Thomas K Hagood | Independent Scholar (original) (raw)

Papers by Thomas K Hagood

University Microfilms International eBooks, 1990

Arts Education Policy Review, Jul 1, 2000

Dance Research Journal, 2000

Arts Education Policy Review, Nov 1, 2006

n the not too distant past, values of tradition, experiment, diversity, and change charged our wo... more n the not too distant past, values of tradition, experiment, diversity, and change charged our work as arts educators because those ideas spoke to us as practitioners of disciplines that are meant to embrace and provide context for the creative and the imagined, and through those doors, envision the artistic and cultural future. Of late, our disciplines, like those values, have become caught up in the sticky and widely cast web of the culture wars. In the popular media, American cultural, educational, and political life is portrayed as ideologically split down the middle. The split is often framed in terms of opposites by using the ideas and labels I address here—traditional versus nontraditional, experiment versus the status quo, diversity versus homogeneity, change versus a return to traditional values—and the cycle starts again. Beneath the social divides indicative of the culture wars appears a corroding individual and cultural narcissism: I, we, us are pitted against you, it, and them. Individual and cultural narcissism is the ideal breeding ground for relativism, and relativism coupled with narcissism is a toxic combination that strangles the individual’s thoughtful appreciation of his or her past, delimits his or her capacity to creatively experiment, injects a fearsome uncertainty into his or her acceptance of diversity (other than his or her own), and robs change of its capacity to represent thoughtful and strategically responsive evolution. A student once asked to meet with me about degree credit for her life’s experience. She wanted me to waive her choreography sequence because she had “twenty years [of] professional experience in choreography.” I said that I might consider her request if she could demonstrate some important, yet basic conceptual knowledge about the craft of making dances. I asked her to explain the difference between a choreographic device and a choreographic form. She did not understand the question because she had no idea what either term meant. She because upset and asked, “Are these terms some kind of academic language?” The notion that we were sitting in a university office and talking about her progress in a university program in dance neither framed her thinking nor provided a context for her response. In addition, the idea that she may have needed to learn some things about choreography certainly did not provide her pause for consideration. What did matter, once she understood what I was talking about, would not accept a nonanswer as evidence of her understanding: “Well, why should I use those terms?” she asked. “What about my devices? What about my forms?” It is unfortunate that responses such as this one are increasingly a part of my experience as a dance educator. Not only do many students not understand the intellectual and conceptual underpinnings of their discipline (traditions), but they also show little interest in self-directed inquiry (experiment), and they want me to accept their ignorance as part of a right to define and engage the world on their own terms (relativistic diversity). The role of the teacher as facilitator for values and directions to be explored is threatened in a world in which selfabsorbed relativism is so rampant and so little value is placed on the rewards one may hope emanate out of curiosity, effort, and application.

Research in Dance Education, Nov 1, 2010

... in attitude, Martha Hill seated at center right, 1936 22 Martha Hill, c. 1936 23 Martha Hill,... more ... in attitude, Martha Hill seated at center right, 1936 22 Martha Hill, c. 1936 23 Martha Hill, Bennington, 1936 24 Doris Humphrey in With My Red Fires, Bennington, 1936 25 Hanya Holm's Trend, Bennington, 1937 26 Arch Lauterer, 1937 27 Charles Weidman and José Limón, c ...

Arts Education Policy Review, Nov 1, 2000

Springer eBooks, Sep 3, 2007

... 517 33 RESEARCH IN CHOREOGRAPHY Thomas K. Hagood* and Luke C. Kahlich† *Florida International... more ... 517 33 RESEARCH IN CHOREOGRAPHY Thomas K. Hagood* and Luke C. Kahlich† *Florida International University, USA; †Temple University, USA L. Bresler (Ed.), International Handbook of Research in Arts Education, 517–528. © 2007 Springer. Page 2. ...

