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ACKNOWLEDGMENTS

The events, performances, and workshops described in these writings are the collective result of many, many good friends and colleagues with whom I have collaborated since 1948. I have been challenged, inspired, supported, and enlightened by their contributions, and their creativity and commitment have shaped the form and development of my work in incalculable ways.

Often ideas and attitudes have a profound yet indirect influence for many years. For that reason, I want to pay special tribute to Margaret H’Doubler, with whom I studied at the University of Wisconsin from 1938 to 1941. H’Doubler led me to explore an objective and universal path that lives within my work to this day.

I have immeasurable gratitude for the creative input of the dancers and collaborators who helped me in the creation of my early theater works, John Graham, A. A. Leath, Simone Forti, Josephine Landor, and Patric Hickey. Norma Leistiko played a multitude of major roles for over twenty-five years as a dance performer, teacher, researcher, secretary, manager, and friend.

The students and participants in my workshops over the years who have been the source of much of my experimental work are too numerous to mention. However, they include Meredith Monk, Trisha Brown, Yvonne Rainer, Kei Takei, Soto-Hoffman, Coni Beeson, James Broughton, Terry Riley, LaMonte Young, Charles Amirkhanian, Morton Subotnik, and Pauline Oliveros.

I want to thank Alice Rutkowski, Jamie McHugh, Allan Stinson, Jasper Redrobe-Vassau, and Joseph and Eeo Stubblefield for their contributions as co-workshop leaders and collaborators of Circle the Earth.

James Hurd Nixon deserves special thanks for his ongoing dialogues which have provided inspiration for over two decades.

But most of all, thanks go to my husband, Lawrence, and my two daughters, Rana and Daria, for enabling this work to come to be in endless ways. My daughters inspired me to initiate the Marin Dance Co-operative, and they performed with the Dancers’ Workshop Company from its inception. They performed in every major dance and tour and substituted many hours of rehearsal time for play time. My husband has had a tremendous impact on my work, particularly in environmental and architectural awareness and the use of the RSVP Cycles. When the dance deck and studio were built on our land, I didn’t anticipate that the boundaries between work and home would be so blurred. I want to thank my family for tolerating this infringement on their privacy for these many years.

Final notes of thanks to Janice Ross and Sally Banes for contributing essays to this collection, Rachel Kaplan for her work as the editor of this book, Suzanna Tamminen of Wesleyan University Press for her generous assistance, and the Flow Fund for its support.

Anna Halprin