DOCUMENT RESUME ED 026 024 24 HE 000 457 By-Van Tuyl, Marian, Ed. Dance: A Projection for the Future. California Univ., Los Angeles. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureau of Research. Bureau No-BR-6-2061 Pub Date Mar 68 Contract OEC -4 -5-062061-0966 Journal Cit- Impulse 1968The Annual of Contemporary Dance; March 1968 EDRS Price MF -$0.75 HC-$8.15 161 p Descriptors-*Creative Development,*CurriculumDesign,CurriculumDevelopment,Curriculum Enrichment, *Curriculum Planning, *Dance, Fine Arts, *Higher Education, Music. Theater Arts Experienced and knowledgeable artists, scholars z...ncl educators met to discuss the fundamental issues of dance as a performing art and as a discipline in higher education. During Phase I of the conference, participants explored the role and nature of dance in education and developed curricular guidelines. A blueprintfor a 25-year projection of undergraduate and graduate dance curricula was constructed during Phase IL The dance major model involves a 4-year undergraduate program providing for continuous study of movement and choreography, history, philosophy, notation, and music. Related arts such as music, theater and visual arts would become essential components of the program. Major requirements would be flexible enough so that gifted students could concentrate on performance and choreography while others prepare to specialize at the graduate level in history, notation, ethnic dance or related areas. A flexible graduate programwould offer opportunities for specialization in one aspect of dance, and independent research or creative projects designed to meet the student's talents and needs. At some universities, participation of the dance department with a professional dance company would enrich curricula and benefit students and communities. The report suggests standards for faculty, facilities, and supporting funds that would ensure quality education, and proposes areas for research that would contribute to danceliterature, current and future curricula, and teaching techniques. (WM) 1111111L77I11

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NNW" U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION ""q% ANA THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE

PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS

STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION

POSITION OR POLICY. nirA

'KA.4/-viIL Editor: Marian Van Tuyl Design. Lilly Weil Jaffe

Grateful acknowledgment is made for assistance in the preparation of the manuscript for publication to: Nancy Clawson Tamara Comstock Marva Dawley Doris Dennison Rebecca Fuller Joanna Gewertz Nik Krevitsky Eleanor Lauer Crystal Miller Dorothy Mozen Gretchen Schneider Rhoda Slanger Adele Wenig

Photographs: Nik Krevitsky

Conference Doodles: Jose Limen Alwin Nikolais (also drawings for cover and "Contents" page)

Charts executed by David Lauer

Published by Imp.' lse Publications, Inc. , 160 Palo Alto Avenue, San Francisco, California 94114.The text of this book has been s?t on an IBM Executive Typewriter on "Bold Face Number Two" type face.Printed by Chapman Press, San Francisco.$4.00 per copy (California residents add 200 State Tax per copy).

Ot. 3'. 6-0266(

DANCE

aprojection for the future

THE DEVELOPMENTAL CONFERENCE ON DANCE November 24 -December 3, 1966 University of California, Los Angeles ,California and May 28 June 3, 1967

ALMA M. HAWKINS, Project Director

The work reported herein was performed pursuant to a contract with the United States Departmentof Health, Education, and Welfare, Office of Education, Arts and Humanities Program, Contract OEC 4-5-062061-0966. Contractorsundertaking such projects under Government sponsorship are encouraged to express freely their professionaljudgment in the conduct of the project. Points of view or opinions stated do not, therefore , necessarily represent official Officeof Education position or policy. In this twentieth year of publication ofIMPULSE The Annual of Preface Contemporary Dance, we are honored to presentthe Report of the Developmental Conference on Dance, sponsoredby the UnitedStates Office of Education, Arts and Humanities Program.The contents of this volume are in direct accord with theconsistent and reiterated commitment of IMPULSE: to enlarge theframe of reference of dancers, teachers, and interested laymen; toconsider dance in relation to the individual and society; tocontribute to the literature of dance by publishing essays byqualified persons directed to the chosen topic of each issue. The subjectshave been varied aui vast. Lest anybody conclude that IMPULSEhas been making "cosmic legislations," to use Korzybski's term, wehave dated each year's book and have pointed out that at thistime this is what these indivi- duals have thought about this particularsubject. In retrospect, it is both interesting and reassuring tonote how many of the essays have become "classics" orcollector's items. Of course, we are talking about only twenty years!

In an evanescent art, duch as dance, evenwith the great strides that are being made innotation and in film, much of the"time-binding" must be done by the printed word.Words, indeed, have evocative power in our verbalculture. But our very over-verbalizationhas contributed to some of our presentdifficulties. The current rather desperate search for "sensory awareness," onthe part of adults from 18-60 and beyond, the yearningof adolescents andyoung adults to "turn on," and the deepdisappointment and unease of parents on seeing their children "turnedoff" in school all give evidence that the people have been cheated or havelost something very early in life an important partof their individual human heritage. What can dance do about it? That is whatthis book is about. Forty- five persons from the fields of dance,education, music, notation, criticism, psychology, philosophy, andbiological science worked long and devotedly for a total of seventeendays wrestling with this problem.I was privileged to be there and see ithappen.

IMPULSE 1968 is addressed to the futurea projection of potential. It is our hope that these "more" wordsabout the art that disappears into thin air will serve as an architecturalblueprint for action. \ San Francisco, March 1968 DEVELOPMENTAL CONFERENCE ON DANCE

Washington, D. C. - May 25-28, 1968

Congressional Hotel

PARTICIPANTS: Helen Alkire, William Bales, IrvingBrown, Jean Erdman, Margaret Erlanger, AlmaHawkins, Elizabeth Hayes, Charlotte Irey, LouiseKloepper, Eugene Loring, Dorothy Madden, Nancy Smith, ShirleyWimmer.

PURPOSE OF CONFERENCE

As a final phase of the two-yearproject (Developmental Conference on Dance) a group ofadministrators from dance departments in major universities cametogether so that they could discuss immediate curricularand departmental problems, share ideas about standards andpolicies, and think creatively about ways to implement the conference report.

