Martha Graham

GV9/Sun conjunction

From Wikipedia, the free encyclopedia

>>Martha Graham (May 11, 1894 – April 1, 1991) was an American dancer and choreographer regarded as one of the foremost pioneers of modern dance, and is widely considered one of the greatest artists of the 20th century. Graham invented a new language of movement, and used it to reveal the passion, the rage and the ecstasy common to human experience. She danced and choreographed for over seventy years, and during that time was the first dancer ever to perform at The White House, the first dancer ever to travel abroad as a cultural ambassador, and the first dancer ever to receive the highest civilian award, the Medal of Freedom. In her lifetime she received honors ranging from the key to the City of Paris to Japan's Imperial Order of the Precious Crown. She said "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."

Early years

Graham was born in Allegheny, Pennsylvania, a small town that is now part of Pittsburgh. Her father, George Graham, was what in the Victorian era was known as an "alienist", or a doctor of nervous disorders, which was an early form of psychiatry. Martha's father was a third generation American of Scots-Irish descent, and her mother a tenth generation descendant of Myles Standish. As a doctor's family, the Graham's had a very high standard of living. For example, Dr. Graham often brought his wife strawberries in the winter at a time when they were difficult to acquire, and the Graham children were looked after by a live-in, Irish maid. Although, the social status in which Martha was raised contributed to her education and exposure to art, her family's status largely worked against her. As the eldest daughter of a prominent and strict, Presbyterian, doctor's family she would be strongly discouraged from considering any career in the performing arts.

Though her father was a man of science, he was also theatrical, often playing music and singing for his children. Martha was the eldest daughter in the family and a willful child. Once, when she got in trouble, her father asked her what she had done, and Martha lied to him. He read her body language, knew she was lying to him, and told her, perhaps apocryphally, "Movement never lies." This phrase would become a catechism she would remember and repeat throughout her life.

When Martha was fourteen years old, her family left the often cold and sooty Western Pennsylvania and moved to Santa Barbara, California as a remedy for Mary, Martha's sister, who had respiratory condition. The Graham family traveled cross-country by train. The seemingly infinite expanses of the Midwest made an impression on young Martha and would later inform such works as "Frontier". Santa Barbara, a wonderland of sunshine, oak trees and flowers, provided a strong stimulus to the Graham children, and was a significant contrast to Pennsylvania.

When Martha was sixteen years old, she saw a poster for a dance performance by Ruth St. Denis in Los Angeles, and she begged her father to take her. He complied. In her autobiography, Blood Memory, Graham recalled that her father bought her a bouquet of violets from a Japanese flower vendor outside of the theater. The performance was a revelation to her, and she decided on the spot that she would devote her life to dance. This did not go over well with her parents. The world of dance was not a proper pursuit for the daughter of an upstanding physician, let alone a Presbyterian. But something she saw on that stage in Los Angeles struck a chord within her. Graham was undaunted.

The prevailing style of dance in the early 20th century United States was an odd mixture of fledgling influences. Ballet had been well-established for centuries in Europe and translated fairly well for American audiences. But American dance also drew on a range of other styles and less formal influences including tribal dance, folk dances, burlesque, vaudeville, fantasy, acrobatics, and others. In contrast to high-brow European ballet, American dance was seen as more exotic, popular entertainment and not a form of high art.

Martha was in the right place at the right time. Californian Isadora Duncan had begun to redefine the concept of American dance, and had developed a platform upon which the art form could step beyond itself to something richer and more complex. Many of her dances had a naturalistic style, reminiscent of plants and flowers, with women dressed in gauzy, flowing dresses who moved about the stage in bare feet. Duncan drew upon Greek Mythology for her influences. Simultaneously in California, another dance pioneer, Ruth St. Denis, worked along parallel lines, though she drew upon Asian, Egyptian, Mexican, and Native American influences. Both Duncan and St. Denis took the first steps in building the foundation of what Graham would do later. However vital their influences were to Graham's development, their progress in the field was incremental whereas Graham's would be revolutionary.

As soon as Martha had completed high school she was enrolled at the Cumnock School, a junior college where she could study liberal arts as well as the arts. In 1916, at the age of twenty, Martha enrolled with the Denishawn Dance School, studying under Ruth St. Denis and Ted Shawn. She was told that she was too old to begin to dance and that her body did not have the correct build for it. But she persevered. Martha proved to be a quick study with an impressive attention to detail and she worked incredibly hard to train her body to great precision.

