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About This Site | Permissions

PERMISSIONS

A number of individuals and organizations generously granted their permission to use the photographs, drawings and lengthy quotations that appear in the essays written by Pamela Matt and in the graphic materials prepared by Jeanne Smith for this website. Permission statements and brief citations for reprinted materials appear below. 

Homepage Mabel Todd Montage
  • Photo of Mabel Elsworth Todd.
    From the archives of Emerson College with the assistance of Loraine Corefield.
  • A good central axis.
    From The Thinking Body (1937) p. 287.
    Reprinted with the permission of Dance Horizons, Inc.
  • Forces at the ankle joint.
    From The Thinking Body (1937) p. 140.
    Reprinted with the permission of Dance Horizons, Inc.
  • Hanging in Japanese parasol.
    From The Thinking Body (1937) p. 212.
    Reprinted with the permission of Dance Horizons, Inc.
  • Physiology of walking.
    From The Thinking Body (1937) p.195. 
    Reprinted with the permission of Dance Horizons, Inc.
  • Balanced four-legged position.
    From The Thinking Body (1937) p. 68.
    Reprinted with the permission of Dance Horizons, Inc.
Barbara Clark Montage
  • Photo of Barbara Clark R.N.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 23.
    Reprinted with the permission of CMT Press.
  • Centerline of the cat.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 157.
    Reprinted with the permission of CMT Press.
  • Breath weaving between the vertebrae.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 238.
    Reprinted with the permission of CMT Press.
  • Cross-patterning at the fourth rib level.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 284.
    Reprinted with the permission of CMT Press.
  • Circling around the arm socket.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 252.
    Reprinted with the permission of CMT Press.
  • Sitting pattern.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 180.
    Reprinted with the permission of CMT Press.
  • Photo of Barbara Clark.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 55.
    Reprinted with the permission of CMT Press.
Lulu Sweigard Montage
  • Photo of Lulu Sweigard as a student.
    From the archives of the University of Northern Iowa with the assistance of Gerald Peterson.      
  • Skull cap moving over the top of the head to reach the eyebrows.
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 248. 
    Reprinted with the permission of University Press of America. 
  • Rib-circles as tongs.
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 242. 
    Reprinted with the permission of University Press of America.
  • The ilia as elephant ears.
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 243. 
    Reprinted with the permission of University Press of America.
  • The big toe as a small turtle crawling to the inside of the heel.
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 244. 
    Reprinted with the permission of University Press of America.
  • Photograph of Lulu Sweigard with a student.
    From “Sweigard System Corrects Posture by Rest.” Life Magazine (January 6, 1941) p. 45.  
Sally Swift Montage
  • Photo of Sally Swift.
    From www.centeredriding.org/.
    Used with the permission of Sally Swift.
  • Feel that your center is going to fly out between your hands. 
    From Centered Riding (1985) p.144. 
    Reprinted with the permission of Trafalgar Square Farm Books.
  • Position of the bones with the leg in correct normal position. 
    From Centered Riding  (1985) p. 55. 
    Reprinted with the permission of Trafalgar Square Farm Books.
  • Your legs are so long that your feet rest on the ground.
    From Centered Riding (1985) p. 73.
    Reprinted with the permission of Trafalgar Square Farm Books.
  • A puppet hung from above by a string.
    From Centered Riding (1985) p. 99. 
    Reprinted with the permission of Trafalgar Square Farm Books.
  • If you “ride with your bones,” your muscles won’t have to work so hard.
    From Centered Riding (1985) p.32. 
    Reprinted with the permission of Trafalgar Square Farm Books.
Introduction
  • The “constructive rest” position.
    From The Thinking Body (1937) p. 178.
    Reprinted with the permission of Dance Horizons, Inc.
Mabel Elsworth Todd
  • Photo of Mabel Elsworth Todd.
    From the archives of Emerson College with the assistance of Loraine Corefield.
  • Photo of the crawling position.
    Used with the permission of Pamela Matt.
  • Military posture and balanced posture.
    From “First Principles of Posture,” The Boston Medical and Surgical Journal 182 (26) June 24, 1920 p. 647.
  • The pelvis as a bridge.
    From The Thinking Body (1937) p. 117.
    Reprinted with the permission of Dance Horizons, Inc.
Lulu E. Sweigard
  • Photo of Lulu Sweigard as a student.