SUMMARY OF DISCUSSION

I. Screening dance majors.

1. Appropriate screening process is desirablein order to maintain qualitative standards.

2. Require some kind of assessment (amoving-dancing experience) which is related to objectives of the program. Screening may vary according to the student's specific focus,i.e., ethnic, therapy, etc.

3. Have an advisory interview with allincoming majors.

4. Advise placement in the program on thebasis of the interview and movement assessment.

5. Make regular evaluations of student's progress and overall growth, i.e., the end of thefirst quarter, first year, second year, etc. Discuss evaluation with student. 2

6. Screening and placement criteria should include (in addition to movement and creative competence):

(a) Kinesthetic sensitivity.

(b) Potential for aesthetic growth.

(c) Intellectual capacity.

7. Dancing potential should be assessed in various ways. For example:

(a) Show a dance.

(b) Follow a phrase of movement.

(c) Perform basic movement skills, i.e., plig for legs and feet, etc.

II. Orientation for new students.

1. Have a meeting for all majors with emphasis on interpretation of dance program.

2. Use visual materials to show the sequence and relationship of experiences.

3. Make available a "major handbook" with information about the department, curriculum, performance opportunity, etc.

4. Provide materials which students may use asa checklist.

III. Faculty - student relationship.

1. A student advisory committee could assist with curricular planning and departmental policy.

2. Schedule workshops where students may show dances.

3. A regularly scheduled day or time when students plan their own program, i.e., technique, improvisation, films.

IV. Major curriculum.

1. All students, regardless of long range goal, should experience a "common core" (we did not establish how much, but supported the idea of flexibility). 3

2. Problem of time for depth study and preparation for specialization should be studied. We may need to approach this problem from several angles.

3. Dance should be viewed as having its own"academic" base.

4. Curriculum should start in the department and then extend out into related areas.

5. A revision of general requirements couldbring freedom and greater motivation:

(a) Some areas could be integrated with dance major courses, i.e., science with kinesiology.

(b) New groupings and organization of general college courses could be made more meaning- ful and economical.

(c) Consider the possibility of placing all breadth requirements in one large "hopper," This could include courses in related arts, and large blocks of independent or indi- vidually planned courses.

The department would establish the number of courses required out of department. The advisor and student would draw from the "hopper" in relation to his motivations and future goals.

Courses may be more appropriate at upper division level. Could make use of "experi- mental courses."

This kind of a plan could provide more meaningful breadth education and at the same time contribute topreparation for graduate specialization, and thus be more economical.

6. Language requirement at the undergraduate andgraduate levels was not resolved. Several felt that languages should be required. They do have relevance to certain areas of graduatestudy and research. 4

7. Conclusions on curriculum:

(a) Basic core for all.

(b) Find a new approach to general education.

(c) Utilize breadth requirements as anavenue of preparation for graduate specialization.

V. Proportion of courses in dance, arts, and breadthstudy.

A tentative percentage for B.F.A. and B.A. degrees was suggested:

B.A. B.F.A.

Dance Courses 40% 50%

Related Arts 20% 20%

Breadth (language, 40% 30% history, litera- ture, sociology, science, etc.)

VI. Ballet in the curriculum.

1. Present time requirement of ballet inour programs varies from one semester to fouryears. Classes meet two to four times a week.

2. Ballet should parallel study of modern dance.

3. Some question about best time to introduce ballet: should majors get acquainted with the department goals and modern dance before starting ballet? Some felt that ballet should start with the first year.

VII. Choreographic thesis.

Requirement of a written reporton choreographic thesis was questioned. Some believed that the choreography should stand as the thesis. Others felt that there is value in doing the written report but agreed that it should be handled in a flexiblemanner.

VIII. Relationship of repertory works to original works. 5

1. Agreed that repertory works have real value for the student. They give experience with other people's choreography and a feeling for form.

2. Agreed that increased use of repertory works must not diminish the emphasis on students' original work and opportunity to present dances in the theater.

IX. Performing groups -- touring and fees.

1. Favored the idea of touring if appropriately scheduled. Can be a good learning experience. Students could teach master classes and talk with students in local situations.

2. Any profits may be used for scholarship funds.

X. Professional or repertory company.

1. Agreed that the department should be clear about the role of the company in the institution.

2. Clear definition of relationship of company to the department should be established -- budget, artists, students, policy making, etc.

3. Our current needs may be met best through a performing company that develops out of the department. Visiting choreographers could Ise related to the company. Could consider possibility of short term residency for visiting company.

4. Agreed that basic financial support should be provided in the university budget. Use as an example the support provided by resident music companies.

Plans should be initiated by the dance department. We must find sources of support in the comnunity. Need to study the regional ballet patterns and explore ideas with American Association of Dance Companies.

XI. Plan for mixed media.

1. New facilities should provide for full functioning of mixed media, i.e., film projection. 6

2. Consider possibility of inter-media group to serve several departments. This group would have no responsibility for teaching.

3. Explore the idea of joint projects with other departments.

4. Interesting projects can be mounted with "found things" until funds are made available.

XII. Faculty load.

1. The contact hours for faculty in our universities varied from 27 hours per week to a sliding scale related to rank.

2. Need to work toward decreased loads and a pattern in keeping with other departments.

3. Load should include time for various responsibilities, i.e., production and thesis advising.

4. Studio classes should be equated with other academic classes.

5. Schedule should provide time for faculty to do research and choreography.

6. Should work toward load criteria that is in use on campus, Four courses (12 contact hours) seems like a full load for Assistant Professors. Associate and Full Professors may have fewer contact hours, but assume other responsibilities, such as thesis supervision.

7. Tenure faculty should have some contact with lower division students.

XIII. Faculty responsibility.

1. Faculty in the dance department should assume respon- sibility on all university committees. This role is important for faculty growth and departmental involvement in the university.

2. Faculty who want to perform and tour should be encouraged to do so, and some provision should be made for this kind of personal development. How- ever, the individual's personal experience should not be allowed to interfere with continuity of teaching responsibility and class experiences. 7

Administrators and faculty should develop a clear policy on faculty performance and relation- ship to departmental responsibility. New faculty should be made aware of the policy.

