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Journal articles on the topic 'Cunningham'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Gillies, Malcolm GW. "Stuart Cunningham: From creative industries to creative economies, and beyond." Media International Australia 182, no. 1 (October 6, 2021): 7–12. http://dx.doi.org/10.1177/1329878x211043893.

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This paper explores Stuart Cunningham’s thought leadership in ‘creative’ spaces since the turn of the millennium. It presents the author's personal glimpses of Cunningham's contributions to scholarship and advocacy, ranging from Cunningham and Hartley's exposé on the recently-titled creative industries at the National Humanities and Social Sciences Summit (Canberra, 2001), through the establishment of QUT's Centre of Excellence (Brisbane, 2005) and its European node (London, 2008), to Cunningham's more recent work with creative economies and their opportunities, including his influence upon Australia's Cultural and Creative Economy: A 21st-Century Guide (Canberra, 2020). The paper concludes with some comments about continuing resistance to substantial investment in Australia's creative industries, and Cunningham's call for a more united voice in their advocacy.

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2

Callahan, Daniel M. "The Gay Divorce of Music and Dance: Choreomusicality and the Early Works of Cage-Cunningham." Journal of the American Musicological Society 71, no. 2 (2018): 439–525. http://dx.doi.org/10.1525/jams.2018.71.2.439.

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This article explores the early collaborations of John Cage and Merce Cunningham, in which music and dance were united structurally and in expressive intent. Drawing on unexamined archival materials, I begin by highlighting the thematic content of the earliest Cage-Cunningham collaborations, Credo in Us (1942) and Four Walls (1944), of Cunningham's (rather than Martha Graham's) choreography for the Revivalist's solo in Appalachian Spring (1944), and of Cage's The Perilous Night (1943–44), premiered at the couple's debut concert. These works all portray a conflict between sexual desire and social conformity through marriage, a theme of pressing import as Cage left his wife to become Cunningham's partner. I then elucidate the programmatic nature of the first and last works that Cunningham choreographed to the music of Satie, Idyllic Song (1944) and Second Hand (1970), both of which use Cage's arrangements for piano of Satie's Socrate. Placing Cunningham's personal choreographic notes in dialogue with my own observation of rehearsals and performances, I suggest that Second Hand dramatizes not only the Socratic texts set in Satie's score but also the couple's relationship and their earlier dependence on and subsequent rejection of personal expression, a rejection that heightened their status within the postwar avant-garde. Instead of dismissing the collaborations of the 1940s as “early” or “anomalous,” I suggest that they are fundamental to understanding how Cage and Cunningham's relationship prior to their de facto marriage led to one of the most productive divorces in the history of artistic collaboration.

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3

Bilston, Sarah. "“YOUR VILE SUBURBS CAN OFFER NOTHING BUT THE DEADNESS OF THE GRAVE”: THE STEREOTYPING OF EARLY VICTORIAN SUBURBIA." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 621–42. http://dx.doi.org/10.1017/s1060150313000144.

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While literary critics have becomeincreasingly engaged by the impact of suburbanization on the literary landscape, most scholarship has focused on texts from the late-nineteenth and early-twentieth centuries. The belief that suburbia appeared only occasionally in literature before this period is commonplace: as Gail Cunningham observes: “Although the term ‘suburb’ was used from Shakespeare and Milton onwards . . . it was not until the final decades of the nineteenth century that writers turned to suburban life as a subject of imaginative investigation” (Cunningham, “Riddle” 51). Cunningham's important work on suburban narrative positions authors of the late nineteenth century as architects of “the new imaginative category suburban,” one that was substantially shaped by the experience of observing and living amongst “newly massed middle classes” (Cunningham, “Riddle” 52). “[F]or many writers . . . the prime response to the new suburbia was one of anxiety and disorientation,” she argues. “How were they to conceptualize the sudden appearance of the new spatial environment?” (Cunningham, “Houses” 423). Yet Cunningham's emphasis on the newness of both the category and the lived experience underestimates the impact of suburbanization on the totality of the period. Suburbanization was a phenomenon that Victorian society had been experiencing, and responding to, for at least eight decades by the time of Victoria's death. Literary narratives engaging suburbia from these eight decades undoubtedly exist: they have received scant critical attention, yet they constitute a crucial tradition without which the most famous late-nineteenth-century texts of suburbia cannot be adequately understood.