In contemporary discourse the term kinesthetic learning enjoys a prominent yet oft broadly interp... more In contemporary discourse the term kinesthetic learning enjoys a prominent yet oft broadly interpreted place in the lexicon for dance arts education. A cursory look at promotional materials for dance related workshops, course descriptions, somatic therapeutic approaches, and other venues for instruction in dance or movement arts illustrates the scope and breadth of the references to the kinesthetic as a focus and benefit of these experiences. Whether or not the field is working from a fragmented, standard, partial or fully developed working definition of what the kinesthetic sense is, and how it may or may not be useful to learning in and though dance arts education is an important consideration for dance educators working in all contexts; the academy, professional schools or private studios. To bring these matters to light this paper focuses on illuminating the story of the discovery and original description of the biological and physiological structures associated with what was first termed the kinaesthetic sense (Bastian 1885), provides an overview of the incorporation of the kinesthetic in early dance education programs, provides examples of contemporary best practices in incorporating kinesthetically informed pedagogies into the dance education environment and concludes with new directions for the future of inquiry and investigation in this continually emergent dimension of the study and practice of dance.

FROM Legacy in Dance Education: Essays and Interviews on Values, Practices and People, 2008

Chapter Two of the publication, "Legacy for Dance as a Discipline", addresses the contributions o... more Chapter Two of the publication, "Legacy for Dance as a Discipline", addresses the contributions of educators Margaret H'Doubler, Martha Hill, and Alma Hawkins. This section of the chapter concerns Hawkins and her leadership in the field, 1950-1970.

Journal of Dance Education, 2015

Dance Education in Practice, 2021

In this paper the merits of self-directed undergraduate experiences in research for dance are dis... more In this paper the merits of self-directed undergraduate experiences in research for dance are discussed. The case is made for encouraging undergraduate dance majors in self-directed written, kinetic, and media-based expositions. Discussion references the National Dance Education Organization’s Dance Education Literature and Research descriptive index, and an example program at the University of Wisconsin-Madison. An alumna of a program that incorporated a self-directed perspective in its senior capstone project is interviewed for her reflections on the process and its outcomes.

The Wisconsin Dance Idea by Ruth June Rose, 1950

THE WISCONSIN DANCE IDEA The following text is a B.S. thesis developed and written by Ruth ... more THE WISCONSIN DANCE IDEA

The following text is a B.S. thesis developed and written by Ruth June Rose in 1950, when Margaret H’Doubler was professor and director of the dance division in the department of physical education for women at the University of Wisconsin-Madison. ‘Miss H’Doubler’ (in 1934, Margaret H’Doubler became Mrs. Wayne Claxton), retired from her position on the full-time faculty in 1954. While the document does not list a supervisory thesis committee, we may assume H’Doubler had a significant role to play in its development and acceptance. The thesis provides an excellent discussion of the dimensions of H’Doubler’s considerations in designing a curriculum in dance. It lays out a map of the ‘discipline based’ influences on H’Doubler’s thinking following her charge to find a kind of dancing; “something worth a college woman’s time” (Hagood 2000, 86).* With that in mind, I’ve added subheadings to the text that organize the content being discussed. I hope these help the reader appreciate the extraordinary scope and depth of Miss H’Doubler’s ‘Idea for Dance.’
The document is considered an early, and excellent example of undergraduate research and writing in dance. With the exception of substituting footnotes with an author/date citation in text, I have transcribed the document’s text as I found it. It reflects common usages of language in academic writing of the time.
Thomas K. Hagood
* Hagood, Thomas K. (2000). A History of Dance in American Higher Education: Dance and the American University. Lewiston, NY: The Edwin Mellen Press.