Major students should know the department's policy on their participation in non-university dance companies in the community.

XIV. Musicians.

1. Musicians' load in our various universities ranged from 15 to 40 hours per week.

2. Must work toward a schedule that is appropriate for their professional background.

3. Salaries must be improved.

4. The musician's position should provide creative opportunity and challenge.

5. Should use less experienced musicians for general college classes.

6. Consider using students from the music and percussion classes, also instruments other than piano.

7. Need to develop a working relationship with the music department.

XV. Dance in the liberal arts curriculum.

1. Dance should be available for all students.

2. Dance should be included in liberal arts requirements.

XVI. Fine Arts Major.

1. Fine Arts Major seems desirable and worth exploring.

2. Curriculum probably should have depth in two areas and some work in other departments.

3. Such a major could be a partial answer to need for teachers in the arts for elementary and secondary school. 8

XVI. Certification in dance.

1. Suggested ways to work towardcertification approval for dance:

(a) Become acquainted withcriteria set forth by the State Board.

(b) Establish justification by relating dance major requirements to State criteria.

(c) Work with the Dean of Education on campus.

(d) Contact members of the StateCommittee.

(e) Meet with chairman of StateCredential Board.

XVIII. Relationship to schools.

1. Some felt that we should setstandards for Physical Education dance teachers.

2. Work toward getting dance recognized as oneof the arts in secondary schools. Contact administration, provide workshops, contribute to"ehrichment" programs.

3. Need to develop courses in dance departmentthat provide preparation for dance in theelementary schools. Must "find a way" into the schools.

XIX. Dance in the community.

1. Should relate to the community andparticipate in current urban programs.

2. Work toward new admission practicesthat allow certain percentage of talented students whodo not meet usual requirements to enter university.

3. Examine our dance programs. Do we include content on ethnic groups,i.e., history of Negro dance?

4. Appoint ethnic people to faculty. Contents

ii PREFACE Marian Van Tuyl

v INTRODUCTION Alma M. Hawkins

7 MANIFESTO

AN EXPANDED FRAME OF REFERENCE FOR DANCE

9 DANCE IN PERSPECTIVE John Martin

15 THE EXPRESSION OF FEELING DT DANCE Susanne K. Langer

29 CREATIVITY Frank Barron

39 MUSIC AND DANCE Betty Walberg

51 TIE BIOLOGICAL ORnANIZATION OF MAN TO MOVE Valerie Hunt

DANCE IN EDUCATION FOUR STATEMENTS

65 STATEAENT I Jean Erdman

69 STATEMENT II Alwin Nikolais

75 STATEMENT M Patricia Wilde

77 STATEMENT IV Josh Lim On 86 DANCE FOR ALL CHILDREN A Statement of Belief

88 THE PLACE OF MEN INDANCE

96 THEORETICAL CONSIDERATIONS Improvisation; Inner Impulsefor Movement; Form; Artistic Growth; QuestionsFacing the Teacher; Aesthetic Experience Alma M. Hawkins 97 A LOOK TO THE FUTURE

98 CURRICULUM MODEL

101 THE UNDERGRADUATE DANCEMAJOR CURRICULUM Movement Study What Kind and How Much? Core of Study Ballet and Modern Dance Related Arts Plan of Study for the Individual General College Requirements The Prospective Teacher

112 THE PROFESSIONAL DANCECOMPANY IN THE UNIVERSITY

118 GRADUATE EDUCATION Patterns of Study Thesis Requirement Certification of Teachers forSecondary Schools

122 FACULTY

124 STANDARDS Selection of Students Dance Department Minimum Standards

131 RESEARCH

134 SUMMARY The Last Session

135 APPENDDC A Short-Term Projects

135 APPENDIX B Work Group Reports Dance A Four-Dimensional Art Movement Form Artistic Growth Intellectual Growth

149 APPENDIX C Participants v

Introduction

The professional dance artist, artist-teacher,and special fields having implicationsfor dance, and administrator now have the opportunity to bring then led discussions. The participants weredivided about major changes in education that couldhave into small work groups whichassumed the respon- profound influence on the growth of dance as a per- sibility for preparing reports on thetopics: Dance forming art and the aesthetic education ofstudents. as a Four -DimensionalArt, Movement, Form, New major curricula are being established, more Artistic Growth, and Intellectual Growth.General theatre dance productions are available tostudents, discussions,including the entire conference group , and colleges and universities have a closer re- were an important partof the proceedings. lationship with professional artists than in any previous period. Innovations will lead tosignificant Phase II was concerned with theconstruction of and lasting developments only as they are based on a blueprint forthe twenty-five year projection of performing art and of dance undergraduate and graduate major curricula.The a vision of dance as a and per- as a medium foreducation. relationship of the professional artist former to education was a central issue,discussed The idea of a developmental conference ondance at length after four statementsby dance artists. was born out of therecognition that, in this period of rapid change, dance educators who mustmake The task was a large one and the time wasshort. critical decisions that affect the future ofdance Our work was directed, primarily,toward thinking needed an opportunity to discuss basic issues. The through basic philosophic issues whichdetermine leaders in the Arts and Humanities Program , Office policy, and sketching out implicationsfor curricu- of Education had been engaged indevelopmental lar developments, teaching, andresearch. projects in music, art, and theatre.They were also concerned about the unique needs ofdance, so, This report reflects a deep concern aboutthe quality with the support and assistance of KathrynBloom, of the dance experience, a determinationto make birector, and Jack Morrison, Theatre Education the creative dance experienceavailable to students Specialist and Acting Dance Specialist , the develop- at all levels of education, asincere desire to find mental conference on dance became a reality. effective means of relating dance ineducation to the mainstream of dance as aperforming art in The primary goal of the project was tobring to- our society, and acommitment to dance as an aca- gether a representative group of experiencedand demic discipline which provides variedpatterns of knowledgeable artists, scholars, and educators to graduate study supported by artistic andresearch explore together the role of dance in education,and achievements. to evolve a point of view that wouldgive direction to the immediate as well as the long-rangecurric- While participants dreamed of theideal, they were ular and research developments in dance. aware of existingproblems.Educators are ex- pected to initiate new curricula,further creative The conference was carried out in two phases and research endeavors, and establishfunctional first, November 24 December 3, 1966, and sec- relationships with professional artists.New dance ond, May'28 June 3, 1967. The specific purpose departments must pioneer unexploredpaths in a of Phase I was to conside 4 the role and natureof complex academic world, despite theshortage of the dance experience in education and todevelop qualified faculty, inadequate budgets,insufficient curricular guidelines.The program began with space , and lack ofappropriate theatre facilities. in speakers on dance, philosophy, creativity, move- Nevertheless,the building of a dance program ment, and music, who presented ideasfrom their keeping with the dream was the primary concern of the participants,and to that end we worked. wisdom,experience,and aspirations,and made our work together a success.They came ready to share As a result of being deeply involved in a common ideas and to plan for the future. Throughout the task, something important happened to each of us , conference there was an openness to ideas and a and to the group. Our understanding grew and our dedication that was truly remarkable. skill in working together improved. These human intangibles may not be apparent in a printed report , My sincere appreciation to the Advisory Com- but I suspect that they will be reflected in our lead- mittee William Bales, Jean Erdman, Dorothy ership during the coming years. Madden, and Ruth Murray for their constant support and wise counsel. As coordinator of the conference, I want to express our deep gratitude to the Arts and Humanities My thanks to Tamara Comstock for the many hours Program for making the project possible; to spent in transcribing conference tapes and for Kathryn Bloom and Jack Morrison for their sup- assistance with the shaping and editing of the final port during the planning stages and throughout the manuscript. project; and to Irving Brown, successor to Jack Mo-rison, for his generous assistance in program And lastly, my sincere thanks to Marian Van Tuyl, planning, and guiding the project to completion. Editor of IMPULSE, for assisting in the editing, and for publishing this report as a special issue of I wish to acknowledge the splendid contributions of IMPULSE. all the participants who gave so freely of their ALMA M. HAWKINS 7

