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
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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)
___________________


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
___________________


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
____________________


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
____________________


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
____________________


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
____________________


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
____________________


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
_____________________________
_____________________________

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
____________________________________

Posted to Centaurs (YahooGroups) on April 23, 2008

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