Architecture/dance: Choreographing and inhabiting spaces with Anna and Lawrence Halprin

Cultural Geographies

Volumn 17, Issue 4, 2010, Pages 427-449

  Merriman, Peter ^a  

^a ABERYSTWYTH UNIVERSITY   (United Kingdom)

Author keywords

Affect; Architecture; Dance; Landscape; Performance

Indexed keywords

ART; CULTURAL HISTORY; CULTURAL LANDSCAPE; HISTORICAL GEOGRAPHY; HISTORICAL PERSPECTIVE; INTERDISCIPLINARY APPROACH; PHILOSOPHY; POLITICAL HISTORY; POLITICAL RELATIONS; POST-MODERNISM; THEORETICAL STUDY;

CALIFORNIA; UNITED STATES;

ANNA;

EID: 77958467177     PISSN: 14744740     EISSN: None     Source Type: Journal    
DOI: 10.1177/1474474010376011     Document Type: Article

References (248)

1. A. Pred, 'The Choreography of Existence: Comments on Hagerstrand's Time-Geography and its Usefulness', Economic Geography, 53, 1977, pp. 207-221, quote p. 208.
2. C. Nash, 'Performativity in Practice', Progress in Human Geography, 24, 2000, pp. 653-664, quotep. 658.
3. D. McCormack, 'Geographies for Moving Bodies: Thinking, Dancing, Spaces', Geography Compass, 2, 2008, pp. 1822-1836, quote p. 1824.
4. See, for example, N. Thrift, Spatial Formations (London: Sage, 1996).
5. N. Thrift, 'Afterwords', Environment and Planning D: Society and Space, 18, 2000, pp. 213-255.
6. N. Thrift, 'Intensities of Feeling: Towards a Spatial Politics of Affect', Geografiska Annaler B, 86, 2004, pp. 57-78.
7. N. Thrift, Non-Representational Theory: Space, Politics, Affect (London: Routledge, 2008).
8. N. Thrift and J.D. Dewsbury,.'Dead Geographies - and How to Make Them Live', Environment and Planning D: Society and Space, 18, 2000, pp. 411-432.
9. E. Laurier and C. Philo, 'Possible Geographies: A Passing Encounter in a Café', Area, 38, 2006, pp. 353-363.
10. H. Lorimer, 'Cultural Geography: The Busyness of Being "More-than-Representational', Progress in Human Geography, 32, 2008, pp. 551-559. On the cultural geographies of dance and other performing arts, see.
11. N. Thrift, 'The Still Point: Resistance, Expressive Embodiment and Dance', in S. Pile and M. Keith (eds) Geographies of Resistance (London: Routledge, 1997), pp. 124-151.
12. Nash, 'Performativity in Practice'.
13. T. Cresswell, 'You Cannot Shake that Shimmie Here': Producing Mobility on the Dance Floor', cultural geographies, 13, 2006, pp. 55-57.
14. G. Revill, 'Performing French Folk Music: Non-Representational Theory and the Politics of Authenticity', cultural geographies, 11, 2004, pp. 199-209.
15. K. Somdahl-Sands, 'Triptych: Dancing in Thirdspace', cultural geographies, 13, 2006, pp. 610-616.
16. McCormack, 'Geographies for Moving Bodies'.
17. D.P. McCormack, 'An Event of Geographical Ethics in Spaces of Affect', Transactions of the Institute of British Geographers, 28, 2003, pp. 488-507.
18. D.P. McCormack, 'Drawing Out the Lines of the Event', cultural geographies, 11, 2004, pp. 211-220.
19. J.D. Dewsbury, 'Dance: The Secret Slowness of the Fast', in T. Cresswell and P. Merriman (eds) Geographies of Mobility: Practices, Spaces, Subjects (Aldershot: Ashgate Publishing, forthcoming). On the more-than-representational geographies of inhabiting architectural environments.
20. see L. Lees, 'Towards a Critical Geography of Architecture: The Case of an Ersatz Colosseum', Ecumene, 8, 2001, pp. 51-86.
21. J. Jacobs, 'A Geography of Big Things', cultural geographies, 13, 2006, pp. 1-27.
22. P. Kraftl and P. Adey, 'Architecture/Affect/Inhabitation: Geographies of Being-In Buildings', Annals of the Association of American Geographers, 98, 2008, pp. 213-31.