    From the archives of the University of Northern Iowa with the assistance of Gerald Peterson.      
  • Quotation #1
    From “The Use of Imagined Action in Teaching the Dance.” Dance: Verities, Values and Visions (1973) p. 21.
  • Quotation #2
    From the Preface to The Thinking Body (1968) p. ix.
    Reprinted with the permission of Dance Horizons, Inc.
  • Drawing of the Posturimeter.
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 189.
    Reprinted with the permission of University Press of America.
  • Drawing of the nine lines of movement.
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 193.     
    Reprinted with the permission of University Press of America.
  • Photograph of Lulu Sweigard with a student.
    From “Sweigard System Corrects Posture by Rest.” Life Magazine (January 6, 1941) p. 45.  
  • Quotation #3
    From an Introduction to “The Dancer’s Posture.”  Impulse 1961 (1961) p. 38.
  • Quotation #4
    From Human Movement Potential: Its Ideokinetic Facilitation (1974) p. 7.     
    Reprinted with the permission of University Press of America.
Barbara Clark
  • Photo of Barbara Clark R.N.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 23.
    Reprinted with the permission of CMT Press.
  • Tunnel toy.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 37.
    Reprinted with the permission of CMT Press.
  • The body cycle.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 222.
    Reprinted with the permission of CMT Press.
  • Photo of Barbara Clark.
    From A Kinesthetic Legacy:  The Life and Works of Barbara Clark (1993) p. 55.
    Reprinted with the permission of CMT Press.
Sally Swift
  • Quotation
    From Centered Riding (1985) p. 2-3.
    Reprinted with the permission of Trafalgar Square Farm Books.
  • Rider as a spruce tree.
    From Centered Riding (1985) p. 58.
    Reprinted with the permission of Trafalgar Square Farm Books.
  • Photo of Sally Swift.
    Reprinted with the permission of Sally Swift.
Karen Barracuda
  • Photo of Karen Barracuda.
    Reprinted with the permission of Karen Barracuda.
André Bernard
  • Quotation #1 
    From an interview conducted by Pamela Matt (1989).
  • Quotation #2
    From an interview conducted by Pamela Matt (1989).
  • Quotation #3
    From “An Introduction to Ideokinesis,” Contact Quarterly (Summer/Fall 1997) p. 25.    
  • Photo of André Bernard.
    Reprinted with the permission of Hugo Lörtschen.
Irene Dowd
  • Photo of Irene Dowd.
    Liza Matthews, photographer. 
    Reprinted with the permission of Irene Dowd.
  • Four triangles in the frontal plane.
    From Taking Root to Fly (1981) p. 37.
    Reprinted with the permission of Irene Dowd.
Joanne Emmons
  • Photo of Joanne Emmons giving a table lesson to Dustin Maxwell.
    Reprinted with the permission of Joanne Emmons.
Erick Hawkins
  • Photo of Erick Hawkins.
    From The Erick Hawkins Modern Dance Technique (2000) p. v.
    Reprinted with the permission of Dance Horizons, Inc.
  • Quotation #1
    From The Body Is a Clear Place and other Statements on Dance (1992) p. 61.
  • The arms and legs and tassels.
    From The Erick Hawkins Modern Dance Technique (2000) p.51.
    Reprinted with the permission of Dance Horizons, Inc.
  • Quotation #2
    From The Erick Hawkins Modern Dance Technique (2000) p. 52-54.
  • Quotation #3
    From The Body Is a Clear Place and other Statements on Dance (1992) p.139.
Betty Jones
  • Biographical sketch.
    Reprinted with the permission of Betty Jones.
  • Quotations #1 and 2
    From “Teacher’s Wisdom: Betty Jones,” Dance Magazine 79 (4) April (2005) p. 84.
  • Quotations #3 and 4
    From “Voices of the Body,” Josė Limón: The Artist Reviewed. p. 37.
  • Photo of Betty Jones and Fritz Ludin.
    Dance Without End (1994)
    Reprinted with the permission of Betty Jones.
John Rolland
  • Gluteal Action spreads outside the pelvic circle as the psoas action draws upward.
    From Inside Motion: An Ideokinetic Basis for Movement Education (1987) p. 47.
    Reprinted with the permission of Clara Rolland.
  • Photo of John Rolland.
    From “John Rolland Remembered,” Contact Quarterly 19 (2) Summer/Fall (1994) p.17. Rebecca Lepkoff, photographer. 
Nancy Topf
  • Quotation
    From The Thinking Body: The Legacy of Mabel Todd Explained. (2000)
  • The sacrum/psoas cycle.
    Reprinted with the permission of Jon Gibson.
  • Photo of Nancy Topf.
    Reprinted with the permission of Jon Gibson.
Drid Williams
  • Photo of Drid Williams.
    Reprinted with the permission of Drid Williams.
Elizabeth Dempster
  • Photo of Elizabeth Dempster.
    Reprinted with the permission of Elizabeth Dempster.
Nancy Lyons
  • Photo of Nancy Lyons.
    From Fall in the Park on Sunday (1989)
    Reprinted with the permission of Nancy Lyons.
Lynn Martin
  • Photo of Lynn Martin.
    Reprinted with the permission of Lynn Martin.