Perspectives on Contemporary Dance History: Revisiting Impulse, 1950-1970, 2013

This chapter of Contemporary Dance History: Revisiting IMPULSE 1950– 1970, looks at the 1968 issu... more This chapter of Contemporary Dance History: Revisiting IMPULSE 1950– 1970, looks at the 1968 issue of Impulse, "Dance: A Projection for the Future." The conference proceedings of the two part Developmental Conference on Dance held at UCLA in the fall of 1966 and spring of 1967. Copyright (including fair use restrictions) for this text is associated with "Perspectives on Contemporary Dance History: Revisiting IMPULSE 1950– 1970." Thomas K. Hagood and Luke C. Kahlich, Eds. 2013. Amherst NY: Cambria Press.

National Dance Education Organization, 2004

The Research in Dance Education (RDE) project grew out of a long-term national need in dance educ... more The Research in Dance Education (RDE) project grew out of a long-term national need in dance education:
A need to know what researchers in dance and allied fields have studied over 80 years, what they learned, and if, and how, existing research impacted teaching and learning in and through dance.
As dance educators, we knew that research had been done in dance and that it began to accumulate following the development of the world’s first dance major program at the University of Wisconsin-Madison in 1926. Over the decades this research was deposited in libraries scattered all over the country, finding a home in the literature and research of our and other disciplines – faculty published their work when and where they could. What our field lacked was a comprehensive knowledge of what was written; by whom,
where it was located, and what promise this hidden resource might have for teaching and learning in and through dance.
In 2001, the National Dance Education Organization received funding for a three year project from the United States Department of Education that allowed the discipline of dance, for the first time, to identify and analyze existing literature and research in dance/movement education from 1926 to the present.
The Research in Dance Education project set out to answer the following questions:
• What research exists in dance education? When was it done? Where is it?
• What patterns, trends, and gaps may be identified by analysis of these data?
• What are the implications for understanding the scope of this information for dance, arts education, and
U.S. education?
• What recommendations for the future of dance arts education may grow out of this project?
"Research Priorities for Dance Education: A Report to the Nation" (2004) provides a summary of the information gleaned over 76 years of literature and research in dance education. The Research in Dance
Education database (currently titled DELRdi), is available online at www.ndeo.org/research. It contains vast amounts of information for more than 9,000 documents, 2,339 of which comprise the study.

Arts Education Policy Review, 2006

The July/August 2000 edition of Arts Education Policy Review included an article of mine titled “... more The July/August 2000 edition of Arts Education Policy Review included an article of mine titled “Traditions and Experiments/ Diversity and Change: Issues for Dance in American Education.” Since 2000 much has happened in the world to challenge and redefine the ideas that guided my thinking then. In this paper I revisit these topics, update their focus, and discuss some possible solutions to the issues raised.

Margaret H'Doubler: The Legacy of America's Dance Education Pioneer, 2006

I included writings on and by Margaret Newell H’Doubler in my ‘papers’ to provide the field with ... more I included writings on and by Margaret Newell H’Doubler in my ‘papers’ to provide the field with transcripts of her original source materials and to help keep this extraordinary woman’s career, accomplishments, and contributions to our contemporary appreciation for studies in the “creative side of movement,” current in the canon of dance education, dance history, and the history of the American university. By pioneering its inclusion as a major subject of study in the university Margaret H’Doubler shaped an artistically and intellectually vital new presence and opportunity for creative movement-dance in American education.
This papers includes my reflections on Margaret H'Doubler's career and transcription of the only known address H'Doubler gave to students of the University of Wisconsin-Madison regarding events surrounding the development of the first degree programs in dance at that university in 1926 and 1927.

It is worth noting that including Miss H'Doubler as co-author of this paper is not possible because she is not in the site's data base of authors and because she does not have an email address for use should a reader wish to contact her. Send inquiries to my email address and I will do my best to channel "Miss H'Doubler's" response.
It should also be noted that including a "new category" of 'Publications: Original Source Materials in Dance History,' which might include transcriptions of interviews, draft documents, speeches, and other gray literature generated by the deceased artist/educator/scholar would be a service to the better classification of documentation in scholarly writings.