1920s

Graham toured with the Denishawn company for years before she moved to New York City in 1923 where lived in Greenwich Village, and had some success as a dancer on Broadway with the Greenwich Village Follies. Although, she was able to make an impressive sum of money, she also felt dissatisfied. At the age of thirty she accepted a teaching position at the Eastman School of Music in Rochester, New York, where she directed a newly formed dance department. She enjoyed having her own students to teach but she chafed against the limits and the bureaucracy of the school. She returned to New York City and began to teach dance out of a classroom in the back of Carnegie Hall. During this time she began to choreograph some of her earliest dances. On April 18, 1926, she gave the first performance of her own dance company. This was an important milestone for the young dancer but even she recognized her early performances as derivative of her work with Denishawn. As she continued to choreograph, her dances increasingly became her own, each one pushing herself and the art form further. With early dances such as "Revolt" (1927) and "Fragments" (1928) Graham found her voice. Her breakthrough was in 1929 with "Heretic", in which Graham appeared as a sole dancer dressed in white facing a wall of opposing dancers dressed in black while a simple, stark, Breton song was pounded out on the piano by Louis Horst. Horst would go on to become a life-long collaborator. 1930's "Lamentation" saw Graham as a solo dancer on a bare stage encased in a tube of stretch jersey fabric, rocking with pain and anguish.

Graham's early dances were not generally well-received by audiences who were not sure what they were seeing. The works were spare, powerful and modern, devoid of the dreaminess and glamour of the works of the previous decades. The dances were often based on strong, precise movement and pelvic contractions, and were charged with beauty and emotion. It was a stirring period of revolution for Graham in which she would begin to establish a new language of dance which was different from everything that preceded it and which would leave everything that came after it indelibly changed.

In the 1930s, Graham taught at Bennington College and New York University where Martha Hill directed the dance departments. In 1951, Graham became a founding member of the dance division of the Juilliard School, also directed by Martha Hill.

A new era in dance

In 1936, Graham made her defining work, "Chronicle", which signalled the beginning of a new era in contemporary dance. The dance brought serious issues to the stage for the general public in a dramatic manner. Influenced by the Wall Street Crash, the Great Depression and the Spanish Civil War, it focused on depression and isolation, reflected in the dark nature of both the set and costumes.

In 1926, the Martha Graham Center of Contemporary Dance was established. One of her students was heiress Bethsabée de Rothschild with whom she became close friends. When Rothschild moved to Israel and established the Batsheva Dance Company in 1965, Graham became the company's first director, groomed its first generation of dancers, and created dances for the company.

In 1948, Graham married Erick Hawkins (a principal dancer in her company), who was younger than she was. Although Graham was not really interested in marriage as an institution, she felt that after eight years of living with Hawkins that marriage would be an appropriate step.

Her largest-scale work, the evening-length Clytemnestra, was created in 1958, and features a score by the Egyptian-born composer Halim El-Dabh.

Graham's mother died in Santa Barbara in 1958. Her oldest friend and musical collaborator Louis Horst died in 1964. She said of Horst "His sympathy and understanding, but primarily his faith, gave me a landscape to move in. Without it, I should certainly have been lost." Graham's lighting designer Jean Rosenthal died of cancer in 1967.

Graham actually despised the term "modern dance" and preferred "contemporary dance." She thought the concept of what was "modern" was constantly changing and was thus inexact as a definition.

For a majority of her life Graham resisted the recording of her dances and would not allow them to be filmed or photographed. She believed the performances should exist only live on the stage and in no other form. At one point she even burned volumes of her diaries and notes to prevent them from being seen. There were a few notable exceptions. For example, she worked on a limited basis with still photographers, Imogen Cunningham in the 1930s, and Barbara Morgan in the 1940s.

Martha Graham, photo by Barbara Morgan

Graham considered Philippe Halsman's photographs of "Dark Meadows" the most complete photographic record of any of her dances. Halsman also photographed in the 1940s: "Letter to the World", "Cave of the Heart", "Night Journey" and "Every Soul is a Circus."

(1948)

In later years her thinking on the matter evolved and others convinced her to let them recreate some of what was lost.