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4

Shaheen, Ifqut, and M. Ashraf Khan. "An Appreciation of Sir Alexander Cunningham’s Explorations at Taxila in the Light of His Methodological Framework." FWU Journal of Social Sciences 14, no. 4 (December 15, 2020): 140–48. http://dx.doi.org/10.51709/fw127212.

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Indian archaeology adopted sounder and viable conceptual tools for fieldwork in the later nineteenth century. The name of Sir Alexander Cunningham, the two times head of Archaeological Survey of India, is of special significance in this connection. This paper particularly focuses on his methods for archaeological survey and data collection. In the first place, Cunningham’s arrival into India has been traced. Next, his archaeological methods and approach have been delineated. It is followed by outlining what Cunningham did at Taxila especially in line with his conceptual understanding. Finally, all this has further been related to the intellectual environs of the time.

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5

Craig, David. "A Pedagogue's Progress, the Cunningham Turn, and the Birth of Creator Studies." Media International Australia 182, no. 1 (October 13, 2021): 59–66. http://dx.doi.org/10.1177/1329878x211043898.

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As partners in an ongoing global research initiative over the past 6 years, Queensland University of Technology Distinguished Professor Stuart Cunningham and University of Southern California Clinical Professor David Craig mapped the rise of two competing communication and media industries, Social Media Entertainment and Wanghong. Alongside other vanguard scholars, Cunningham and Craig identified and framed the emergence of Creator Studies, an interdisciplinary field of studies focused on the dynamics of new forms of cultural production across social media platforms from diverse fields, methods, and epistemologies. These developments are described within a picaresque auto-ethnographic account of Cunningham's influence on the author's progression from Hollywood producer to scholar and pedagogue.

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6

Noland, Carrie. "The Human Situation on Stage: Merce Cunningham, Theodor Adorno, and the Category of Expression." Dance Research Journal 42, no. 1 (2010): 47–60. http://dx.doi.org/10.1017/s0149767700000826.

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Where is expression in Cunningham's choreography? Are the moving bodies on stage expressive? If so, what are they expressing and how does such expression occur? Several of the finest theorists of dance—among them, Susan Leigh Foster, Mark Franko, and Dee Reynolds—have already approached the question of expressivity in the work of Merce Cunningham. Acknowledging the formalism and astringency of his choreography, they nonetheless insist that expression does indeed take place. Foster locates expression in the “affective significance” as opposed to the “emotional experience” of movement (1986, 38); Franko finds it in an “energy source … more fundamental than emotion, while just as differentiated” (1995, 80); and Reynolds identifies expression in the dancing subject's sensorimotor “faculties” as they are deployed “fully in the present” (2007, 169). Cunningham himself has defined expression in dance as an intrinsic and inevitable quality of movement, indicating that his search to capture, isolate, and frame this quality is central to his choreographic process. As a critical theorist (rather than a dance historian), I am interested in expression as a more general, or cross-media, category and therefore find the efforts by Cunningham and his critics to define expression differently, to free it from its subservience to the psyche, refreshing, unconventional, and suggestive. I have become increasingly convinced that Cunningham's practical and theoretical interventions can illuminate more traditional literary and philosophical discourses on the aesthetics of expression and that they have particular resonance when juxtaposed with the approach to expression developed by Theodor Adorno in his Aesthetic Theory of 1970. Similar to Cunningham, Adorno complicates the category of “expression” by shifting its location from subjectivity, understood primarily as a psychic phenomenon, to embodiment, understood as a function of locomotion and sensual existence (in Franko's words, “something more fundamental than emotion, while just as differentiated” [1995, 80]).

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7

O’Hear, Michael M. "Cunningham." Federal Sentencing Reporter 18, no. 4 (April 1, 2006): 260–61. http://dx.doi.org/10.1525/fsr.2006.18.4.260.

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8

Lotz, Amanda D. "New Patterns of Flow and Rethinking International Mediascapes: The Influence of Stuart Cunningham on Theories of Television's Travels." Media International Australia 182, no. 1 (October 29, 2021): 48–53. http://dx.doi.org/10.1177/1329878x211043896.

