, it is there for us to use.  In the improvisations during my practical research, various phases became apparent:  • Phase 1: Perception of the existing • Phase 2:  First impulse • Phase 3:  Continuation of the impulse and transition into a transformative process 																																																								10 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 17. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	9	• Phase 4:  Abrupt stop of the movement phrase, phase-out to trace and reflect on the resulting traces  Following Phase 4, I start over with Phase 1, but I have three different phrases of movement. I will show these phrases one after the other following the above phases to experience and examine them together with the audience. For the sake of simplicity, I have chosen several types of movement to achieve more clarity in my results. In the first movement phrase, I will start with pulsating movements, in the second phrase I will start with swinging arms and in the third I will process the information I get from the audience in the room.  3.1 Phase 1: Perception of the existing  Through conscious perception of the existing and by opening my senses, I am brought into a certain "state." In this phase it is important to focus not only on the external but also on the internal perception.  "A certain doctrine, inspired by the spirit of critical philosophy, treats perception as an operation of the mind that relates the expansive data (données) (the "sensations" [les sensations]) to each other, and which explains that they ultimately represent an objective world. Perception understood in this way is like an incomplete science, it appears as a mediated process."11  In my view, external perception is the perception of the existing space and the objects and sounds in it as well as the audience, if there is one. To me - superficially speaking -  inner perception consists of my body and my mind. In my artistic presentation I will try to involve the audience in this phase of perception. In regular evening performances in the theatre, these steps are usually performed in advance behind closed doors. Basically, this sensitization of perception in dance is always included in a warm-up. From my perspective, this joint and concentrated attention is important because the process of reflection becomes clearer for those present.  																																																								11 Merleau-Ponty, Maurice: Das Primat der Wahrnehmung. Frankfurt am Main: Suhrkamp Verlag 2003, 7. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	10	"Attention implies mindfulness - to the processes of one's own physicality as well as to the experience of contact with the other."12  I would even go so far as to say that we do not only need the contact to another body to deepen this experience of our own physicality. What if we also put this attention on the space and imagine how we touch the space or the air with our body?  3.2 Phase 2: First impulse  As human beings we never really stand still because inside our body our heart, our breath, and other organic processes are always active. In general, there is no object or body that absolutely stands still. In physics there is a scientific perception "[...] which says that all objects are made up of atoms - small particles that are in constant motion, attracting each other when they are slightly apart, but repelling each other when they are pressed together." 13  This means that everything is always in motion and every object transmits information to the surrounding systems or spaces through these movements. The movement of these particles is a transformation of energy, so there is an exchange of energy at all times. In my improvisations I have explored this exchange of energy and have found it to be enriching. By concentrating on the exchange or change in space and body, I have noticed that I no longer focus so much on what exact movement I carry out or how I perform it, but on the effects that my movement has on the space, my body and my surroundings.  • Pulsating movements This improvised movement phrase represents body energy. After the phase of "perception of the existing", I will move into a sitting position in the middle of the room and start with my first improvised movement phrase. Before I start to move in this phrase, I try to comprehend what is going on in my body and - once more - try to perceive it as a whole. From this body perception I develop a first impulse to begin to move. After establishing the impulse, I will develop it further until the impulse that has arisen in me becomes a dance. To this end, I will use the breathing of my lungs and the beat of my 																																																								12 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 192. 13 Feynmann, P. Richard: Vorlesung über Physik 1 Mechanik, 6. Auflage. Walter de Gruyter GmbH, Berlin/Boston, 3. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	11	heart - through which this movement phrase develops into a form of pulsation - as a template. The idea is to point out and question the path from what is internal and not visible to what is external and can be seen.  • Swinging arms This improvised phrase of movement represents the energy environment. After reflecting the first movement phrase, I will walk in circles and use the swinging of my arms as the next impulse. I have chosen the swinging arms because they describe and illustrate my movement environment for me.  • Exchange with the audience and the room This improvised phrase of movement represents the social energy. In this phrase, I incorporate all of the above and thus open an energetic exchange with the audience. In doing so, I feed off impulses for my next movement through the perception and observation of the audience. Here, I mix the distinct phases for the first time. I am still moving, but I keep pausing to reflect on what has just happened. The idea behind these movement phrases is to illustrate the body energy, the energy environment, and the social energy through improvisation.  3.3 Phase 3: Continuation of the impulse and transition into a transformative process  I will develop the first impulse in the phrases of movement in an honest and physically logical way. The task I set myself in this phase is to, step by step, "carry" the impulse from the inside of my body to the outside. By doing so, I will leave traces in the room with my body.  "Just like the path through the general space, the path through a personal environment can leave a mostly invisible trace. In the dark, a light can be used to make the traces in the kinesphere visible. Long-term photography of movement phrases in different spatial directions will make the forms of the traces appear."14  																																																								14 Kennedy, Antja (Ed.) (2014): Bewegtes Wissen Laban/Bartenieff-Bewegungsstudien verstehen und erleben. Logos Verlag, Berlin, 20.	