Graham started her career at an age that was considered late for a dancer. She was still dancing by the late 1960s, and turned increasingly to alcohol to soothe her own despair at her declining body.

A younger generation who had heard of her legend went to her later performances and were confused about what all the fuss was about. Her works from this era included roles for herself which were more acted than danced and relied on the movement of the company dancing around her. Graham's love of dance was so profound that she refused to leave the stage despite critics who said she was past her prime. When the chorus of critics grew too loud, Graham finally left the stage.

In her biography Martha Agnes de Mille cites Graham's last performance as the evening of May 25, 1968 in a 'Time of Snow'. But in A Dancer's Life biographer Russell Freedman lists the year of Graham's final performance as 1969. In her 1991 autobiography Blood Memory Graham herself lists her final performance as her 1970 appearance in "Cortege of Eagles" when she was 76 years old.

Those who had the privilege of seeing her perform in her prime have attested to her precision, form and mesmerizing brilliance as a dancer on stage. Though she is arguably one of the most important choreographers in the history of dance (and perhaps one of the most important artists of the 20th century) she always said that she preferred to be known and remembered as a dancer. In the years that followed her departure from the stage Graham sunk into a deep depression fueled by views from the wings of young dancers performing many of the dances she had choreographed for herself and her former husband Erick Hawkins. Graham's health declined precipitously as she abused alcohol to numb her pain. In Blood Memory she wrote:

"It wasn't until years after I had relinquished a ballet that I could bear to watch someone else dance it. I believe in never looking back, never indulging in nostalgia, or reminiscing. Yet how can you avoid it when you look on stage and see a dancer made up to look as you did thirty years ago, dancing a ballet you created with someone you were then deeply in love with, your husband? I think that is a circle of hell Dante omitted."

"[When I stopped dancing] I had lost my will to live. I stayed home alone, ate very little, and drank too much and brooded. Finally my system just gave in. I was in the hospital for a long time, much of it in a coma."

Graham not only survived her hospital stay but she rallied. In 1972 she quit drinking, returned to her studio, reorganized her company and went on to choreograph ten new ballets and many revivals. Her last completed ballet was 1990's Maple Leaf Rag.

She was awarded the Presidential Medal of Freedom in 1976 by President Gerald Ford (the First Lady Betty Ford had danced with Graham in her youth).

Graham choreographed until her death from pneumonia in 1991 at the age of 96.

In 1998, Time listed her as the "Dancer of the Century" and as one of the most important people of the 20th century.

Quotes

According to Agnes de Mille: "I was bewildered and worried that my entire scale of values was untrustworthy. ... I confessed that I had a burning desire to be excellent, but no faith that I could be. Martha said to me, very quietly,"

'"There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep yourself open and aware to the urges that motivate you. Keep the channel open. ... No artist is pleased. [There is] no satisfaction whatever at any time. There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others"'

(from The Life and Work of Martha Graham)

"It was [Robert Edmond] Jones who used to say to his classes, Some of you are doomed to be artists. Martha picked up this phrase and used it many times thereafter. She also borrowed from him the phrase doom-eager, which he had borrowed from Ibsen."

(from The Life and Work of Martha Graham)

Quotes from the public

"Dancer of the Century"

1998,TIME Magazine

Named as one of the Female "Icons of the Century"

1998, People Magazine

"Brilliant, young dancer"

1920, Unknown

"A National Treasure"

1976, President Gerald R. Ford <<

http://en.wikipedia.org/wiki/Martha_Graham

____________________________________

Martha GRAHAM,

born May 11, 1894 at 6:00 AM in Pittsburgh (PA) (USA)

Rodden's AstroDatabank Rating: A

Using RIYAL 3.1

Astrological Setting (Tropical - Placidus)