23. R. Imrie, 'Architects' Conceptions of the Human Body', Environment and Planning D: Society and Space, 21, 2003, pp. 47-65.
24. P. Adey, 'Airports, Mobility and the Calculative Architecture of Affective Control', Geoforum, 39, 2008, pp. 438-51.
25. P. Merriman, 'A New Look at the English Landscape': Landscape Architecture, Movement and the Aesthetics of Motorways in Early Post-War Britain', cultural geographies, 13, 2006, pp. 78-105.
26. P. Merriman, 'Architecture and Geography', in B. Warf (ed.) Encyclopedia of Geography (London: Sage, 2010).
27. Thrift, 'The Still Point', p. 149.
28. Nash, 'Performativity in Practice', pp. 658-659.
29. See also Cresswell, 'You Cannot Shake that Shimmie Here'.
30. Nash, 'Performativity in Practice', p. 658.
31. Nash, 'Performativity in Practice', p. 659.
32. S.L. Foster, 'Choreographing History', in S.L. Foster (ed.) Choreographing History (Bloomington: Indiana University Press, 1995), pp. 3-21, quotes p. 12 and 16. Despite the etymological origins of the word choreography in the Greek for dancing and writing, it is useful here to think of 'writing' as a perfomative practice as well as a representational technique. Indeed, if we are to concern ourselves with the non-representational or more-than-representational dimensions of choreographing and dancing, the metaphor of 'writing' can serve to confuse issues, and we might alternatively wish to think about the 'inhabiting' and 'inhabited' dancing body, or the 'haunting' and 'haunted' dancing body. In his later writings on non-representational theory, performance and dance, Thrift provides an implicit and, at times, explicit response to many of the criticisms levelled at his work.
33. See Thrift, 'Afterwords'.
34. Thrift, 'Intensities of Feeling'.
35. Thrift, Non-Representational Theory.
36. N. Thrift, 'Performance and', Environment and Planning A, 35, 2003, pp. 2019-2024.
37. Foster, 'Choreographing History', p. 15. A slightly longer version is also quoted by Thrift, 'Afterwords', p. 239.
38. Thrift proposes focussing on the ability of the affective dimensions of performance 'to possess both performers and audience' as he doesn't want to fall back 'on the usual stereotypes of performance as either a form of puppetry only brought to life by a master script or score or an illicit improvisation which functions as the equivalent of radical political action'.
39. N. Thrift, 'Performance and Performativity: A Geography of Unknown Lands', in J.S. Duncan, N.C. Johnson and R.H. Schein (eds) A Companion to Cultural Geography (Oxford: Blackwell, 2004), p. 130.
40. S.L. Foster, 'Dancing Bodies', in J. Crary and S. Kwinter (eds) Incorporations (New York: Zone, 1992), pp. 480-495
41. C.J. Novack, Sharing the Dance: Contact Improvisation and American Culture (Madison: The University of Wisconsin Press, 1990), pp. 191-192
42. On tango, see Nash, 'Performativity in Practice'. On ballroom dancing, see Cresswell, 'You Cannot Shake that Shimmie Here'.
43. Novack, Sharing the Dance, p. 51.
44. H. Thomas, The Body, Dance and Cultural Theory (Basingstoke: Palgrave Macmillan, 2003).
45. Novack, Sharing the Dance, p. 49.
46. Novack, Sharing the Dance, pp. 8-11 On the history of contact improvisation.
47. Thomas, The Body, Dance and Cultural Theory.
48. J. Novack, 'Looking at Movement as Culture: Contact Improvisation to Disco', TDR, 32(4), 1988, pp. 102-19.
49. Cooper Albright and D. Gere (eds) Taken by Surprise: A Dance Improvisation Reader (Middleton: Wesleyan University Press, 2003), pp. 153-214.
50. Thrift, 'Afterwords', pp. 239-240.
51. See Novack, Sharing the Dance, pp. 11-12.
52. On the politics of dance and affect.
53. Thrift, The Still Point.
54. Thrift, Intensities of Feeling.
55. Thrift, Performance
56. D. McCormack, 'Diagramming Practice and Performance', Environment and Planning D: Society and Space, 23, 2005, pp. 119-147
57. Nash, 'Performativity in Practice'
58. Cresswell, 'You Cannot Shake that Shimmie Here'
59. C. Barnett, 'Political Affects in Public Space: Normative Blind-Spots in Non-Representational Ontologies', Transactions of the Institute of British Geographers, 33, 2008, pp. 186-200.