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Stuart Cunningham contributed to important publications that advanced thinking about transnational media flows, much of which remains relevant a quarter of a century later. This essay explores Cunningham's collaborations with Elizabeth Jacka and John Sinclair in ‘Australian Television and International Mediascapes' and ‘New Patterns in Global Television: Peripheral View’ to explore the prescient and productive theoretical innovations these books offered the field.

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9

Noland, Carrie. "Ethics, Staged." Performance Philosophy 3, no. 1 (June 25, 2017): 67. http://dx.doi.org/10.21476/pp.2017.31165.

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This article stages a dialogue between Giorgio Agamben�s theory of gesture and the 2016 reconstruction of Merce Cunningham�s 1964 choreography, Winterbranch. This juxtaposition encourages a comparison between Agamben's and Cunningham's respective approaches to the semiotics of dance, the way that dance can generate meaning but also evade meaning in a way that Agamben deems "proper" to the "ethical sphere." For Agamben, dance is composed of what he calls "gestures" that have "nothing to express" other than expressivity itself as a "power" unique to humans who have language. For Cunningham, dance is composed of what he calls "actions," or at other times "facts"�discrete and repeatable movements sketched in the air that reveal the "passion," the raw or naked "energy" of human expressivity before that energy has been directed toward a specific expressive project. I will look more closely at what Cunningham means by "actions," and to what extent they can be considered "gestures" in Agamben's terms; I will also explore the "ethical sphere" opened by the display of mediality, the "being-in-a-medium" of human beings. What, then, do dance gestures expose that ordinary gestures do not? Why would such an exposure be �ethical� in Agamben�s terms? And why would (his notion of) the ethical rely on a stage?

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10

McKeever, Gerard Lee. "Extreme Attachment." Nineteenth-Century Literature 77, no. 4 (March 1, 2023): 223–52. http://dx.doi.org/10.1525/ncl.2023.77.4.223.

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Gerard Lee McKeever, “Extreme Attachment: Allan Cunningham’s ‘South Countree’” (pp. 223–252) This article positions Allan Cunningham (1784–1842) as an extreme case of literary place-making in the first half of the nineteenth century. Cunningham lived from 1810 in London, where he became superintendent of the sculptor Francis Chantrey’s workshop. Yet over the following decades, he produced literary work that is remarkably consistent in its return to his native southwest Scotland and the Anglo-Scottish borders region, developing a longue durée imaginative geography through a rotating cast of characters, places, tales, and topoi. This work emblematizes a moment in the transformation of the long-eighteenth-century condition of “nostalgia,” or homesickness, which over the course of the nineteenth century became a patriotic virtue and—eventually—an aestheticized sense of the past. The article interrogates Cunningham’s overall literary career from a geographical perspective, before focusing in on two unfairly neglected later works: the long poem The Maid of Elvar (1832) and his final novel, Lord Roldan (1836). In general, Cunningham’s work performs regional attachment in such a precariously literary manner that it forces the reader to reckon with the imaginative quality of belonging. By the 1830s, however, it had reached an acutely self-referential phase, exercising and recycling a vocabulary of belonging that had been decades in the making.

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11

Rabin, R. "George Cunningham." British Dental Journal 204, no. 5 (March 2008): 224. http://dx.doi.org/10.1038/bdj.2008.175.

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12

Withers, GN. "Angus Cunningham." Australian Veterinary Journal 92, no. 8 (July 25, 2014): 276. http://dx.doi.org/10.1111/avj.12217.

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13

McKelvey, Bill, and Jeff Maxwell. "Ian Cunningham." Veterinary Record 182, no. 9 (March 1, 2018): 266. http://dx.doi.org/10.1136/vr.k1004.

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14

Watts, Geoff. "Cliff Cunningham." Lancet 382, no. 9900 (October 2013): e19. http://dx.doi.org/10.1016/s0140-6736(13)62101-7.

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15

Suchy, Melanie. "claire cunningham." tanz 14, no. 8-9 (2023): 72. http://dx.doi.org/10.5771/1869-7720-2023-8-9-072.

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16

Orchard, A. E., and C. L. Gross. "The misapplication of the name Croton urticoides, the reinstatement of the name Adriana tomentosa, and Allan Cunningham's book herbarium at Chelsea Physic Garden." Australian Systematic Botany 22, no. 5 (2009): 377. http://dx.doi.org/10.1071/sb09031.