RIYAL Fri May 11 1894 UT 11h00m00s Lat40n26 Lon80w00 SORT ALL

Planet	Longitude	Latitude	Declin.	Const.
CR105	0Ar02	18s16	16s42	Cet
Mars	1Pi02	1s52	12s51	Aqr
PJ30	1Le06	0s55	19n03	Cnc
FZ53	1Sa11 r	25n02	4n09	Her
Vertex	1Sc48
Thereus	1Pi53	17n15	5n20	Peg
RR43	2Sa11 r	11n59	8s51	Sco
Okyrhoe	2Aq15 r	13n32	6s28	Aql
Asbolus	2Le20	15n20	34n32	Lyn
Typhon	2Pi36	0s47	11s17	Aqr
Nessus	3Pi20	13s21	22s41	Aqr
UR163	3Sc31 r	0s46	13s25	Vir
AW197	4Ta07	23n45	35n01	Tri
HB57	4Ca29	15s06	8n17	Mon
QD112	4Le42	11n26	30n11	Cnc
RP120	4Sc49 r	4s43	17s34	Vir
OX3	4Li57 r	3s15	4s57	Vir
DA62	4Ge58	33n18	53n37	Cam
Orcus	4Pi59	18n46	7n49	Peg
Venus	5Ar09	1s23	0n46	Cet
OP32	5Vi21 r	12s15	1s52	Sex
Ascend	5Ge28	0n00	21n14	Tau
WL7	5Aq39 r	9s50	28s23	Mic
CC22	5Pi42	4n32	5s13	Aqr
Echeclus	5Vi53 r	1s06	8n20	Leo
BU48	5Sa58 r	13n20	8s11	Oph
PA44	6Vi01 r	2s35	6n54	Leo
AZ84	6Pi09	13n24	3n13	Peg
WN188	6Ge36	18s02	3n38	Tau
GB32	6Ca49	13s50	9n28	Mon
Sedna	6Ar49	8s15	4s52	Cet
VQ94	7Ar29	51s25	43s13	Phe
96PW	7Vi31 r	8n18	16n27	Leo
Teharonhi	7Li50 r	2s23	5s18	Vir
FP185	8Ge02	29s03	7s03	Eri
Jupiter	8Ge19	0s31	21n12	Tau
Cyllarus	8Le37	12n21	30n00	Cnc
XX143	8Cp58 r	0n59	22s11	Sgr
TL66	9Cp17 r	21n42	1s28	Ser
GZ32	9Li24 r	15n34	10n35	Vir
CO1	9Ge26	2s22	19n33	Tau
Node	9Ar31 r	0n00	3n46	Psc
CZ118	9Ca39	25n03	48n04	Lyn
Logos	9Ar42	2s25	1n38	Cet
RM43	9Cp46 r	8s42	31s46	Sgr
Pluto	9Ge49	10s42	11n21	Ori
Mercury	10Ta04	1s13	13n42	Ari
Moon	10Le08	4n27	22n00	Cnc
Bienor	10Le09	7n58	25n22	Cnc
RZ215	10Li20 r	13s46	16s43	Crv
PN34	10Ca20	4n46	27n48	Gem
FY9	10Ta29	18s18	2s27	Eri
RZ214	10Sc58r	3n04	12s13	Lib
UJ438	11Cp10r	1n05	21s55	Sgr
CO104	11Li15 r	1s08	5s30	Vir
Varuna	11Aq16	9s51	26s51	Cap
VU2	11Li36 r	12s54	16s26	Crv
Midheav	11Aq45	0n00	17s16	Cap
OO67	11Sc59 r	20n01	3n40	Vir
FZ173	12Ge05	11n56	34n04	Aur
Neptune	12Ge24	1s27	20n51	Tau
VS2	12Sa31r	11s33	33s46	Sco
Hylonome	12Cp36r	4n09	18s44	Sgr
Uranus	13Sc00r	0n25	15s22	Lib
Elatus	14Sc11 r	4n03	12s14	Lib
SA278	14Aq18r	9n34	7s23	Aqr
TC302	14Aq24	33s15	47s48	Gru
Chiron	14Vi37 r	4s35	1n50	Leo
QB243	15Ge00	6n23	28n57	Aur
CE10	15Li19 r	29s51	33s13	Hya
Ixion	15Le21	18n09	33n29	LMi
YQ179	15Ar57	20s40	12s47	Cet
Amycus	17Cp10r	6s46	29s04	Sgr
MS4	17Le22	17s10	0s45	Hya
RL43	17Ta56	10s50	6n46	Cet
Apogee	18Sa11r	4s49	27s44	Oph
VR130	18Ge39	3s18	19n41	Tau
Saturn	19Li43 r	2n44	5s11	Vir
EL61	20Ge08	18s29	4n39	Ori
GQ21	20Ge14	12s16	10n51	Ori
GV9	20Ta26	7n12	24n48	Ari
Pelion	20Sc34r	9n36	8s38	Lib
Sun	20Ta42	0n00	17n56	Ari
QB1	20Sc45r	1s46	19s40	Lib
Eris	21Pi00	33s45	34s09	Scl
Ceto	21Pi09	0s01	3s32	Psc
KX14	21Ge17	0n09	23n19	Tau
TY364	21Sc19r	25n28	6n33	Ser
Radamantus	21Pi51	3s56	6s51	Aqr
RG33	22Ca27	34n40	55n31	Lyn
XR190	22Pi36	45n48	38n28	Lac
Chariklo	22Cp49r	4s11	25s39	Sgr
LE31	22Ge58	10s54	12n23	Ori
XA255	23Pi03	11s32	13s20	Cet
KF77	23Aq04	3s28	17s07	Cap
Crantor	23Ge14	6s28	16n49	Tau
MW12	23Le23	13s41	0n47	Hya
Deucalion	23Ge23	0n11	23n29	Tau
DH5	23Ca42	13s53	7n41	CMi
QF6	23Vi43 r	15n09	16n22	Com
CY118	23Ta48	24s14	4s47	Eri
XZ255	24Li13 r	2n09	7s24	Vir
RN43	24Vi22 r	3s32	1s00	Vir
CF119	24Ar29	19n19	27n20	Psc
TX300	24Li30 r	23s39	31s17	Cen
TD10	24Li31 r	2n11	7s29	Vir
BL41	24Sa44r	5s10	28s31	Oph
Pylenor	25Le39	1n07	14n02	Leo
SB60	26Vi26 r	23s54	20s26	Crt
OM67	26Li27 r	20s58	29s35	Hya
TO66	27Li14 r	16s37	25s54	Hya
Pholus	27Ar20	23s06	11s03	Cet
Huya	27Ta23	14s17	5n40	Tau
UX25	27Sa35r	17n52	5s35	Oph
RD215	28Sc02r	13n29	6s34	Lib
PB112	28Sc16r	13s57	33s20	Lup
Quaoar	28Ca45	7s20	13n14	Cnc
GM137	28Aq56	11s57	23s01	Aqr
SQ73	29Vi24 r	4n21	4n14	Vir
Chaos	29Cp59r	11s26	31s19	Sgr