The life and work of Margaret H’Doubler (the H is silent, the surname pronounced, ‘dough-bler’) h... more The life and work of Margaret H’Doubler (the H is silent, the surname pronounced, ‘dough-bler’) has been central to my scholarly writings on dance and the American university. ‘Miss H’Doubler’ shepherded the first major program of study in dance at the University of Wisconsin-Madison in 1926. This essay was written at the peak of her activity in the field of dance education and was first distributed in 1948, then again in 1953. The version below is cited on its stencil in the Wisconsin archives as 1965/1973.

The following paper has its origins in Chapter 6 of my 2000 text A History of Dance in American H... more The following paper has its origins in Chapter 6 of my 2000 text A History of Dance in American Higher Education: Dance and the American University, “Discourses on Dance 1930–1940.” Many of the points and perspectives made in this paper, during a decade of want and fear, when your brother’s gift of a dime could mean the difference between feeding your children or keeping a roof over your head, and when a storm of unprecedented power and savagery was brewing in fascist enclaves in Asia and Europe, dig at issues of identity, place, and association. Many of the questions posed are still with us, the players have changed but the human quest to define, situate, and discover for ourselves what we are not are gravitational tugs that don’t really ever go away.

The IMPULSE Preservation and Access Project (IPAP). Thomas K. Hagood, and Luke C. Kahlich, projec... more The IMPULSE Preservation and Access Project (IPAP). Thomas K. Hagood, and Luke C. Kahlich, project directors and co-chairs. IPAP was a four-year project to explore and resolve all issues of copyright, fair use, and presentation for IMPULSE, the field’s first and preeminent journal connecting dance and discourses in related arts, the humanities, and the social sciences 1950–1970. IMPULSE is an orphaned journal. While issue copyright information cites a corporate entity registered in California, an exhaustive search for documentation affirming the journal’s corporate status could not locate or confirm registration with local, state, or national filing entities. IPAP’s goals were to digitally preserve the journal and provide universal access to the journal’s contents through the internet, develop a text of contemporary analysis of each issue from today’s point of view, and conclude with an international conference on the future of dance in higher education (inspired by the 1968 IMPULSE issue, “Dance, A Projection for the Future”). Digital preservation and re-presentation of IMPULSE was accomplished by including the full collection of IMPULSE issues in Temple University’s Paley Library Digital Collections Archive (completed 2010). http://digital.library.temple.edu/cdm/landingpage/collection/p15037coll4

University Microfilms International eBooks, 1990

Arts Education Policy Review, Jul 1, 2000

Dance Research Journal, 2000

Arts Education Policy Review, Nov 1, 2006

n the not too distant past, values of tradition, experiment, diversity, and change charged our wo... more n the not too distant past, values of tradition, experiment, diversity, and change charged our work as arts educators because those ideas spoke to us as practitioners of disciplines that are meant to embrace and provide context for the creative and the imagined, and through those doors, envision the artistic and cultural future. Of late, our disciplines, like those values, have become caught up in the sticky and widely cast web of the culture wars. In the popular media, American cultural, educational, and political life is portrayed as ideologically split down the middle. The split is often framed in terms of opposites by using the ideas and labels I address here—traditional versus nontraditional, experiment versus the status quo, diversity versus homogeneity, change versus a return to traditional values—and the cycle starts again. Beneath the social divides indicative of the culture wars appears a corroding individual and cultural narcissism: I, we, us are pitted against you, it, and them. Individual and cultural narcissism is the ideal breeding ground for relativism, and relativism coupled with narcissism is a toxic combination that strangles the individual’s thoughtful appreciation of his or her past, delimits his or her capacity to creatively experiment, injects a fearsome uncertainty into his or her acceptance of diversity (other than his or her own), and robs change of its capacity to represent thoughtful and strategically responsive evolution. A student once asked to meet with me about degree credit for her life’s experience. She wanted me to waive her choreography sequence because she had “twenty years [of] professional experience in choreography.” I said that I might consider her request if she could demonstrate some important, yet basic conceptual knowledge about the craft of making dances. I asked her to explain the difference between a choreographic device and a choreographic form. She did not understand the question because she had no idea what either term meant. She because upset and asked, “Are these terms some kind of academic language?” The notion that we were sitting in a university office and talking about her progress in a university program in dance neither framed her thinking nor provided a context for her response. In addition, the idea that she may have needed to learn some things about choreography certainly did not provide her pause for consideration. What did matter, once she understood what I was talking about, would not accept a nonanswer as evidence of her understanding: “Well, why should I use those terms?” she asked. “What about my devices? What about my forms?” It is unfortunate that responses such as this one are increasingly a part of my experience as a dance educator. Not only do many students not understand the intellectual and conceptual underpinnings of their discipline (traditions), but they also show little interest in self-directed inquiry (experiment), and they want me to accept their ignorance as part of a right to define and engage the world on their own terms (relativistic diversity). The role of the teacher as facilitator for values and directions to be explored is threatened in a world in which selfabsorbed relativism is so rampant and so little value is placed on the rewards one may hope emanate out of curiosity, effort, and application.