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Adriana Gaudich. is a small genus in the Euphorbiaceae that is endemic to Australia. Recently, new combinations were made by others for Adriana on the premise that Croton urticoides A.Cunn. is an earlier name for A. tomentosa. The type was not seen, although it was suggested that it resided in Robert Heward’s book herbarium of assembled Allan Cunningham specimens held at the Chelsea Physic Garden. This mini-herbarium has not been rediscovered, but true type material has been found at the herbarium, Royal Botanic Gardens, Kew. An inspection of the type of C. urticoides held at Kew revealed that the material is Gynatrix pulchella (Willd.) Alef in the Malvaceae and its epithet predates that of C. urticoides by several years. We discuss the amplification of errors that have occurred for an incorrect name that has become accepted by several herbaria in Australia. This book herbarium cannot be located at present, and is presumed lost, although it is likely that type materials of most if not all Cunningham’s (1825) names still exist elsewhere. There is little or no evidence that the book herbarium at Chelsea Physic Garden contained type material of species described by Cunningham (1825) in Field’s Geographical Memoirs. Instead, it is likely that it consisted of material assembled many years later by Heward from Cunningham’s collections, to illustrate the taxa in Cunningham’s publications. The type of C. urticoides is fixed herein by lectotypification. We provide a summary of the nomenclature for the taxa under discussion.

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17

Henrichsen, Anne. "Tinahely: Tricia Cunningham and Rhoda Cunningham at Tinahely Courthouse." Circa, no. 109 (2004): 72. http://dx.doi.org/10.2307/25564191.

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18

Lau, Alexander, Wei Qiu, Allan Kermode, Cheryl Au, Angel Ng, Adrian Wong, Sze-Ho Ma, et al. "High prevalence and indexes of anti-John Cunningham virus antibodies in a cohort of Chinese patients with multiple sclerosis." Multiple Sclerosis Journal - Experimental, Translational and Clinical 4, no. 3 (July 2018): 205521731878869. http://dx.doi.org/10.1177/2055217318788699.

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We performed a cross-sectional study in 123 Chinese multiple sclerosis patients residing in Hong Kong to evaluate their anti-John Cunningham virus status using STRATIFY JCV DxSelect assays. Anti-John Cunningham virus antibody was present in 98/123 (80%) subjects, among which 75/98 (77%) had an anti-John Cunningham virus index ≥1.5. Anti-John Cunningham virus antibody seropositivity was not correlated with age, disease duration, Expanded Disability Status Scale scores, types of multiple sclerosis (relapsing vs progressive), or disease-modifying treatments used. We found a very high seroprevalence and index of anti-John Cunningham virus antibodies in Chinese multiple sclerosis patients, which may impact the risk assessment and recommendation of disease-modifying treatments in this population.

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19

Guyer, Craig, and Joseph B. Slowinski. "Reply to Cunningham." Evolution 49, no. 6 (December 1995): 1294. http://dx.doi.org/10.2307/2410459.

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20

Simpson, Pamela H., Richard Lorenz, and Thomas McEvilley. "Imogen Cunningham: Flora." Woman's Art Journal 18, no. 1 (1997): 66. http://dx.doi.org/10.2307/1358694.

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21

Pagès, Sylviane. "Le « moment Cunningham »." Repères, cahier de danse 23, no. 1 (2009): 3. http://dx.doi.org/10.3917/reper.023.0003.

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22

Pesle, Bénédicte, and Marie Glon. "Faire venir Cunningham." Repères, cahier de danse 23, no. 1 (2009): 7. http://dx.doi.org/10.3917/reper.023.0007.

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23

Marteau, Isabelle, and Sandrine Barrasso. "La technique Cunningham." Repères, cahier de danse 23, no. 1 (2009): 13. http://dx.doi.org/10.3917/reper.023.0013.

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24

Perrin, Julie. "Le costume Cunningham." Repères, cahier de danse 27, no. 1 (2011): 16. http://dx.doi.org/10.3917/reper.027.0016.

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25

Monteiller, Gaëlle. "eB2B. Michel CUNNINGHAM." Revue Française de Gestion Industrielle 20, no. 4 (December 1, 2001): 107–9. http://dx.doi.org/10.53102/2001.20.04.373.

