1. Anna Halprin cites her husband Lawrence's germinal work in collective creativity as a major source of models applied in her community dance work. See Halprin, Lawrence, RSVP Cycles: Creative Processes in the Human Environment (New York: Braziller Press, 1969)Google Scholar; Halprin, Lawrence and Burns, James T., Taking Part: A Workshop Approach to Collective Creativity (Cambridge: MIT Press, 1974).Google Scholar

2. Karen Bond and Jan Deans, “The Octopus Project,” The Children's Centre, Department of Early Childhood Studies, University of Melbourne, Melbourne, Australia, 1995–1996.

3. Moving Toward Life is not a scholarly text in the conventional sense and does not interact with contemporary literature in the field of ritual studies. Following are some sources on the role of ritual, improvisation and play in generating transformative dance in educational, theatrical, healing and other community contexts: Bond, Karen, “How ‘Wild Things’ Tamed Gender Distinctions,” Journal of Physical Education, Recreation and Dance 65/2 (1994): 28–33CrossRefGoogle Scholar; Drewal, Margaret, Yoruba Ritual: Performers, Play, Agency (Bloomington: Indiana University Press, 1992)Google Scholar; Grimes, Ronald, Beginnings in Ritual Studies (Lanham: University Press of America, 1982)Google Scholar; Schechner, Richard and Appel, Willa, By Means of Performance: Intercultural Studies of Theatre and Ritual (Cambridge: Cambridge University Press, 1990)CrossRefGoogle Scholar; Turner, Victor, From Ritual to Theatre: The Human Seriousness of Play (New York: Performing Arts Journal Publications, 1982)Google Scholar; Turner, Victor, The Anthropology of Performance (New York: Performing Arts Journal Publications, 1986).Google Scholar