Research in Dance Education, Nov 1, 2010

... in attitude, Martha Hill seated at center right, 1936 22 Martha Hill, c. 1936 23 Martha Hill,... more ... in attitude, Martha Hill seated at center right, 1936 22 Martha Hill, c. 1936 23 Martha Hill, Bennington, 1936 24 Doris Humphrey in With My Red Fires, Bennington, 1936 25 Hanya Holm's Trend, Bennington, 1937 26 Arch Lauterer, 1937 27 Charles Weidman and José Limón, c ...

Arts Education Policy Review, Nov 1, 2000

Springer eBooks, Sep 3, 2007

... 517 33 RESEARCH IN CHOREOGRAPHY Thomas K. Hagood* and Luke C. Kahlich† *Florida International... more ... 517 33 RESEARCH IN CHOREOGRAPHY Thomas K. Hagood* and Luke C. Kahlich† *Florida International University, USA; †Temple University, USA L. Bresler (Ed.), International Handbook of Research in Arts Education, 517–528. © 2007 Springer. Page 2. ...

In contemporary discourse the term kinesthetic learning enjoys a prominent yet oft broadly interp... more In contemporary discourse the term kinesthetic learning enjoys a prominent yet oft broadly interpreted place in the lexicon for dance arts education. A cursory look at promotional materials for dance related workshops, course descriptions, somatic therapeutic approaches, and other venues for instruction in dance or movement arts illustrates the scope and breadth of the references to the kinesthetic as a focus and benefit of these experiences. Whether or not the field is working from a fragmented, standard, partial or fully developed working definition of what the kinesthetic sense is, and how it may or may not be useful to learning in and though dance arts education is an important consideration for dance educators working in all contexts; the academy, professional schools or private studios. To bring these matters to light this paper focuses on illuminating the story of the discovery and original description of the biological and physiological structures associated with what was first termed the kinaesthetic sense (Bastian 1885), provides an overview of the incorporation of the kinesthetic in early dance education programs, provides examples of contemporary best practices in incorporating kinesthetically informed pedagogies into the dance education environment and concludes with new directions for the future of inquiry and investigation in this continually emergent dimension of the study and practice of dance.

FROM Legacy in Dance Education: Essays and Interviews on Values, Practices and People, 2008

Chapter Two of the publication, "Legacy for Dance as a Discipline", addresses the contributions o... more Chapter Two of the publication, "Legacy for Dance as a Discipline", addresses the contributions of educators Margaret H'Doubler, Martha Hill, and Alma Hawkins. This section of the chapter concerns Hawkins and her leadership in the field, 1950-1970.