Ephemeral.info

GV9 NNode = 9 Sa 37

GV9 Perihelion = 27 Vi 49

___________________________

Focused Minor Planets

GV9 = 20 Ta 26

Sun = 20 Ta 42

QB1 = 20 Sc 45 r

TY364 = 21 Sc 19 r

Pelion = 20 Sc 34 r

Venus = 5 Ar 09 Semisquare

Saturn = 19 Li 43 r Quincunx

Eris = 21 Pi 00 Sextile

Ceto = 21 Pi 09

Rhadamanthus = 21 Pi 51

(Saturn is at the point of a yod, with GV9, Sun, Eris, Ceto and Rhadamanthus sextiles)

EL61 = 20 Ge 08 Semisextile

GQ21 = 20 Ge 14

KX14 = 21 Ge 17

___________________

FY9 = 10 Ta 29

Mercury = 10 Ta 04

RZ214 = 10 Sc 58 r

OO67 = 11 Sc 59 r

Moon = 10 Le 08 Grand Cross

Bienor = 10 Le 09

Varuna = 11 Aq 16

Midheav = 11 Aq 45

Pluto = 9 Ge 49 Semisextile

Node = 9 Ar 31 r

Logos = 9 Ar 42

TL66 = 9 Cp 17 r Trine

RZ215 = 10 Li 20 r Quincunx

GV9 NNode = 9 Sa 37

(FY9 is at the point of a yod, with RZ215 and GV9 NNode sextiles)