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	12	I am aware that - once more - this is a very abstract term. However, I presume that everyone has experienced the phenomenon that they entered a room and noticed that something happened, or that they entered a room that made them feel calm and relaxed. I feel this way in museums all the time. Likewise, smell can be a trace although it is invisible. However, the sense of smell is much more important to us human beings than any "invisible energies" that we cannot perceive directly. To that end, I would like to quote Descartes at this point because I find his train of thought very interesting with regard to the perception of our environment.  "I explained in my Optics how the objects of sight get through to us solely by producing...motions in the fibres of the optic nerves at the back of our eyes, thus producing motions in the regions of the brain where these nerves originate."15  3.4 Phase 4: Abrupt stop of the movement phrase, phase-out to trace and reflect on the resulting traces  The abrupt stop interrupts the flow of movement in the movement phrase. In this moment, I focus on my body and contemplate on what I have just experienced. Then I step out of this position and reflect on the traces left by the movements in space. This means that I observe the space in a distinct way once more to observe the changes that have occurred in the space compared to earlier.  																																																								15 Descartes, René: Die Passionen der Seele, Felix Meiner Verlag, Hamburg, 11 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	13	 CONCLUSIO  To me, energy is a generic term. That is why I believe that we should not use it in such an inflationary and unconscious way. I also believe that if we can intensify the discussion on energetically transformative processes in dance and define these processes in their diversity, we can sharpen our approach to ourselves and our bodies in dance and add new levels to contemporary dance. Over the course of this work, I have observed a change in the perception of myself and my body in relation to my own movements. Perhaps, the discussion of energetically transformative processes is something that we are afraid of. However, we can consciously use transformative energetic processes in contemporary dance. I am still far from having explored this field sufficiently, but through the work leading up to this paper I have gained first closer insights on the main points of the content. Based on this, it would be exciting to develop a dance technique that works in connection with these transformative energetic processes. To conclude, I would like to cite the text passage that triggered me to investigate transformative energetic processes:  "I draw three short conclusions from this very short history of energy. First: energy production does not exist, even though we talk about it all the time. Rather, there is sufficient energy - I recall the energy formula of the theory of special relativity from 1905. The existing energy just needs to be converted into other forms of energy. This can be achieved technically in ecologically smart or not so smart ways - we tend to adopt unwise solutions. Second: there is no energy consumption and energy cannot be saved. However, conversion processes which are associated with high residual amounts of heat that can no longer be transformed can be avoided. Third and last: we only know from the conversion processes between different forms of energy what energy ultimately is. The design of these transformation processes defines culture."16       																																																								16 Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013, 21 - 22. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	14	4 BIBLIOGRAPHY 	Gronau, Barbara (ed.): Szenarien der Energie. Zur Ästhetik und Wissenschaft des Immateriellen. Edition Kulturwissenschaften Vol. 8 Bielefeld: transcript Verlag 2013  Descartes, René: Die Passionen der Seele, Felix Meiner Verlag, Hamburg  Kennedy, Antja (Hrsg.) (2014): Bewegtes Wissen Laban/Bartenieff-Bewegungsstudien verstehen und erleben. Logos Verlag, Berlin  Feynmann, P. Richard: Vorlesung über Physik 1 Mechanik, 6. Auflage. Walter de Gruyter GmbH, Berlin/Boston, 3.  Merleau-Ponty, Maurice: Das Primat der Wahrnehmung. Frankfurt am Main: Suhrkamp Verlag 2003  Brinkmann, Stephan: Bewegung Erinnern. Gedächtnisformen im Tanz. Bielefeld: transcript Verlag 2013  
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.
	15	5 CURRICULUM VITAE  Marco Payer lives and works in Vienna. In addition to his activities in the contemporary dance scene, he has also been an active member of the breaking scene throughout the past twelve years. B-boying was his first approach to dance, and despite taking time-outs and distancing himself from the hip-hop scene, many of his works are still influenced by this art and cultural form. Following his first theater production at Dschungel Wien, he decided that the theater stage will be his new home. 
Eingestellt über www.PDF-ins-Internet.de - Haftung für Inhalt und Inhaber aller Rechte ist der Puplisher
Kontaktdaten und Anbieterkennung des Puplishers/Autors entnehmen Sie bitte dem PDF-Archives auf www.PDF-ins-Internet.de.

The conscious use of energetically transformative processes in contemporary dance

PDF & Publisher Info