Manifesto

The purpose of education is the full realization of the total manand his understanding and communication with others. Art experience is an ingredient of that total realization. This ingredient in dance is a unique, non-verbal revelationof an aspect of living.

Incisive and specific information from the behavioral,medical, psychological, and social sciences is providing us with the strongest evidence that dance as abasic art is vital to the development of the whole individual.In our period of rapid change and fragmentedexperience, the development of the whole person becomes increasingly difficult.The education of the senses and the objectification of feeling through the arts provide one way by which man isable to know himself, and to shape and bring order to his world.

Most educational systems at the present time do notafford an opportunity for growth in these areas. For that reason, we, the participants in theDevelopmental Conference on Dance, believe that dance should become an increasingly integral part of societyand, therefore, of education.

There should be:

The opportunity for every child, male andfemale, to have a dance experience.

A skilled dance teacher in every school at everylevel.

Space and time and the financial support necessary todance education.

Available resources (;uch as films, books, recordings,and notation.

Exposure to the best of all types of live danceperformances.

An honors program for the gifted individual.

The climate and conditions that will interest menin dance as an avocation and profession.

Representatives of dance in education on allcouncils, boards, and faculties dealing with the education of our people. AN EXPANDED FRAME OFREFERENCE

. s. V- / ..t A

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,8.2,100r- Left to right: Selma Jeanne Cohen, Alma Hawkins, Shirley Wimmer, ThomuWatson, Joan Woodbury, Jack Morrison 9