___________________

SB60 = 26 Vi 26 r

GV9 Perihelion = 27 Vi 49

Moon = 10 Le 08 Semisquare

Bienor = 10 Le 09

UX25 = 27 Sa 35 r Square

___________________

OO67 = 11 Sc 59 r

Uranus = 13 Sc 00 r

RZ214 = 10 Sc 58 r

Mercury = 10 Ta 04

FY9 = 10 Ta 29

Neptune = 12 Ge 24 Quincunx

FZ173 = 12 Ge 05

UX25 = 27 Sa 35 r Semisquare

Midheav = 11 Aq 45 Square

Varuna = 11 Aq 16

___________________

Orcus = 4 Pi 59

OP32 = 5 Vi 21 r

Echeclus = 5 Vi 53 r

Venus = 5 Ar 09 Semisextile

AW197 = 4 Ta 07 Sextile

Ascend = 5 Ge 28 Square

___________________

CR105 = 0 Ar 02

Mars = 1 Pi 02 Semisextile

Chaos = 29 Cp 59 r Sextile

SA278 = 14 Aq 18 r Semisquare

TC302 = 14 Aq 24

___________________

Quaoar = 28 Ca 45

Chaos = 29 Cp 59 r

Neptune = 12 Ge 24 Semisquare

GV9 Perihelion = 27 Vi 49 Sextile

UX25 = 27 Sa 35 r Quincunx

___________________

TL66 = 9 Cp 17 r

Jupiter = 8 Ge 19 Quincunx

Pluto = 9 Ge 49

Node = 9 Ar 31 r Square

Logos = 9 Ar 42

GV9 NNode = 9 Sa 37 Semisextile

___________________

SA278 = 14 Aq 18 r

TC302 = 14 Aq 24

Ixion = 15 Le 21

Uranus = 13 Sc 00 r Square

Elatus = 14 Sc 11 r

Chiron = 14 Vi 37 r Quincunx

CR105 = 0 Ar 02 Semisquare

_____________________________

Astrological Setting (Sidereal - Fagan/Bradley)

RIYAL Fri May 11 1894 UT 11h00m00s Lat40n26 Lon80w00 SORT ALL

Planet	Longitude
MW12	0Le07
Deucalion	0Ge07
DH5	0Ca26
QF6	0Vi27 r
CY118	0Ta32
XZ255	0Li57 r
RN43	1Vi06 r
CF119	1Ar13
TX300	1Li14 r
TD10	1Li15 r
BL41	1Sa28 r
Pylenor	2Le23
SB60	3Vi10 r
OM67	3Li11 r
TO66	3Li59 r
Pholus	4Ar04
Huya	4Ta07
UX25	4Sa19 r
RD215	4Sc46 r
PB112	5Sc00 r
Quaoar	5Ca29
GM137	5Aq40
SQ73	6Vi08 r
Chaos	6Cp44 r
CR105	6Pi47
Mars	7Aq46
PJ30	7Ca50
FZ53	7Sc55 r
Vertex	8Li32
Thereus	8Aq38
RR43	8Sc55 r
Okyrhoe	8Cp59 r
Asbolus	9Ca04
Typhon	9Aq20
Nessus	10Aq04
UR163	10Li15 r
AW197	10Ar52
HB57	11Ge13
QD112	11Ca26
RP120	11Li33 r
OX3	11Vi41 r
DA62	11Ta42
Orcus	11Aq43
Venus	11Pi53
OP32	12Le05 r
Ascend	12Ta12
WL7	12Cp23r
CC22	12Aq26
Echeclus	12Le38 r
BU48	12Sc42r
PA44	12Le45 r
AZ84	12Aq54
WN188	13Ta20
GB32	13Ge33
Sedna	13Pi34
VQ94	14Pi13
96PW	14Le15 r
Teharonhi	14Vi34 r
FP185	14Ta46
Jupiter	15Ta03
Cyllarus	15Ca21
XX143	15Sa42r
TL66	16Sa02r
GZ32	16Vi08 r
CO1	16Ta10
Node	16Pi15 r
CZ118	16Ge23
Logos	16Pi26
RM43	16Sa31r
Pluto	16Ta33
Mercury	16Ar48
Moon	16Ca52
Bienor	16Ca53
RZ215	17Vi04 r
PN34	17Ge05
FY9	17Ar13
RZ214	17Li42 r
UJ438	17Sa55r
CO104	17Vi59 r
Varuna	18Cp00
VU2	18Vi21 r
Midheav	18Cp29
OO67	18Li43 r
FZ173	18Ta49
Neptune	19Ta08
VS2	19Sc15r
Hylonome	19Sa20r
Uranus	19Li45 r
Elatus	20Li55 r
SA278	21Cp02r
TC302	21Cp08
Chiron	21Le21 r
QB243	21Ta44
CE10	22Vi03 r
Ixion	22Ca05
YQ179	22Pi41
Amycus	23Sa55r
MS4	24Ca06
RL43	24Ar41
Apogee	24Sc55r
VR130	25Ta23
Saturn	26Vi27 r
EL61	26Ta52
GQ21	26Ta58
GV9	27Ar10
Pelion	27Li18 r
Sun	27Ar26
QB1	27Li29 r
Eris	27Aq44
Ceto	27Aq53
KX14	28Ta01
TY364	28Li03 r
Radamantus	28Aq36
RG33	29Ge11
XR190	29Aq20
Chariklo	29Sa34r
LE31	29Ta42
XA255	29Aq47
KF77	29Cp48
Crantor	29Ta58

