Word: rhythmically
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...softly curving arc. Dancers tumbled their arms like water-wheels in the fall of the current, or turned on one leg, the others bent at right angles the way a feather spirals in a funnel of air. All the edges here had been washed smooth, and the rhythmic impulse, as in a dream, was the time of the sea-drift, rippling the dancers' bodies like wind on water. Meg Streeter's "Waves Blown Back" was less articulate, though still structured with thematic clarity. Streeter's dancers flashed across the stage in nimble zigzags, exploring the buoyant thrust of clean angles...
...first great jazz guitarist. He revolutionized guitar technique. He had lost two left-hand fingers early in his life. This handicap led him to invent new ways of playing and resulted in new sounds, new progressions, and new rhythms. Grapelli's swinging, raggy violin worked well with Reinhardt's rhythmic guitar style. The two were a smash hit throughout Europe. They played Le Hot Club together for years before either of them came to this country to perform...
...drift of weight in space when the body leans slowly backwards, dancers bounding across the stage like stones skipped across water. The patterns aren't only visual, either: in one dance, "Torse," where there was very little sound accompaniment, Cunningham created a whole aural superstructure from the rhythmic thuds of the dancers' feet on the floor. Cunningham doesn't work with an elite vocabulary of "dance movements," either. Instead, he catches the casual moment from the street or the staircase and lets it assume intrinsic importance onstage, the way a poet takes the words of commerce and conversation and frees...
...whole business of making dances. As a couple move, Cunningham approaches them flaunting what appears to be a yardstick, poking and measuring the dancing as though fitting a suit of clothes; at another point a group labors through a sequence of banal repetitions, stopping and starting on a rhythmic "hut!" from Cunningham. And while the program listing outlined the dance's sequence in painstaking detail--the segments solemnly labelled "Trio for 3 or 4," "Sextet for 5 or 6"--onstage it was impossible to tell them apart. A choreographer who has been criticized for eliminating dance's external structure appears...
...After some 40 years of preparation and the translation of more than 80 volumes of Hindu works, the swami came to New York City. Flower children of the '60s were instantly attracted to Prabhupada's offerings of an ascetic life; the flowing saffron robes and rhythmic chants of the Hare Krishna soon became familiar and durable street sights...