FOR DANCE Dance in Perspective

JOHN MARTIN

The dance is so newly arrived among the respect- sponsors of the creative practicelet me repeat, able arts that when you undertake to talk about it, PRACTICE of the dance. it becomes necessary to make clear at the start just what it is you are talking about. There are Do not misunderstand me;I am not advocating passionate advocates of classic dance, modern, academic-mindedness toward an activity that is in ethnic, social, folk, religious, ritual, tap, jazz, its very nature non-intellectual, spontaneously ex- rock 'n' roll, each with its own technical concen- perimental, irratiodal (if you will) and altogether trations, vocabularies of movement, and so on; and "psychosomatic. "The universities, indeed, have much blood and venom are expended in exalting each no monopoly on academic-mindedness; neither do of them severally and denouncing the rest of them they demand it as a prerequisite by any means, in collectively. What is ironic about the situation is spite of their reputation to the contrary.In no that they are all the same thing; or at least mani- other field of public activity has there been any festations or perhaps specialized corruptions comparable recognition of the essential nature of of the same thing. the dance.I am speaking now of the best of them, the freest, those with the greatest sensitivity to It is that "same thing" that I am going to talk about; contemporary creativeness. By divinely ordained let us call it simply basic dance.It is not new or fortuitousness, dancing came in by the back door old, pretty or ugly,,uplifting or demoralizing; it has the Physichl Education Department. Where else no standard technique and no vocabulary. It is not could it have escaped the Pauline interdiction of the even itself an art, though it is the basis of all art; body as "vile"? For it is an art of the body the it is an animal function, comparable loosely to di- whole body,,including the instrumentalities by which gestion, and just as vital.Even in its manifestations it acts.Because of the increasing perception of its as art it has no history; catalogues of artifacts do nature and potentialities, it has gradually managed not constitute histories.Like digestion, it operates to work its way upward from Physical Education in relation to immediate circumstances, and any into a sphere of its own. If it had been invited into historical approach to it would necessarily be in the academic community in one of the more high- effect the history of the circumstances that have brow departm ants music, for example, which caused it to function. The dance has no independent is the most predacious of all the arts it might life that can be isolated and examined under the never have been able to work its way down to its microscope, dissected and analyzed.It does not own medium, the body, and it would almost cer- grow; it simply rises to the occasion in times of tainly not have a department of its own by now. necessity.. As a matter of fact, the university offers deliver- In a "developmental" conference on dance, such as ance to the dance from its own kind of academic- this, then, it is not any development of dance that mindedness,which is not to be underestimated. can be discussed since it is incapable of develop- There is a whole school of thought that threatens ment; the development must concern the ways and the dance from within on these lines.It considers means of making this uniquely valuable animal that no type of human activity has entity until it is function more easily recognized, better understood codified. Once this is done, it can be "understood," in all its art aspects, and more widely and skill- and filed away neatly for future reference, when, fully applied.It is only in the last generation or as and if necessary.It has become a part of two, since the universities have championed it, that "knowledge." Check. Attention can then be turned it has begun to acquire status, and I am confident to new fields of activity to be reduced similarly to that ultimately it will attain a rank of respectability impotence but acceptableness in the filing cabinet. equal even to that of digestion.My only proviso is that the universities become increasingly the The so-called "classic" ballet more accurately, 10 the academic ballet, or, if you are a realballeto- those other Facts , such as that the Puritans were mane, the "dansedqcole" is the form that falls against sex, though not one of them who had not most obviously into this category.Every truly died in infancy ever had less than eighteen children. creative choreographer within its rankswho has dared to approach it from an unorthodoxangle But facts are so much more objective thanexperi- from Noverre to Fokine to Balanchine has been ence; end-results are so much morefile-able than incarcerated in the doghouse pending, of course, process. Yet life itself is process ,and not facts , the day of his eventual deification uponthe accept- and its end-result is inevitably nothing more nor of my ance of his onceintolerable heresies as, in turn, less thar death. And that is really the theme standard. One hears often and often(sometimes sermon this evening. under surprising circumstances ,including a recent session in a UCLA Extension seriesof lecture- The very concept of THE Renaissance is acurious demonstrations , when nobody could riseand shout one , beyond thepossible point of accepting the "No! No! ") that the ballet is the trueand exclusive imagery of the word as referring to what wehave foundation of all the art dance of theWestern World, come to call humanism , orthe rebirth of antiquity including the modern dance. a distinctly questionableattitude in itself.If the concept means rather the flourishingand progress - Now, the earliest date claimed forthe ballet is ive awareness of peoples , we must acceptalso this 1489 (and that was =rely an elaboratebanquet at ever-expanding creativeness as the naturalstate such as the which courses were introduced anddramatized, if of man; those periods of catastrophe, you will, by superficiallyappropriate entróes of Hundred Years War or the Black Death orthose dancers Jason of the Golden Fleece withthe roast long and disintegrating centuries inthe West when lamb, sea deities with the fish, Hebe withthe wine, Rome was yielding to the so -called barbarians, be seen as etc.It was perhaps the first more orless formal- which we call the Dark Ages , must ized approach to the practice that had grownfairly merely interruptions of this state and this process . these Dark common on a smallerscale throughout 'the Middle And it is worth remembering that even Ages.) Anyhow, taking it at its facevalue, that Ages were the very centuries when inChina painting estimate of priority is pretty tough oncontributions rose to new heights inthe T'ang Dynasty, , when of earlier centuries , including theGreeks' efforts printing began to evolve, when thebrilliance of the some 2000 yearsbefore. Sung Dynasty was dawning.

Such a claim, however, is just anexample of what Such interruptions as occur throughout ourhistory,, compensated for we might callRenaissance-itis. You will recall dark as they are, are more than that the Renaissance did not startuntil 1453, when in the resumption of thenatzral progression by Constantinople fell and all the scholars whohad those periods of heightened activityand produc- taken all the books about the ancientcivilizations tivity, which make up a normal cycleof recurring of Greece and Rome to the Easterncapital with renaissances. We are either too close to it ortoo for Constantine, nowmoved them back to Italy.This susceptible to Renaissance-itis to realize that happened, I believe, on a Tuesday in August at the last hundred years we have been inthe midst of about 11:30 A.M. Obviously the foundationaldance a renaissance of perhapsunprecedented richness of the Western World could not have beenstarted and are at this moment in the full swing of it.(And and the real- before then. I don't mean the "cultural explosion" estate-sponsored supermarkets of the arts going Actually the Renaissance, THE Renaissance, was up everywhere.) never heard of as suchuntil 1840, when for the by Jules But Renaissance-itis is not the only aspectof this first time on record the word was used d'cole is Michelet.(Did you ever wonder how the Italian passion for codification, and the danse Renaissance came to be referred to almostuniver- not the only field that suffers from it.The so-called sally by a French name?) Twenty yearslater the modern dance itself is in the throes ofembalming Swiss Jakob Burckhardt wrote abook inGerman on itself in the filing cabinet.Its two incomparable the subject under Michelet's namefor it, and some revolutionary figures ,Isadora Duncan and Mary years later JohnAddington Symonds wrote an even Wigman, have been reduced to a slogan ortwo, they did; more exhaustive work inEnglishand we were all and nobody seems aware at all of what set with THE Renaissance. Ithad all been codified while the personal creativeness of its mostpotent for us; we had a Fact to file away along with performing and choreographing artistsis being 11 codified into systems and vocabularies to be sub- miraculous thing called the bodyto treat it simply stituted for creative compulsion, passion and pro- as an instrument to serve our pleasuresand per- ductiveness. If the movement of the modern dance form certain other rather vulgar and nasty functions is not creative in itself, no possible arrangement not to be talked about in polite society. But pretend of it can make it so. I's original and fairly world- as much as we choose, the exact reverse istrue; shaking concern with the otherwise inexpressible the body is not the servant but the master who gives realization of the individual's specific relationships the orders,and all our precious "higher" life exists to his environment has been diverted into synthet- as the result of our visceral demandsand for the ically reconstituting andre-arranging the ashes of sole purpose of protecting and aggrandizing us as codified movements while the flame and the fuel animals. of the doing are allowed to go up the chimney. There is a great difference between movement, When these demands are for any reason not to be the substance of the dance, and movements, its satisfied in the immediate environment by this residues.Modern dance has begun to look with wonderful superstructure we have evolved for the horror at personal commitment, at the ideaof purpose and most of them, to be sure, can the transfer of experience.It is yielding to the con- result is a psychosomatic malaise , which is a fancy temporary trend of denial of the body, which has way of saying a stirred-up statecommonly known become more and more merely the servant, the as emotion.To allow it to continue unassuaged executant of ideas a development which would no would be to deny the vital animal drives of main- doubt have made St. Paul extremely happy. tenance and increase , to imperil our very existence and what might be called its teleological justifica- Here is an academic-mindedness from which only tion. It becomes necessary, , therefore , if the actual the universities can deliver us by their commitment environment does not yield, to supply a synthetic to the understanding and practice again let me environment which will, so that the malaise can be repeat, PRACTICE of basic dance, which in- quieted, the emotion resolved. And this is how art cludes, indeed consists of, experience of the body. comes into the picture. Art issimply the providing of a temporary, appropriate, synthetic environ- Let me explain, with great over-simplification, a ment in which harmonious functioning canbe re- little more of what I mean by basic dance in this stored an objectification, as it were, of the ideal sense . solution of a particular frustration.