60. S. Pile, 'Emotions and Affect in Recent Human Geography', Transactions of the Institute of British Geographers, 35, 2010, pp. 5-20.
61. C.J. Cohen Bull [née Novack], 'Sense, Meaning, and Perception in Three Dance Cultures', in J. Desmond (ed.) Meaning in Motion: New Cultural Studies of Dance (London: Duke University Press, 1997), pp. 269-287, quotations p. 281.
62. Novack, Sharing the Dance, p. 191. This is not to say that improvisation and experimentation are easy. Dancers' bodies are trained to move and respond in certain ways, and it requires 'intensive practice' to improvise and maintain a 'vigilant porousness toward the unknown'.
63. S.L. Foster, 'Taken by Surprise: Improvisation in Dance and Mind', in Cooper Albright and Gere (eds) Taken by Surprise, p. 7.
64. Thomas, The Body, Dance and Cultural Theory, p. 100.
65. Cohen Bull, 'Sense, Meaning, and Perception'.
66. McCormack, 'Geographies for Moving Bodies', p. 1830.
67. Thrift, Non-Representational Theory, p. 14.
68. Foster, 'Dancing Bodies', p. 493. In the case of Contact Improvisation many of the performances had no audience, and when they did they often took place in smaller venues 'with the audience in close proximity to the dancers' (Bull, 'Sense, Meaning and Perception', p. 277). There are, of course, many earlier traditions which have taken performance and theatre into the streets, e.g. the Dadaists and left-wing Agit-prop groups in the inter-war years.
69. B. Mason, Street Theatre and Other Outdoor Performances (London: Routledge, 1992).
70. R. Samuel, E. MacColl and S. Cosgrove, Theatres of the Left 1880-1935: Workers' Theatre Movements in Britain and America (London: Routledge & Kegan Paul, 1985). Nevertheless, the 1950s and 1960s saw the emergence of more widespread and wholesale avant-garde challenges to orthodox modern dance and theatre.
71. For examples of such work, see note four.
72. For example, see D. Harvey, 'Monument and Myth', Annals of the Association of American Geographers, 69, 1979, pp. 362-381.
73. J. Goss, 'The Built Environment and Social Theory: Towards an Architectural Geography', The Professional Geographer, 40, 1988, pp. 392-403.
74. S. Daniels, Fields of Vision: Landscape Imagery and National Identity in England and the United States (Cambridge: Polity Press, 1993).
75. M. Domosh, Invented Cities: the Creation of Landscape in Nineteenth-Century New York and Boston (London: Yale University Press, 1996).
76. Lees, 'Towards a Critical Geography of Architecture', p. 56.
77. Kraftl and Adey, 'Architecture/Affect/Inhabitation'; Adey, 'Airports, Mobility and the Calculative Architecture of Affective Control'; Imrie, 'Architects' Conceptions of the Human Body'.
78. Jacobs, 'A Geography of Big Things'. On architecture and the building as event.
79. E. Casey, The Fate of Place (London: University of California Press, 1998), pp. 312-13.
80. Lees, 'Towards a Critical Geography of Architecture', pp. 72-56.
81. Space prevents me from tracing a genealogy of such collaborations here. Important examples of collaborations include those between Rudolph Laban and Adolphe Appia, and amongst members of the Bauhaus.
82. McCormack, 'Diagramming Practice and Performance'.
83. O. Schlemmer, L. Moholy-Nagy and F. Molnar, The Theater of the Bauhaus (Middletown: Wesleyan University Press, 1961).
84. Important exceptions which explore the intersecting geographies of different more-than-representational arts include: McCormack, 'Diagramming Practice and Performance.
85. Revill, 'Performing French Folk Music'.
86. S. Rycroft, 'Towards an Historical Geography of Nonrepresentation: Making the Countercultural Subject in the 1960s', Social and Cultural Geography, 8, 2007, pp. 615-633.
87. K.R. Olwig, 'Has Geography always been Modern? Choros, (Non)representation, Performance, and the Landscape', Environment and Planning A, 40, 2008, pp. 1843-61.