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26

Kelly, William C. "Donald E. Cunningham." Physics Today 38, no. 2 (February 1985): 98. http://dx.doi.org/10.1063/1.2814469.

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27

Walker, G. "Kenneth Cunningham Rankin." BMJ 344, feb01 1 (February 1, 2012): e418-e418. http://dx.doi.org/10.1136/bmj.e418.

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28

GCJ. "Robert Campbell Cunningham." Psychiatric Bulletin 14, no. 2 (February 1990): 123. http://dx.doi.org/10.1192/pb.14.2.123.

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29

Cleveland, William L. "Allan Black Cunningham." Middle East Studies Association Bulletin 22, no. 1 (July 1988): 155. http://dx.doi.org/10.1017/s0026318400020198.

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30

Jones, Lenny. "Polynomial Cunningham chains." Journal of Number Theory 131, no. 11 (November 2011): 2100–2106. http://dx.doi.org/10.1016/j.jnt.2011.05.012.

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31

Shinn-Cunningham, Barbara. "Barbara Shinn-Cunningham." Current Biology 25, no. 11 (June 2015): R442—R444. http://dx.doi.org/10.1016/j.cub.2015.02.060.

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32

Guyer, Craig, and Joseph B. Slowinski. "REPLY TO CUNNINGHAM." Evolution 49, no. 6 (December 1995): 1294–95. http://dx.doi.org/10.1111/j.1558-5646.1995.tb04461.x.

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33

Harris, James C. "Cunningham Dax Collection." JAMA Psychiatry 71, no. 12 (December 1, 2014): 1316. http://dx.doi.org/10.1001/jamapsychiatry.2013.2771.

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34

Leggott, James. "Come to Daddy? Claiming Chris Cunningham for British Art Cinema." Journal of British Cinema and Television 13, no. 2 (April 2016): 243–61. http://dx.doi.org/10.3366/jbctv.2016.0311.

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Twenty years after he came to prominence via a series of provocative, ground-breaking music videos, Chris Cunningham remains a troubling, elusive figure within British visual culture. His output – which includes short films, advertisements, art gallery commissions, installations, music production and a touring multi-screen live performance – is relatively slim, and his seemingly slow work rate (and tendency to leave projects uncompleted or unreleased) has been a frustration for fans and commentators, particularly those who hoped he would channel his interests and talents into a full-length ‘feature’ film project. There has been a diverse critical response to his musical sensitivity, his associations with UK electronica culture – and the Warp label in particular – his working relationship with Aphex Twin, his importance within the history of the pop video and his deployment of transgressive, suggestive imagery involving mutated, traumatised or robotic bodies. However, this article makes a claim for placing Cunningham within discourses of British art cinema. It proposes that the many contradictions that define and animate Cunningham's work – narrative versus abstraction, political engagement versus surrealism, sincerity versus provocation, commerce versus experimentation, art versus craft, a ‘British’ sensibility versus a transnational one – are also those that typify a particular terrain of British film culture that falls awkwardly between populism and experimentalism.

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35

Bhardwaj, Anand, Luisa Degen, Radostin Petkov, and Sidney Stanbury. "A Study of Cunningham Bounds Through Rogue Primes." PUMP Journal of Undergraduate Research 7 (June 26, 2024): 124–56. http://dx.doi.org/10.46787/pump.v7i0.3903.

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A sequence of prime numbers {p, 2p+1, 4p+3,...,2n-1(p+1)-1} is called a Cunningham chain. These are finite sequences of prime numbers, for which each element is a Sophie Germain prime. It is conjectured that there are arbitrarily large such Cunningham chains, and these chains form an essential part of the study of Sophie Germain primes. In this paper, we aim to significantly improve existing bounds for the length of Cunningham chains by considering their behaviour in the framework of what we will define as rogueness.

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36

Flew, Terry. "The ambivalent presence of economics in the work of Stuart Cunningham." Media International Australia 182, no. 1 (October 7, 2021): 13–20. http://dx.doi.org/10.1177/1329878x211043900.