For all our concern with what we call the "higher" The greater the pressures of our complex society, lifeintellectual, philosophical, artistic and what the greater the frustrations of the basic drives , you will we are nevertheless animals ,and as hence the greater the need for art, the greater its such have evolved all these so-called spiritual ac- frequency of manifestation, its breadth of accept- tivities quite functionally for our own preservation ance, its range and depth ofquality and effective- and advancement as animals. ness in short, its inevitability.

The pattern was set in the dateless darkness of the Movement, which is the very essence of the pri- "primordial slime" by a little hunk of highly tonic mordial protoplasmic tonicity, in which alone it protoplasm, activatea by the twin drives of main- finds itself in function, remains the first natural taining and increasing itself.When, if ever, we agency of response , and is the mediumin which understand where that tonicity came from , we shall this rectifying process called art first manifests understand what life is.(Better not wait.) What itself.In the hierarchy of the arts, then, dance is important is that by its existence and persistence rises first to the occasion in times of necessity. in obeying the built-in urgencies of survival and mastery, it and its progeny down the ages have When it rises to the immediate personal necessity evolved bit by bit a remarkable series of mechan- to an individual '8 especially focused psychosomatic isms and instrumentalities which we take quite for malaise it results in personal art; when a great grantedlevers,periscopes , reachers , graspers , period of dance occurs , it is the rising to the press - s miters , biters , ffee-ers , senses , nerves ,brains, ing occasion of the times. coordinatorsby means of which it is possible to exist in an environment and conquer it. In our ad- A striking illustration of this occasion-at-large is vanced, cultivated, refined and sophisticated era, the Renaissance. (If we accept the conceptof THE it has become accepted practice to denigrate this Renaissance for the sake of discussion, we may

1 as well accept other over -simplified concepts of mystery, fantasy, adventure, even religiosity, that grow out of it, for their convenient, if by no in terms not of the Latin and the formalities that means literal. truth.) Actually the dancing of the prevailed in both church and court but of the simple Renaissance did not take on the form of art until it speech and feeling of the people, with their undis- quit being play thIlt is, self-entertainment; until ciplined extravagances. It was here that the ballet the amateurs of the courts quit amusing themselves reached its greatest heights. Make no mistake, it and began to practice it for the pleasure,edification, was no desire for acrobatics that drove the balle- enlightenment what you willof the spectators. rinas to dance for the first time on the tips of their The qualifying difference between play and art is toes; it was a natural yearning for the body to rise that play is satisfied with the experience itself, to the "spiritual" purity of the unearthly realm in- while art requires a spectator for the projection of habited by airy sylphides and wilis, and altogether the experience before it is complete. suitable to those idealized (and generally foully mistreated) young maidens who were the epitome The urgings of the amateur court dancers ball- of the art. room dancers, we would call them were deeper, , however, than mere self-amusement.They had The Industrial Revolution brought about a revolt not realized (no doubt on that Tuesday morning in against the petrifactions of academism, but against August, 1453) that they were no longer browbeaten the even more stultifying effects of the machine: wretches, constantly being branded iiS miserable men, women and children transformed into ma- sinners whom an angry God would inevitably punish; chine-tenders in order to make possible the mass who had no minds of their own and whose vile bod- production of hideous "conveniences"; urbanization ies should be treated with contempt, denied and and the overturning of proven concepts of the home, scourged. Suddenly under the impact of humanism, women in business and in politics, and so on. they were able to see themselves as essentially noble, free-minded individuals entitled to assert So we find weight put into the other side of the bal- and enjoy their individuality without penalty. The ance: William Morris and his passionate revival only trouble was that what they saw when they turned of handicrafts; art nouveau (which was not as foolish from these visionary truths to physical reality was as its present upsurge would lead us to believe); not encouraging. Though the princes among them the theatre of Craig and Appia and Stanislavsky; largely condottieri and the like had sumptuous the architecture of Sullivan and Wright; the revival palaces and rich apparel, they did not have the of folk dancing in Sweden and England and Hungary; requisite nobility of person, the manners, the ele- the revival of the Olympic Gaines; dress reform gance to match them. To rectify this situation they for women; Delsarte investigating with meticulous very logically called in dancing masters to remove care the relation of gesture to experience; and so their loutishness to teach them how to move in through all the arts. their shoes with points three feet long, their gowns with twelve -yard trains, their panniers, their In Isadora Duncan came the glorious climaxa swords, their headdresses weighing pounds upon stripping away, actually and metaphorically, of pounds. The urge bcneath their dancing, in short, bustles and corsets, shoes and stockings; the re- was a vital one to find and dlare their innate veal ag of woman as woman, bodily and spiritually; elegance and authority, and rise above their state no ethereal wili inhabiting graveyards and heaven- of fear-ridden animals. ly spaces, no grossly traduced maiden dying of heartbreak; a return in essence if not in intent to It is perhaps significant that in evehry great revo- Rousseau and the long line of philosophers dating lutionary period of the sort, man has been moved back to the Reformation who had been the prophets thus to find his real nature and redeem it from of the great political overturnings at the close of captivity to enslaving practices of whatever sort. the 18th century; a "natural" woman to match a The Romantic Revolution turned its back on these "natural" man of Whitman; a complete abandon- hard crystalizations which the 18th century the ment of prescribed systems of moving and vocab- Age of Reason through its encyclopedists and ularies of movement, in favor ol what has been academi:!s had made of the polished and elegant called "natural" movement (somewhat erroneously,, practices which had seemed so liberating in the since we do not go about skipping and tripping and Renaissance. Inevitably it turned now to a nostalgic waving the arms in life), but at least movement desire for the age that the Renaissance had des- that was not alien to the body's totality and was not troyed, and went all out for a neo-Gothicism, full plastered upon it from the outside. 13