88. A. Vasudevan, 'Dramaturgies of Dissent: Spatial Politics in Berlin, 1968', Social and Cultural Geography (submitted), and some writings on landscape.
89. Anna and Lawrence met and married in 1940, and while they often worked independently they were constantly exchanging ideas and collaborated on a range of projects from the 1950s through to the 1980s. Anna was called Ann until 1972, but throughout this paper I refer to her as Anna (for consistency). On the life and work of Anna Halprin.
90. J. Ross, Anna Halprin: Experience as Dance (London: University of California Press, 2007).
91. L. Worth and H. Poynor, Anna Halprin (London: Routledge, 2004).
92. A. Halprin, Moving Toward Life: Five Decades of Transformational Dance (ed. R. Kaplan) (London: Wesleyan University Press, 1995).
93. J. Ross, 'Anna Halprin's Urban Rituals', The Drama Review, 48, 2004, pp. 49-67.
94. J. Ross, 'Anna Halprin and the 1960s: Acting in the Gap between the Personal, the Public, and the Political', in S. Banes (ed.) Reinventing Dance in the 1960s: Everything was Possible (Madison: The University of Wisconsin Press, 2003), pp. 24-50.
95. J. Ross, 'Anna Halprin and Improvisation as Child's Play: A Search for Informed Innocence', in Cooper Albright and Gere (eds) Taken by Surprise, pp. 41-51. On the life and work of Lawrence Halprin.
96. L. Halprin, Lawrence Halprin: Changing Places (ed. L. Creighton Neall) (San Francisco: San Francisco Museum of Modern Art, 1986).
97. 'Lawrence Halprin (special issue)', Process Architecture, 4, 1978, pp. 1-260.
98. A. Hirsch, 'Lawrence Halprin's Public Spaces: Design, Experience and Recovery. Three Case Studies', Studies in the History of Gardens and Designed Landscapes, 26, 2006, pp. 1-98.
99. A. Hirsch, 'Lawrence Halprin: The Choreography of Private Gardens', Studies in the History of Gardens and Designed Landscapes, 27, 2007, pp. 258-355.
100. P. Merriman, 'Lawrence Halprin, Modern Dance and the American Freeway Landscape', in Cresswell and Merriman (eds) Geographies of Mobility.
101. Ross, Anna Halprin.
102. J. Ross, Moving Lessons: Margaret H'Doubler and the Beginning of Dance in American Education (Madison, WI: University of Wisconsin Press, 2000).
103. M. H'Doubler, Dance: A Creative Art Experience (New York: F. S. Crofts & Co., 1940); which was influenced by J. Dewey, Art as Experience (New York: Minton, Balch & Co., 1934).
104. L. Halprin, 'The Chronology', in Halprin, Lawrence Halprin: Changing Places, pp. 114-149, quotation p. 115.
105. C. Tunnard, Gardens in a Modern Landscape (London: The Architectural Press, 1938).
106. Halprin, 'The Chronology'.
107. Ross, Anna Halprin.
108. L. Halprin, The RSVP Cycles: Creative Processes in the Human Environment (New York: George Braziller, 1969).
109. Ross, Anna Halprin; Worth and Poynor, Anna Halprin. Lawrence has also suggested that his two years living in a kibbutz in Palestine (1933-35) 'gave me an interest in collective ways of working'.
110. L. Halprin, 'Dialogue: Lawrence Halprin + Ching-Yu Chang', Process Architecture, 4, 1978, pp. 241-56.
111. San Francisco Museum of Performance & Design (hereafter MPD), Anna Halprin Archives (hereafter AH), 11(62), 'Visual Design and Dance: An Outline of a Course given in New Hampshire at Mettler Farm Studio' by A.S. Halprin, 25 June 1943. The references to 'planes' and 'cutting' space come from the different ways Anna encouraged the participants to define space using design concepts and geometric properties, including line, shape, plane, volume, mass, colour and texture.
112. MPD AH Archives, 11(62), 'Dance and Architecture', by A.S. Halprin, n.d. c.1943-44. On her dance classes for architects, see Ross, Anna Halprin.
113. L. Moholy-Nagy, The New Vision and Abstract of an Artist (New York: George Wittenborn, 1947), p. 57. On Moholy-Nagy's conception of space.
