Abstract
The paper examines the article "Warehouse of the Future: Software will Choreograph Tomorrow's Warehouse Work", where the author discusses how the future of warehouses will involve a highly coordinated, technical and completely efficient system. The paper explains that because technology evolves rapidly and the warehouse must stay competitive, the article stresses that a warehouse design must be flexible enough to accommodate future technologies.

From the Paper
"In describing exactly how this new warehouse will function, Graham talks about a well "choreographed" automated warehouse that will focus on "trimming fat, dumping waste and eliminating redundancy wherever it is found." Admittedly, this will mean that fewer workers will be required but, those who are employed will be "more qualified, better trained, and more motivated." The result will thereafter be the creation of more service orientated jobs in a typically manufacturing/labor intense field."

Tags:technology, efficiency, product, tracking, inventory, RFID

Abstract
Twyla Tharp is one of the world's leading choreographers, working with many of the world's great ballet companies and also continuing to choreograph and direct for film and television. She was born in Portland, Indiana, but moved with her parents to Southern California when she was still a child.

From the Paper
"Twyla Tharp is one of the world's leading choreographers, working with many of the world's great ballet companies and also continuing to choreograph and direct for film and television. She was born in Portland, Indiana, but moved with her parents to Southern California when she was still a child. There, her father owned a construction firm and a Ford dealership, and her mother was a piano teacher who started Twyla on piano lessons when she was only two. Twyla began dance classes when she was only four, and within a short time she was studying every kind of dance available: ballet, tap, jazz, modern. Her mother was determined that Twyla would become accomplished in as many fields as possible, and she also had the child take baton lessons, drum lessons, violin and viola lessons, as well as classes in painting, shorthand, and French ("Biography: Twyla ..."

Abstract
This paper reviews the controversial movie 'For a Lost Soldier' based on the book by choreographer and dancer Rudi van Dantzig. According to the paper, the book is semi-autobiographical, based on the life of van Dantzig.

From the Paper
'Based on the semi-autobiographical novel of choreographer and dancer Rudi van Dantzig, Roeland Kerbosch's directorial adaptation tells the story of a gay intergenerational relationship that is bound to be both condemned and praised. Set near the end of World War II during Holland's liberation from the Nazis, Kerbosch's depiction revolves around a brief relationship between a Canadian soldier and an 11-year-old Dutch boy that becomes sexual. According to one reviewer, the film is unique "in its understanding portrayal of an intergenerational relationship that is free of exploitation" ("Film News" para 3).'

Tags:queer, cinema, intergenerational

Abstract
This paper discusses the life of dancer and choreographer, Martha Graham. The paper relates her life to the description of German philosopher Friedrich Nietzsche, in "Thus Spoke Zarathustra" of the progression and emergence of a superhuman. The paper describes Nietzsche's philosophy and discusses the various aspects of Graham's life in terms of the camel, the lion and the child that Nietzsche discusses.

Table of Contents:
The Camel--The Young Graham
The Maturing Graham--The Lion
The Graham Legacy--The Child

From the Paper
"Martha Graham lived for ninety-six years, and was increasingly criticized for her refusal to stop performing in her own dances. However, Graham's unique physicality combined with her fortitude of mind gave birth, to a unique ideal of American dance. It is hard not to think of the Superman when one hears of Graham's own attempt, like Nietzsche, to harkens back to Greek mythology with dances such as "Cave of the Heart" (1946), which contains no sentimentality or beauty, as was still expected in dance of the day, to tell the tale of a woman who slays her children. Graham was also capable of creating life-affirming works like "Appalachian Spring" (1944), one of Copeland's most famous tunes that told the story of an American pioneer wedding with primitive intensity and love of nature. (Teachout, 1998, p.3)"

Tags:primitive, intuitive, talents

Abstract
This paper looks at the life and contributions of Gregory Hines, one of the most highly acclaimed choreographers, dramatic and comic actors, singers and directors of his time. It explains how his childhood and upbringing helped him develop the unique form of tap-dancing which became his trademark. The writer also mentions several of the shows that Hines was involved in.

From the Paper
"The "Pied Piper of modern tap", Gregory Hines, died of liver cancer, on August 9th, 2003, at age 57, in Los Angeles. When he died, "the shock reverberated through a number of worlds (because) he had shone in so many ways" (Jowitt). Gregory Hines was not only a superb dancer, actor, director, and choreographer, but was also a major figure in the revitalization of tap dancing in the late 20th century, in America ("Hines, Gregory"). He was "noted for his virtuosity, rhythm, and expressive style, and was credited with having modernized the form and facilitated its return to motion pictures" ("Hines, Gregory Oliver"). In his honor, the lights of Broadway were dimmed three days after his untimely death (Brennan). It was a memorial to one of the most gifted artists to have ever graced Broadway."

Tags:broadway, dance, tap

Abstract
This paper gives an overview of Yvonne Rainer's life and discusses the creation of one of her most famous works, "Trio A". It provides a backdrop to its creation as well as the forces that produced such different and unique narratives to each choreography. It provides a detailed timeline of "TRio A" and its influence on modern dance.