On the basis of this revolution, the whole modern of this process to an outside agency, the body, dance was evolved, responding consistently to the the human entity, will cease to grow, and indeed, changing forces about it, and having expended its through disuse it will gradually atrophy. magnificent energies to the fulfillment of its own ends, died. It is futile to try, as we are now doing, It is possible to envision,in a combination of science to extend its life arbitrarily by allowing its once fiction and horror story, the ultimate shrivelingup vital practices to become classicisms by cherish- and disappearance of the entire superstructure of ing residues and attempting to manipulate them. muscles, nerves, brain, bony levers, graspers, We might as well attempt to create in terms of walkers periscopes, until the body, the human en- sylphides and wilis without the urgency that once tity, has become simply ahunk of tonic protoplasm gave them validity. existing like a kind of oyster on the half-shell, with no mechanisms left but flippers to turn switches Already, indeed, we are in the thick of a new rev- to activate computers. olution, the Electronic Revolution, and what will shape the dance of the new era will be the instinctive Already, without the computer, we have arrived at reactions of the body to these new pressures. That perilous crises of "progress." Ever since I have it will be a vital era is beyond doubt, for the battle lived in Los Angeles it has been frighteningly ap- will inevitably be a fierce one. parent to me that sooner or later people would be born without feet or legs, because the environment The problem that faces us is exactly the opposite of will have rendered them superfluous. We already that which faced the men of the Renaissance.Theirs live in a machine called a house, with everything was to become nobler men; ours is to become better built in and electrically operated, and with wall-to - animals. For the computer is here and the com- wall-carpet apparently growing out of the concrete puter is the enemy of the body.Its function is to floors like fungus.From there we step into a mov- by-pass process and arrive at end-results. But able cell called a car, press a button or two and life is process, and is not concerned with end- pass into a limbo of absolute nothingness but noise , results; indeed, its end-result can be nothing but speed and confusion called a freeway, until we ar- death. rive at another machine called an office, where we perform certain largely mechanical and electronic A year or so ago there was a picture in the paper routines before reversing the process and returning of a little girl dialing in on a computer which would to the home machine.If you try to walk, you may give her the answers to her school problems. In actually be armsted; at best, the warm-hearted the learning process, however, it is not the correct Angelenos will consider you slightly mad and insist answers that are educational but the process of dis - on transporting you in their cell to wherever you covering them.Similarly, we do not live simply want to go, even if it is only across the street. for the purpose of dying; if so, we do not need a (Whether this is to keep you from having to go to jail computer to bring it about. or to protect you from being such a "square" as to persist in the use of those obsoles cent feet and legs, It is the body ultimately that has created the com- is not clear; but at any rate, it is kind.) puter, an instrumentality quite outside itself; and this it has done for exactly the same purpose that There is no community; only an aggregation of iso- has led to the evolving of all its superb personal su- lated individuals who do little more than see each perstructure through the ages; namely, to serve its other lut of car windows en passant.Naturally, basic drives to live ever more fully and command- nothing of what we call euphemistically a cultural ingly.Now having created this new and detached life cm come into existence,for culture is a racial, handiwork, the body must assert its authority over a tribal, a communal development. We seem quite it,just as it must assert its authority endlessly over content to satisfy our cultural hungers in solitude its self-integrated personal superstructure. by means of radio and television, usually while we are reading or washing dishes.Obviously we are The fact of the computer's detachment is crucial; on the road to the oyster-on-the-half-shell state, for it is designed to take over much of the process and with the computer now in the picture, it need of the self-integrated superstructure of the body not be long.Perhaps, to be sure, all this is actu- itself and without paying anything back. Since it is ally progress,and resistance to it is only inertia by process that the body, the human entity, lives a disquieting thought. and grows, it is inevitable that with the removal But to snap out of this ghoulish romanticizing, the place, without either defying gravity or turning off problem is a real one.I am not advocating the the water, and in action rather than with the inert- sabotaging of the computer, by any means, for it is ness of non-participation. It is a state not incom- a remarkable invention of yetunrealized potenti- parable to that tonicity of the viscera which is the alities.Also, since it is the product of our own root of life. animal drives, it is not to be rejected lightly. And it is of manifest practical value even in these early Since the computer is designed to take over from stages in abolishing the wasteful ordeal of meaning- the body and deprive it of process, only the body, less mental and physical drudgery, much of which which is its creator and master, can oppose its we have outgrown and canrr cprofit by further. usurpation.To the degree that it is beneficial in removing drudgery it must be embraced, but But if we cannot and must not wipe out the computer, , the point of equipoise must be recognized and es- neither can we yield to its automatic assumption tablished. of the role of our synthetic mind. As in all the practices of living, we must find a balance,for The pressing occasion to which the dance must now harmoniousand creative livingdemands .112e arise, then, is the preservation of the body, the achievement of equipoise the recognitdon and re-assertion of its primacy as the instrument of acceptance of all forces , playing themconstantly living, the making of ourselves not more detached, against each other so that oppositions are neutral- introverted and metaphysical, but better animals ized in what amounts to positive collaboration.It with awareness and pride.Art is not whipped is as if we were consciously a ball in a fountain, cream on thebreid pudding;it is a function of pushedupward by the water and pulled downward by living.It is concerned not with beautiful thoughts gravity,, sothat we remain substantially iii the same but with animal drives.