114. L. Kaplan, Laszlo Moholy-Nagy: Biographical Writings (London: Duke University Press, 1995).
115. Schlemmer et al., The Theater of the Bauhaus.
116. L. Moholy-Nagy, Vision in Motion (Chicago: Paul Theobald and Company, 1947), p. 264.
117. Ross, Anna Halprin, p. 53.
118. Halprin, 'The Chronology'. On Church, see M. Treib (ed.) Thomas Church, Landscape Architect: Designing a Modern California Landscape (San Francisco: William Stout, 2004).
119. L. Halprin, 'The Choreography of Gardens', Impulse Dance Magazine, 1949, pp. 30-34, quotations pp.34, 31.
120. L. Halprin, 'The Choreography of Gardens', p. 34.
121. L. Halprin, 'Dance Deck in the Woods', Impulse Dance Magazine, 1956, pp. 21-4, quotations p. 23.
122. Halprin, 'Dance Deck in the Woods', p.24.
123. A. Halprin, 'Use of the Deck', Impulse Dance Magazine, 1956, pp. 24-25, quotations p. 24.
124. A. Halprin, 'Three Decades of Transformational Dance: Interview with Nancy Stark Smith', in Halprin, Moving Toward Life, p. 6. On Anna's relationship with conventional modern dance, see Worth and Poynor, Anna Halprin, pp. 37-40.
125. A. Halprin, 'Yvonne Rainer Interviews Ann Halprin', The Tulane Drama Review, 10, 1965, pp. 142-167, quotation p. 143.
126. See Ross, Anna Halprin; Worth and Poynor, Anna Halprin; Halprin, Moving Toward Life. Paul Baum studied dance with the Halprin-Lathrop School in the late 1940s before undertaking a PhD in psychology at UC Berkeley in the early 1960s. In 1964 Baum introduced Anna to the German-born creator of Gestalt therapy Fritz Perls, who ran workshops with Anna up until his death in 1970: acting as a consultant on Apartment 6 (1965), conducting individual therapy sessions with Anna, and leading encounter group sessions with her Dancers' Workshop. As I discuss below, Paul Baum worked closely with both Anna and Lawrence on a wide range of workshops, performances and writing projects.
127. See Ross, Anna Halprin, pp. 174-180. Perls articulated the theory and practice of Gestalt therapy.
128. F. Perls, R.F. Hefferline and P. Goodman, Gestalt Therapy: Excitement and Growth in the Human Personality (New York: Julian Press, 1951).
129. F. Perls, The Gestalt Approach and the Eye Witness to Therapy (London: Bantam, 1973). On Perls' life and work.
130. M. Shepard, Fritz: An Intimate Portrait of Fritz Perls and Gestalt Therapy (London: Bantam, 1976).
131. P. Clarkson and J. Mackewn, Fritz Perls (London: Sage, 1993).
132. Halprin, 'Yvonne Rainer Interviews Ann Halprin', pp. 146-147.
133. Halprin, 'The Chronology', pp. 123-127.
134. Halprin, 'Dialogue: Lawrence Halprin + Ching-Yu Chang', p. 250.
135. L. Halprin, Cities (New York: Reinhold Publishing Corporation, 1963), p. 193.
136. Halprin, Cities, pp. 193, 208, 208, 211. On Lawrence's 'motation' or movement notation system.
137. L. Halprin, 'Motation', Progressive Architecture, 46(2), 1965, pp. 126-133; Merriman, 'Lawrence Halprin, Modern Dance and the American Freeway Landscape'.
138. On 'happenings' and Anna's role in facilitating and performing them.
139. M. Kirby (ed.) Happenings: An Illustrated Anthology (London: Sidgwick and Jackson, 1965).
140. U. Kultermann, Art-Events and Happenings (London: Mathews Miller Dunbar, 1971).
141. A. Henri, Environments and Happenings (London: Thames and Hudson, 1974).
142. M.R. Sandford (ed.) Happenings and Other Acts (London: Routledge, 1995).
143. Halprin, The RSVP Cycles, p. 30. On the building as 'happening'.
144. Casey, The Fate of Place, p. 313. On place and landscape as 'happenings'.
145. D. Massey, 'Landscape as Provocation: Reflections on Moving Mountains', Journal of Material Culture, 11, 2006, pp. 33-48 (p. 46).