From the Paper
"In all areas, Rainer generally eschewed the traditional concepts of narrative and climax, and Trio A is a clear example of this. This could be seen as quite strange given her initial desires regarding the idea of performance art. Born in 1934, in the middle of the Great Depression, Rainer also grew up during World War II, and these two events led to a massive change in artistic styles and social development in the United States (Richar 2003). Following World War II, the Cold War stand off between the United States and the Soviet Union also became a major influence on society and artistic expression (Rainer 1999). Rainer was excited by what she saw, and her artistic desires grew during her teenage years. By her early twenties Yvonne Rainer had left her hometown of San Francisco to travel across the country in pursuit of a career as a performer, at first as an actor."

Tags:yvonne rainer, dance, choreography

Abstract
This paper discusses how Graham transformed two areas of American dance: First was classical ballet that dated back several hundred years and included prescribed body positions, defined geometrical relationships among the dancers and, most of all, precision. Second were the folk dances of Asia, Africa and native America, which had long been considered popular art or craft forms instead of high art. The paper looks at her life's work, her contributions and achievements.

From the Paper
"When she was a freshman in high school, Graham went with her parents to see the early modern dancers Ruth St. Denis and Ted Shawn in Los Angeles and was immediately hooked. She spent her next three summers at their Denishawn dance school and enrolled in the company after completing junior college. In 1920, Shawn created for himself and Graham his most original vaudeville spectacular "Xochitl" about the legends of the New World (Kendall 167). Shawn had already recognized Graham's outstanding dance and theatrical qualities and wanted to feature them. In the play Xochitl dances Salome-like for the emperor, then fights him off as he advances on her in a drunken state. The success of the melodrama was crucial to Graham's future. During her three years at Denishawn, she had begun to develop her new dance movements. "This production gave her the chance to experiment night after night with dynamics-that link between the visible dance shapes and the dancer's inner passion." "

Tags:ballet, folk

From the Paper
"Martha Graham was arguably one of the greatest artists of the American tradition. She has earned a place in the company of such luminaries as Stravinski, Picasso, Joyce and Brancusi for her creation of an entirely new art form. As her contemporaries had done within their respective genres, Graham re-examined the creative possibilities of movement, gesture, composition and theatrical symbolism to expand the expressive vocabulary of dance. Through her innovative approach, she single-handedly initiated the modern dance movement.


In the 1920s, when Graham began her career as a professional dancer, the classical ballet was the dominant artistic genre. As is the case with any classical form, the ballet was, and continues to be, a highly refined tradition that offers sublime expressions of grace and beauty. Over the 300 or so years of its..."

Abstract
The following paper discusses August Bournonville's family life, the way in which he got to be the principal for the Copenhagen Royal Theatre, as well as their ballet-master and dance teacher. It examines the way in which Bournonville took a very contrasting humanistic approach to dance he tended to focus on the beauty found in the ordinary things.

From the Paper
"His third daughter, Mathilde, was a teacher; his fourth daughter, Therese was a homemaker, and his son Edmond was a doctor with a successful practice in both Sweden and Denmark. Wilhelmine was the Bournonville's adopted daughter, who seemed to perhaps ease his guilt about his daughter whom he had abandoned so many years earlier in France. It is important to interject that Bournonville did keep in correspondence with the adoptive parents of his first-born daughter, and he even corresponded with her after she was on her own. He never revealed to her that he was her father, but he aided her economically at any chance that he had."

Tags:ballet, studio, wedlock, behavior, career, dancing, debut, singer, theatrical

Abstract
This paper discusses that martial arts not only is the art of warfare but also has a philosophy based in an elaborate blend of ancient codes of conduct, ethics and a spirituality that appears to be a fusion of Daoism, Zen Buddhism, and Confucianism. This paper states that, making the leap from East to West, this merger of physical and spiritual mastery has become a booming industry in the U.S. resulting in action films and T.V. shows that, besides being a series of highly choreographed fight scenes, also conveys ethical messages, codes of conduct and spiritual direction. The author is concerned that many people are being exposed to the martial arts without any ethical grounding at all; thus a generation is learning the physical aspects of the martial arts without the ethical or spiritual code that has historically been taught alongside it and has no concept of how to take the right action in the face of a dilemma, of delayed gratification or of respect to others.

Table of Contents
Introduction
History of the Kung Fu Film
Bruce Lee and His Successors
Martial Arts in Film and on Television Today
Conclusion

From the Paper
"Bruce Lee has been credited as the one who officially brought martial arts to the film industry in the United States. Although born in San Francisco, Lee spent most of his childhood making films in Hong Kong and did not return to the U.S. until he was 18 years old. Thus, he began to develop and teach Jeet Kune Do ("way of the intercepting fist") and to infuse his philosophy into the films he was in, "which was his ultimate goal in movie-making". Unable to break through the racial barrier in Hollywood, Lee went back to Hong Kong to become a superstar there. Only after achieving success did Hollywood notice him, resulting in "Enter The Dragon" (1973), the only Hollywood-backed film he would star in."

Tags:codes, spiritual, physical, action, choreograph