{'fraction_non_alphanumeric': 0.02239328201539538, 'fraction_numerical': 0.0, 'mean_word_length': 4.742971887550201, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Southwestern Indian ritual drama

limbo trying to place these twenty-two individuals both chronologically and geographically. In the last, and longest, section of the book Hutchinson Guest hones in on the uses of notation. She articulates the notator's process and role of the dance director or reconstructor most fully. And she addresses criticism: "A ballet may be revived poorly and the blame placed on the person who did the revival. But if it is known that notation was used, the notation is blamed, not the individual person and his artistic limitations. No one blames music notation because Verdi's Requiem is poorly rendered." Guest also points out the many uses of notation as a research tool and resource for teaching. She looks to the future in her discussion of the "promises" of modern technology, i.e., the computer, and she is thorough in describing the various ways programmers have sought to reconcile notation and the computer. She also discusses the role notation plays in protecting the rights of choreographers, via copyright. Finally, Hutchinson Guest ends with ten pages devoted to the process of evaluating a system of notation. This section alone is worth the price of the book. Her breakdown and organization of all the elements to be considered is logical and thorough. It is excellent for giving dancers and lay people unfamiliar with notation some idea of the kind of thinking that notation involves.