146. Ross, Anna Halprin, pp. 237-238. Anna's concern that 'happenings' were frequently 'a mish-mash' and lacked 'theatrical potency' is cited/paraphrased in J. Anderson, 'Dancers and Architects Build Kinetic Environments', Dance Magazine, November 1966, p. 54.
147. Anna had also been associated with Beat culture in San Francisco in the 1950s, working with James Broughton, Michael McClure, Richard Brattigan and Bruce Conner, and practising dance that 'embodied the raw, funky, strangely improvisational ethos of Beat art' (Ross, Anna Halprin, p. 122).
148. Ross, Anna Halprin, pp. 206, 244. Anna and Lawrence's eldest daughter Daria appeared in Revolution where she was spotted by the legendary Italian director Michelangelo Antonioni. He subsequently cast her to star in the provocative and controversial film Zabriskie Point (1970). Daria was a 19 year-old fully immersed in hippie culture, and in 1972 she married the director and film star Dennis Hopper. She now teaches creative arts therapy and dance at the Tamalpa Institute, which she set up with Anna in 1978.
149. D. Halprin, The Expressive Body in Life, Art and Therapy: Working with Movement, and Meaning (London: Jessica Kingsley, 2003).
150. Jim Burns, 'Experiments in Environment', Progressive Architecture, July 1967, pp. 130-137, quotations pp. 131-2.
151. MPD AH, 11(36), 'Summer Workshop Schedule'.
152. Halprin, 'Motation', p. 130.
153. The Sea Ranch is a community of some 1600 houses, set in 4000 acres, which was designed by Lawrence Halprin and architects Joseph Esherick, Charles Moore, Donlyn Lyndon, William Turnbull and Richard Whitaker for Oceanic Properties. The community was designed to blend in to the surrounding environment, with clustered homes and large areas of common land. The Halprins have had a second home on the site since the 1960s, where they spent time relaxing and running workshops with family, friends and students.
154. L. Halprin, 'The Halprin Place: Forty Years on Site'.
155. D. Lyndon and J. Alinder, The Sea Ranch (New York: Princeton University Press, 2004), pp. 287-291.
156. L. Halprin, The Sea Ranch Diary of an Idea (New York: Spacemaker Press, 2003).
157. C. Moore, 'Still Pools and Crashing Waves'.
158. Halprin, Lawrence Halprin: Changing Places, pp. 25-34.
159. H. Poynor, 'Anna Halprin and the Sea Ranch Collective, an Embodied Engagement with Place', Journal of Dance and Somatic Practices, 1, 2009, pp. 121-131.
160. MPD AH, 11(36), 'Summer Workshop Schedule'. In a discussion of his work on the Sea Ranch, Donald Canty describes Richard Reynolds as 'a cultural geographer and an ecologist'.
161. D. Canty, 'Origins, Evolutions, and Ironies'.
162. Lyndon, and Alinder, The Sea Ranch, p. 24.
163. Anderson, 'Dancers and Architects Build Kinetic Environments', p. 56.
164. MPD AH, 11(63), 'Automobile with the School of Architecture University of California, Berkeley and the Dancers' Workshop 1966', undated and unsigned. A photograph of the Automobile event later appeared in Kultermann's 1971 Art-Events and Happenings.
165. MPD AH, 11(63), 'Automobile'.
166. Wayne Bannister (landscape architect), quoted in: Burns, 'Experiments in Environment', p. 137.
167. Halprin, 'The Chronology', pp. 127-128+130-131; Urban Advisors to the Federal Highway Administrator, The Freeway in the City: Principles of Planning and Design. A Report to the Secretary, Department of Transportation (Washington, DC: U.S. Government Printing House, 1968).
168. L. Halprin, Freeways (New York: Reinhold Publishing Corporation, 1966).
169. Merriman, 'Lawrence Halprin, Modern Dance and the American Freeway Landscape'.
170. Lawrence Halprin and Associates, New York New York: A Study of the Quality, Character, and Meaning of Open Spaces in Urban Design (San Francisco: Chapman Press, 1968), p. 47. Lawrence worked with at least 12 of his staff on the project, including geographer Tom Thorpe. The consultants to the study included psychologist George Rand, planner and activist Jane Jacobs, the eminent anthropologist and creator of proxemics Edward T Hall, and gestalt psychologist Paul Baum.