Journal of Dance Education, 2015

Dance Education in Practice, 2021

In this paper the merits of self-directed undergraduate experiences in research for dance are dis... more In this paper the merits of self-directed undergraduate experiences in research for dance are discussed. The case is made for encouraging undergraduate dance majors in self-directed written, kinetic, and media-based expositions. Discussion references the National Dance Education Organization’s Dance Education Literature and Research descriptive index, and an example program at the University of Wisconsin-Madison. An alumna of a program that incorporated a self-directed perspective in its senior capstone project is interviewed for her reflections on the process and its outcomes.

The Wisconsin Dance Idea by Ruth June Rose, 1950

THE WISCONSIN DANCE IDEA The following text is a B.S. thesis developed and written by Ruth ... more THE WISCONSIN DANCE IDEA

The following text is a B.S. thesis developed and written by Ruth June Rose in 1950, when Margaret H’Doubler was professor and director of the dance division in the department of physical education for women at the University of Wisconsin-Madison. ‘Miss H’Doubler’ (in 1934, Margaret H’Doubler became Mrs. Wayne Claxton), retired from her position on the full-time faculty in 1954. While the document does not list a supervisory thesis committee, we may assume H’Doubler had a significant role to play in its development and acceptance. The thesis provides an excellent discussion of the dimensions of H’Doubler’s considerations in designing a curriculum in dance. It lays out a map of the ‘discipline based’ influences on H’Doubler’s thinking following her charge to find a kind of dancing; “something worth a college woman’s time” (Hagood 2000, 86).* With that in mind, I’ve added subheadings to the text that organize the content being discussed. I hope these help the reader appreciate the extraordinary scope and depth of Miss H’Doubler’s ‘Idea for Dance.’
The document is considered an early, and excellent example of undergraduate research and writing in dance. With the exception of substituting footnotes with an author/date citation in text, I have transcribed the document’s text as I found it. It reflects common usages of language in academic writing of the time.
Thomas K. Hagood
* Hagood, Thomas K. (2000). A History of Dance in American Higher Education: Dance and the American University. Lewiston, NY: The Edwin Mellen Press.

Perspectives on Contemporary Dance History: Revisiting Impulse, 1950-1970, 2013

This chapter of Contemporary Dance History: Revisiting IMPULSE 1950– 1970, looks at the 1968 issu... more This chapter of Contemporary Dance History: Revisiting IMPULSE 1950– 1970, looks at the 1968 issue of Impulse, "Dance: A Projection for the Future." The conference proceedings of the two part Developmental Conference on Dance held at UCLA in the fall of 1966 and spring of 1967. Copyright (including fair use restrictions) for this text is associated with "Perspectives on Contemporary Dance History: Revisiting IMPULSE 1950– 1970." Thomas K. Hagood and Luke C. Kahlich, Eds. 2013. Amherst NY: Cambria Press.

National Dance Education Organization, 2004

The Research in Dance Education (RDE) project grew out of a long-term national need in dance educ... more The Research in Dance Education (RDE) project grew out of a long-term national need in dance education:
A need to know what researchers in dance and allied fields have studied over 80 years, what they learned, and if, and how, existing research impacted teaching and learning in and through dance.
As dance educators, we knew that research had been done in dance and that it began to accumulate following the development of the world’s first dance major program at the University of Wisconsin-Madison in 1926. Over the decades this research was deposited in libraries scattered all over the country, finding a home in the literature and research of our and other disciplines – faculty published their work when and where they could. What our field lacked was a comprehensive knowledge of what was written; by whom,
where it was located, and what promise this hidden resource might have for teaching and learning in and through dance.
In 2001, the National Dance Education Organization received funding for a three year project from the United States Department of Education that allowed the discipline of dance, for the first time, to identify and analyze existing literature and research in dance/movement education from 1926 to the present.
The Research in Dance Education project set out to answer the following questions:
• What research exists in dance education? When was it done? Where is it?
• What patterns, trends, and gaps may be identified by analysis of these data?
• What are the implications for understanding the scope of this information for dance, arts education, and
U.S. education?
• What recommendations for the future of dance arts education may grow out of this project?
"Research Priorities for Dance Education: A Report to the Nation" (2004) provides a summary of the information gleaned over 76 years of literature and research in dance education. The Research in Dance
Education database (currently titled DELRdi), is available online at www.ndeo.org/research. It contains vast amounts of information for more than 9,000 documents, 2,339 of which comprise the study.