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In this short paper, I want to consider the ways in which Stuart Cunningham's focus on work that was policy-relevant and could speak to industry led him to an ambivalent relationship with the discipline of economics. Rejecting the binary opposition between alleged ‘neoliberal’ economics and the cultural sphere as a site of unbridled moral good, Cunningham sought to both engage with and critique the dominant paradigms of economics, and their influence in Australian public policy. In doing so, his work is strongly influenced by Ian Hunter's argument that scholarly work motivated by civically minded engagements with matters of public concern needed to go beyond moral grandstanding and engage critically with the institutional complexities of social and cultural governance.

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37

Lenman, Bruce P. "Cunningham, The Nation Survey'd." Scottish Historical Review 82, no. 2 (October 2003): 309–10. http://dx.doi.org/10.3366/shr.2003.82.2.309.

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38

Therrien, Cheryl, and Marie Glon. "Le répertoire de Cunningham." Repères, cahier de danse 23, no. 1 (2009): 16. http://dx.doi.org/10.3917/reper.023.0016.

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39

Abraham, Quentin, and Peter Coleman. "Farewell to Joanne Cunningham." Kairaranga 16, no. 1 (January 1, 2016): 5–6. http://dx.doi.org/10.54322/kairaranga.v16i1.189.

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40

Ourmazd, A., and J. Cunningham. "Ourmazd and Cunningham reply." Physical Review Letters 65, no. 18 (October 29, 1990): 2318. http://dx.doi.org/10.1103/physrevlett.65.2318.

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41

Noland, Carrie. "Duchamp Culture/Cunningham Dance." Modernism/modernity 27, no. 2 (2020): 361–86. http://dx.doi.org/10.1353/mod.2020.0027.

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42

&NA;. "CUNNINGHAM SEEKS SECOND TERM." Journal of Wound, Ostomy and Continence Nursing 15, no. 3 (May 1988): 38A. http://dx.doi.org/10.1097/00152192-198805000-00012.

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43

&NA;. "ADDENDUM: (Cunningham et al.)." Plastic and Reconstructive Surgery 116, no. 1 (July 2005): 361. http://dx.doi.org/10.1097/00006534-200507000-00079.

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44

&NA;. "Dr. Shinn-Cunningham replies." Hearing Journal 62, no. 6 (June 2009): 47. http://dx.doi.org/10.1097/01.hj.0000356813.56952.67.

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45

Foster, Susan Leigh. "Merce Cunningham 1919–2009." TDR/The Drama Review 54, no. 1 (March 2010): 7–9. http://dx.doi.org/10.1162/dram.2010.54.1.7.

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46

Dear, Peter. "Reply to Andrew Cunningham." Studies in History and Philosophy of Science Part A 32, no. 2 (June 2001): 393–95. http://dx.doi.org/10.1016/s0039-3681(01)00005-x.

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47

Prevots, Naima. "Dancing with Merce Cunningham." Journal of Dance Education 19, no. 2 (April 3, 2019): 86. http://dx.doi.org/10.1080/15290824.2019.1594018.

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48

Carlyle, T. "TC TO PETER CUNNINGHAM." Carlyle Letters Online 28, no. 1 (January 1, 2000): 324. http://dx.doi.org/10.1215/lt-18531125-tc-pc-01.

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49

PRICE, JASON. "Minnie Cunningham at the Old Bedford." Theatre Research International 45, no. 2 (June 24, 2020): 124–42. http://dx.doi.org/10.1017/s030788332000005x.

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Minnie Cunningham (1870–1954) was a British music hall star and actress whose career spanned nearly forty years. Today she is primarily remembered through paintings made of her by the prominent British artist Walter Sickert (1860–1942) in the early 1890s. Despite her popularity, Cunningham has mostly been overlooked in music hall and theatre histories. Instead, the limited information that is available about her today comes to us primarily through art-history scholarship on Sickert. To fill this gap, this paper offers the first scholarly account of Cunningham by drawing together press notices, published interviews, and other artefacts from her long career. This introduction to Cunningham is framed by a discussion of the unevenness of the cultural transactions taking place between these artists – between the ‘higher’ arts practice of modern painting and the perceived ‘lower’ music hall. I consider how this imbalance played out at the time these artists worked and the impact this has had in the preservation (or lack thereof) of their artistic practices.

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50

Korppi-Tommola, Riikka. "The Cultural Context of Reception:." Nordic Journal of Dance 3, no. 2 (December 1, 2012): 38–55. http://dx.doi.org/10.2478/njd-2012-0010.

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Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.

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