171. Halprin and Associates, New York New York, p. 2.
172. L. Halprin and J. Burns, Taking Part: A Workshop Approach to Collective Creativity (London: The MIT Press, 1974), p. 178.
173. Halprin and Burns, Taking Part, p. 178.
174. Halprin and Burns, Taking Part, p. 183.
175. Halprin, The RSVP Cycles, p. 79.
176. Anderson, 'Dancers and Architects Build Kinetic Environments', p. 52.
177. Halprin and Burns, Taking Part, p. 179.
178. Halprin, 'The Chronology', p. 135.
179. Ross, Anna Halprin, pp. 249-253.
180. A. Halprin, 'Community Art as Life Process: The Story of the San Francisco Dancers' Workshop', The Drama Review, 17(3), 1973, pp. 64-80, quotation p. 71.
181. MPD AH, 11(67), 'Architects and Dancers Joint Workshop' by Anna Halprin, undated.
182. Anna Halprin, 'Prologue', in Halprin and Burns, Taking Part, p. xv.
183. A. Halprin, 'Ceremony of Us', The Drama Review, 13(4), 1969, pp. 131-143.
184. Halprin, Moving Toward Life, pp. 152-160. On the causes and aftermath of the Watts uprising of 1965.
185. G. Horne, Fire this Time: The Watts Uprising and the 1960s (Charlottesville, VA: University Press of Virginia, 1995).
186. Halprin, 'Ceremony of Us'.
187. Ross, Anna Halprin, pp. 266-284. While Anna started to use dance as a way to explore issues of racial tension and segregation, this was not the first time that she had worked with black dancers.
188. A. Halprin, 'Chronology: Anna Halprin, San Francisco Dancers' Workshop, and Tamalpa Institute', in Halprin, Moving Toward Life, p. 261.
189. Halprin, 'Three Decades of Transformational Dance', p. 18.
190. On these performances see Ross, Anna Halprin, pp. 287-291. On Soledad prison in the late 1960s.
191. G. Jackson, Soledad Brother: The Prison Letters of George Jackson (Harmondsworth: Penguin Books, 1971).
192. Halprin, The RSVP Cycles; Halprin and Burns, Taking Part.
193. For detailed descriptions of the RSVP cycles, see Halprin, The RSVP Cycles, pp. 2-3, 190-195.
194. Halprin and Burns, Taking Part, pp. 26-43.
195. J. Burns, 'The How of Creativity: Scores & Scoring', in Halprin, Lawrence Halprin: Changing Places, pp. 40-58.
196. L. Halprin, 'How to Score', RIBA Journal, 78, 1971, pp. 290-294.
197. Halprin and Burns, Taking Part, p. 33.
198. Halprin, The RSVP Cycles, pp. 174-175.
199. Halprin, The RSVP Cycles, p. 3.
200. A. Halprin, 'Life/Art Workshop Processes', in Halprin and Burns, Taking Part, p. 139.
201. Halprin, Moving Toward Life, pp. 46-47.
202. Halprin, 'The Chronology', pp. 135-143.
203. Halprin and Burns, Taking Part.
204. Halprin and Burns, Taking Part, pp. 2-266.
205. Halprin and Burns, Taking Part, pp. 40-112.
206. Paul Baum, 'People in Groups', in Halprin and Burns, Taking Part, p. 135. On the importance of 'play'.
207. Thrift, 'The Still Point', pp. 145-150.
208. S.J. Saville, 'Playing with Fear: Parkour and the Mobility of Emotion', Social and Cultural Geography, 9, 2008, pp. 891-914.
209. Halprin and Burns, Taking Part, p. 96.
210. Halprin and Burns, Taking Part, p. 227.
211. Halprin and Burns, Taking Part, pp. 250-254.
212. Halprin and Burns Taking Part, p. 260.
213. Halprin, 'The Chronology', p. 140.
214. Space prevents me from discussing these in detail here, but of particular note were the 'Citydance' events organized in San Francisco by Anna Halprin and the Dancers' Workshop, with scores by Jim Burns (in 1977, 1978 and 1979), and Lawrence's 'City Spirit' programme (funded by the National Endowment for Arts) which aimed 'to encourage and stimulate community organizations to create for themselves open forums on the use of art as creative forces in their communities'.