Arts Education Policy Review, 2006

The July/August 2000 edition of Arts Education Policy Review included an article of mine titled “... more The July/August 2000 edition of Arts Education Policy Review included an article of mine titled “Traditions and Experiments/ Diversity and Change: Issues for Dance in American Education.” Since 2000 much has happened in the world to challenge and redefine the ideas that guided my thinking then. In this paper I revisit these topics, update their focus, and discuss some possible solutions to the issues raised.

Margaret H'Doubler: The Legacy of America's Dance Education Pioneer, 2006

I included writings on and by Margaret Newell H’Doubler in my ‘papers’ to provide the field with ... more I included writings on and by Margaret Newell H’Doubler in my ‘papers’ to provide the field with transcripts of her original source materials and to help keep this extraordinary woman’s career, accomplishments, and contributions to our contemporary appreciation for studies in the “creative side of movement,” current in the canon of dance education, dance history, and the history of the American university. By pioneering its inclusion as a major subject of study in the university Margaret H’Doubler shaped an artistically and intellectually vital new presence and opportunity for creative movement-dance in American education.
This papers includes my reflections on Margaret H'Doubler's career and transcription of the only known address H'Doubler gave to students of the University of Wisconsin-Madison regarding events surrounding the development of the first degree programs in dance at that university in 1926 and 1927.

It is worth noting that including Miss H'Doubler as co-author of this paper is not possible because she is not in the site's data base of authors and because she does not have an email address for use should a reader wish to contact her. Send inquiries to my email address and I will do my best to channel "Miss H'Doubler's" response.
It should also be noted that including a "new category" of 'Publications: Original Source Materials in Dance History,' which might include transcriptions of interviews, draft documents, speeches, and other gray literature generated by the deceased artist/educator/scholar would be a service to the better classification of documentation in scholarly writings.

The life and work of Margaret H’Doubler (the H is silent, the surname pronounced, ‘dough-bler’) h... more The life and work of Margaret H’Doubler (the H is silent, the surname pronounced, ‘dough-bler’) has been central to my scholarly writings on dance and the American university. ‘Miss H’Doubler’ shepherded the first major program of study in dance at the University of Wisconsin-Madison in 1926. This essay was written at the peak of her activity in the field of dance education and was first distributed in 1948, then again in 1953. The version below is cited on its stencil in the Wisconsin archives as 1965/1973.

The following paper has its origins in Chapter 6 of my 2000 text A History of Dance in American H... more The following paper has its origins in Chapter 6 of my 2000 text A History of Dance in American Higher Education: Dance and the American University, “Discourses on Dance 1930–1940.” Many of the points and perspectives made in this paper, during a decade of want and fear, when your brother’s gift of a dime could mean the difference between feeding your children or keeping a roof over your head, and when a storm of unprecedented power and savagery was brewing in fascist enclaves in Asia and Europe, dig at issues of identity, place, and association. Many of the questions posed are still with us, the players have changed but the human quest to define, situate, and discover for ourselves what we are not are gravitational tugs that don’t really ever go away.