Ephemeral.info

GV9 NNode = 16 Sc 21

GV9 Perihelion = 4 Vi 33

_______________________

Focused Minor Planets

GV9 = 27 Ar 10

Sun = 27 Ar 26

QB1 = 27 Li 29 r

TY364 = 28 Li 03 r

Pelion = 27 Li 18 r

Venus = 11 Pi 53 Semisquare

Saturn = 26 Vi 27 r Quincunx

Eris = 27 Aq 44 Sextile

Ceto = 27 Aq 53

Rhadamanthus = 28 Aq 36

(Saturn is at the point of a yod, with GV9, Sun, Eris, Ceto and Rhadamanthus sextiles)

EL61 = 26 Ta 52 Semisextile

GQ21 = 26 Ta 58

KX14 = 28 Ta 01

___________________

FY9 = 17 Ar 13

Mercury = 16 Ar 48

RZ214 = 17 Li 42 r

OO67 = 18 Li 43 r

Moon = 16 Ca 52 Grand Cross

Bienor = 16 Ca 53

Varuna = 18 Cp 00

Midheav = 18 Cp 29

Pluto = 16 Ta 33 Semisextile

Node = 16 Pi 15 r

Logos = 16 Pi 26

TL66 = 16 Sa 02 r Trine

RZ215 = 17 Vi 04 r Quincunx

GV9 NNode = 16 Sc 21

(FY9 is at the point of a yod, with RZ215 and GV9 NNode sextiles)

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SB60 = 3 Vi 10 r

GV9 Perihelion = 4 Vi 33

Moon = 16 Ca 52 Semisquare

Bienor = 16 Ca 53

UX25 = 4 Sa 19 r Square

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OO67 = 18 Li 43 r

Uranus = 19 Li 45 r

RZ214 = 17 Li 42 r

Mercury = 16 Ar 48

FY9 = 17 Ar 13

Neptune = 19 Ta 08 Quincunx

FZ173 = 18 Ta 49

UX25 = 4 Sa 19 r Semisquare

Midheav = 18 Cp 29 Square

Varuna = 18 Cp 00

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Orcus = 11 Aq 43

OP32 = 12 Le 05 r

Echeclus = 12 Le 38 r

Venus = 11 Pi 53 Semisextile

AW197 = 10 Ar 52 Sextile

Ascend = 12 Ta 12 Square

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CR105 = 6 Pi 47

Mars = 7 Aq 46 Semisextile

Chaos = 6 Cp 44 r Sextile

SA278 = 21 Cp 02 r Semisquare

TC302 = 21 Cp 08

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Quaoar = 5 Ca 29

Chaos = 6 Cp 44 r

Neptune = 19 Ta 08 Semisquare

GV9 Perihelion = 4 Vi 33 Sextile

UX25 = 4 Sa 19 r Quincunx

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TL66 = 16 Sa 02 r

Jupiter = 15 Ta 03 Quincunx

Pluto = 16 Ta 33

Node = 16 Pi 15 r Square

Logos = 16 Pi 26

GV9 NNode = 16 Sc 21 Semisextile

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SA278 = 21 Cp 02 r

TC302 = 21 Cp 08

Ixion = 22 Ca 05

Uranus = 19 Li 45 r Square

Elatus = 20 Li 55 r

Chiron = 21 Le 21 r Quincunx

CR105 = 6 Pi 47 Semisquare

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Tentatively, for 2004 GV9:

- Precision

- Modernism

- Meticulous attention to detail

- Undaunted

- Master Teacher

- Fearless, provocative explorations of the varied terrains of the human psyche

- Expression of Primal Emotions

- Unbridled Creative Act

- Mesmerizing Focus

- Combining the Mystic and the Intellect

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Posted to Centaurs (YahooGroups) on April 23, 2008

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