215. Halprin, 'The Chronology', p. 140. On Citydance.
216. A. Halprin and the San Francisco Dancers' Workshop, Citydance (San Francisco: San Francisco Dancers' Workshop, 1977).
217. A. Halprin, 'A Report on Citydance 1977', in Halprin, Moving Toward Life, pp. 170-181.
218. Ross, Anna Halprin, p. 74.
219. Halprin, The RSVP Cycles, p. 2.
220. On the 'undoubted affective investments' of community theatre.
221. Thrift, 'Afterwords', p. 241.
222. J. Hamera, Dancing Communities: Performance, Difference, and Connection in the Global City (Basingstoke: Palgrave Macmillan, 2007).
223. Nigel Thrift has actively countered the suggestions that regimes of affect are somehow frivolous or marginal to Left-wing political agendas, and he has shown how the affective register is increasingly being engaged and manipulated by political and economic actors.
224. Thrift, 'Intensities of Feeling'; A. Amin and N. Thrift, 'What's Left? Just the Future', Antipode, 37, 2005, pp. 220-238.
225. However, while he has rightly pointed to the many ways in which the affective realm is being engineered in new political and economic formations, I would wish to highlight that there is a long history of engineering affect in different spheres of life.
226. Thrift, 'Intensities of Feeling', p. 58.
227. S. Banes, 'Introduction', in Halprin, Moving Toward Life, p. 3.
228. Ross, 'Anna Halprin's Urban Rituals', p. 51.
229. Worth and Poynor, Anna Halprin, pp. 37-38.
230. Examples include the work of Peter Eisenman, Stan Allen, Bernard Tschumi and Archigram.
231. P. Eisenman, 'Unfolding Events', in J. Crary and S. Kwinter (eds) Incorporations (New York: Zone, 1992), pp. 423-426.
232. P. Eisenman, Eisenman Inside Out: Selected Writings 1963-1988 (London: Yale University Press, 2004).
233. P. Eisenman, Written into the Void: Selected Writings 1990-2004 (London: Yale University Press, 2007).
234. S. Allen, Points + Lines: Diagrams and Projects for the City (New York: Princeton University Press, 1999).
235. B. Tschumi, Event Cities (Praxis) (London: MIT, 1994).
236. D. Pinder, 'Cities: Moving, Plugging In, Floating, Dissolving', in Cresswell and Merriman (eds) Geographies of Mobility.
237. A. Gordon, Spaced Out: Radical Environments in the Psychedelic Sixties (New York: Rizzoli, 2008).
238. Halprin, The RSVP Cycles, pp. 2-3.
239. Baum, 'People in Groups', in Halprin and Burns, Taking Part, pp. 130-135.
240. P. Baum, 'A Proposed Encounter Group', in Lawrence Halprin and Associates, New York New York, p. 111. On the general atmosphere of 'self-discovery' in the 1960s, see Burns, 'The How of Creativity', p. 44. As Alistair Gordon has pointed out, explorations of the geographies of inner space in the 1960s were frequently associated with experiments with psychedelic drugs as well as new forms of psychology.
241. Gordon, Spaced Out, pp. 17-20.
242. As Randolph Hester explained to Lawrence Halprin during an interview in 1999, 'Most of us who came into participation from civil rights came in from very different concerns. It was about empowerment, about activism.You saw participation as clearly a tool to improve design. I saw it as a tool to get in civil rights agendas'.
243. R.T. Hester, 'Interview with Lawrence Halprin', Places: A Forum of Design for the Public Realm, 12(2), 1999, p. 50.
244. A. Merrifield, 'Situated Knowledge through Exploration: Reflections on Bunge's "Geographical Expeditions"', Antipode, 27, 1995, pp. 49-70.
245. While many of Anna and Lawrence's performances and workshops were process-oriented and ephemeral, many traces exist of these performances in print, photographs, film and video. What's more, a large number of Lawrence's landscape architecture and environmental design projects were built, and many still exist in one form or another today.
246. Halprin, Lawrence Halprin: Changing Places.
247. Hirsch, 'Lawrence Halprin's Public Spaces'.
248. Of course, Anna and Lawrence's promotion of collective creativity, collaboration, and their challenging of these binaries was not always successful, and both continued to occupy what were, essentially, positions of privilege and choreographic authority.