The IMPULSE Preservation and Access Project (IPAP). Thomas K. Hagood, and Luke C. Kahlich, projec... more The IMPULSE Preservation and Access Project (IPAP). Thomas K. Hagood, and Luke C. Kahlich, project directors and co-chairs. IPAP was a four-year project to explore and resolve all issues of copyright, fair use, and presentation for IMPULSE, the field’s first and preeminent journal connecting dance and discourses in related arts, the humanities, and the social sciences 1950–1970. IMPULSE is an orphaned journal. While issue copyright information cites a corporate entity registered in California, an exhaustive search for documentation affirming the journal’s corporate status could not locate or confirm registration with local, state, or national filing entities. IPAP’s goals were to digitally preserve the journal and provide universal access to the journal’s contents through the internet, develop a text of contemporary analysis of each issue from today’s point of view, and conclude with an international conference on the future of dance in higher education (inspired by the 1968 IMPULSE issue, “Dance, A Projection for the Future”). Digital preservation and re-presentation of IMPULSE was accomplished by including the full collection of IMPULSE issues in Temple University’s Paley Library Digital Collections Archive (completed 2010). http://digital.library.temple.edu/cdm/landingpage/collection/p15037coll4

Chapter 5, Establishing An American Modern Dance: 1926–1940, 2000

My text on dance in American higher education is the most viewed document in my Academia.edu file... more My text on dance in American higher education is the most viewed document in my Academia.edu file. Appreciating this interest, I 'switch it up' from time to time and offer different chapters from the book in this section. Chapter 5 covers The pioneers of American ‘modern’ dance, organized activity: Dance Repertory Theatre, symposia, Martha Hill and Mary Jo Shelly, the Bennington Experience, the Federal Theater Project, and the Hampton Institute Creative Dance Group. The document is best viewed in Chrome.

Contemporary American dance scholars agree that the first venue for critically informed, aware, a... more Contemporary American dance scholars agree that the first venue for critically informed, aware, and diverse reflections on dance was Impulse. While Impulse was recognized as the platform for dance scholarship during the years of its publication, following its cessation in 1970, only a handful of libraries and collections retained a full complement of its issues. Over time and out of view Impulse began to fade from memory, and many upcoming dance scholars were unaware of its rich history and seminal contributions to the field. Fortunately, as Impulse collected dust on shelves, technologies evolved that offered hope for the preservation of print and media collections. In 2008 a project was initiated to preserve Impulse as a digital collection and bring together a cohort of dance scholars to analyze each issue from today’s point of view. Their collected works are presented in Contemporary Dance History: Revisiting Impulse, 1950–1970. There is no comparable study or project designed to preserve and facilitate access to original source materials in dance at this time.

In this unprecedented volume, Professor Thomas Hagood brings together the voices of key dance edu... more In this unprecedented volume, Professor Thomas Hagood brings together the voices of key dance educators to express their views on the legacy of dance education. The book examines the values and practices dance educators live with, and what values and practices they take forward to promote or even retool and reinvent in their professional work. The book also engages in discussions of the people who embody (or have embodied) the values and practices the dance education field takes ownership of. Through working with and being exposed to teachers in the dance field, the editor and his contributors express how their learning and professional development has been inspired and shaped by their interactions with their mentors. It follows that legacy is important territory for dancers to consider as educators and as people

This pioneering collection of articles presents a fresh look at the life, work and seminal contri... more This pioneering collection of articles presents a fresh look at the life, work and seminal contributions of Margaret H’Doubler, the pioneering dance educator who established the first dance major in higher education at the University of Wisconsin-Madison in 1926.

This anthology is unique, given that it is the first thorough critique of Margaret H’Doubler’s life, career, and philosophies.

The book is also timely in its inclusion of so many authentic voices, speaking from their first hand experience with the master from as early as the late 1920s to the present, now twenty-three years after H’Doubler’s death.

The book completes a task that is due any original thinker and practitioner in the course of her or his lifetime, but remarkably, was not in the case of Margaret H’Doubler.

Margaret H’Doubler: The Legacy of America's Dance Education Pioneer is a significant new contribution to the historic record, and an extraordinary resource for dance scholars, educators and students.