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The Expression of Feeling in Dance

SUSANNE K. LANGER

I don't think that dances should be made by first be called "biological existence," "biological his- thinking about what you are trying to do and what you tory." It takes in rather more than just one's own are trying to make, in words .That isn't the way body feeling, or self- consciousness , because it artistic thinking works. That is what I am going to is more complicated than that. So it is not nat- talk about. There are a few concepts that I would ural history, but only human history, which is a like to make clear: feeling, projection, subjective pattern of feeling, of "felt life." and objective, and intuition.I don't think you gain very much by having one person's definition of We come to the first vague, and very vaguely used concepts of such importance in words which have term, "feeling." When people speak of expressing meaning for that person, for then you have to have feeling they will use the synonym "emotion." By all those other words defined. Concepts should be emotion they usually mean something they can name: defined more or less as you come upon them and fear, anger, love, hope, etc. Some of these are need them. not even feelings, are not even emotions.For instance, strange as it may seem, "love" is not an Expression of feeling in dance: I think everybody, emotion. Love is an emotional relationship. You at times, talks about "expression of feeling." can love a person all of your life; you cannot have CertainlyJohn Martin did last night, without telling an emotion all your life.Love is a relationship us what "expression" meant and what "feeling" which constantly and quickly gives rise toa lot of meant.If I hadn't thought about this for a great emotions; that is, it heightens the emotional level many years and read about it, I would have had a in certain relationships that we have with human wrong impression of what he meant. beings.It is a play of emotions; it is not an emotion.

Havelock Ellis called his anthropology book THE This is one of the cases where it is very hard to DANCE OF LIFE. I noticed that Mr. Martin talked make people realize the importance of words. about this and that kind of dance, and, of course, Many people resent that kind of distinction, say it "the dance of life." There is a reason why Havelock is hair-splitting. Well, let's say I am doing sloyd, Ellis called his book THE DANCE OF LIFE.Some- as you do in high schools , and I am supposed to join how life seemed to him like a dance. Now, I would a little picture frame. The teacher says, "But that like to raise the question:in what way can life is not joined. That corner is gaping and irregular; seem to a person like a dance? Or why can it? it makes a wrong angle entirely." It wouldn't do What is there in history that seems like a dance? very well to say impatiently,,"Well,the pieces touch Obviously,,movements of history are not like human each other, don't they?" That is about the degree movements. History does not consist essentially of exactness that most people are willing to give of motions which make a pattern.It consists of their words.They kind of mean "a little bit changes, and those changes are very largely not something like that," don't they? Or, "If you know physical motion at all.Natural history, I think, what I mean." The answer is, "How should I know would not appear to anybody as a dance. It is only unless you say it?" In philosophy we have to be human history that has this quality of being a moving, hair-splitters; we have to be exact. dynamic pattern, anentity. And what is the reason ? Humanhistory, or human life, which is human his- By "feeling" I mean something broader than the cus- tory, is a pattern of tensions and release of tensions. tomary technical usage of the word. I think I come These tensions exist only for feeling.It is what closer to the popular usage here. I mean anything Henry James once very nicely called "felt life," that can be felt: the table under my hand; the di- using the term for that which a literary work of art gestion Mr. Martin was talking so much about, has to convey."Felt life" is an excellent term which we hope we don't always feel, but which we because it sums up the human version of what might often do; everything that impinges on the body and registers in our awareness.We have a way of out that that is the reason why I adopt this rather feeling the impingement of light in what we call unusual usage, letting feeling mean anything that vision. We feel the impingement of tones in a very can be felt, whereas psychologists today for the specialized way. With tones it is a little easier to most part are restricting it to pleasure and dis- see how hearing derives from feeling, because pleasure. In ordinary parlance we really have only when youhear the deepestnotes of an organ it feels two meanings which don't fit together.One is more like enjoying a vibrator, let's say, than like having "feelings," emotions, getting your feelings hearing. You no longer have accurate pitch. You go hurt, or something like that.The other is simply a little below that, and it really appears as vibration external feelings; you feel in your pocket; you feel which you feel, more than as a tone with pitch and a coin in the hem of your coat; you feel a hole in tonal quality. Yet there is a perfect gradation into your pocket. Now, that is another sense of feeling, sound,into hearing. Also,with both light and sound, tactile, or cutaneous feeling; and we feel pain.I and even with an overwhelming smell,there is a line think, popularly, we don't realize how these things where it breaks over into pain. There are very belong together. many sounds on the radio that hurt my ears .It isn't just that they are unpleasant as sounds,but the There are good physiological reasons why feeling, special senses are highly developed ways of feeling probably in a very early stage, can be divided into impacts from outside. two main classes. One, I would call "sensibility," and the other "emotivity." I am using "emotivity" On the other hand, we feel our own activity, we instead of "emotion" because it takes in so many feel our motions, not only by coming into contact things that are below the threshold, the limen of with different things. You make a gesture which emotion, but of the same cloth. Sensibility is what you don't see or feel by touch at all; you feel the we might call the peripheral feeling of the organism. whole set-up of your muscles when you are going Every organism is structured in such a way that its into action, so you have a very deep bodily feeling periphery (its skin, or even in a single cell, the cell of being set for action. You also feel emotion, and membrane) is geared for emergency action.It is you have a great many feelings that don't rise to always exposed to uncontrolled, and uncontrollable emotion, but which are emotive feelings.For impingements, and is always structured so that it instance, youcan't speak of an emotion when some- has very complicated filtering actions.It will let thing annoys you just a little bit.Say a fly annoys some influences through, but usually it processes you; you may get cross if it comes too many times, them along the way, before they ever get to the but the first time you are hardly aware of it. You inside of the organism. Therefore, its responses notice it, but it is just a little bit unpleasant. So are quick. The whole realm of sensibility has this pleasure and displeasure are included in what I character of quickness about it. call feeling.On the whole I would say that I am using "feeling" to mean anything that can be felt. So by "feeling" I mean anything that can be felt. We cannot hold anything for contemplation without pro- There is an advantage, philosophically,,in using the jecting it by means of a symbol of some sort. All term that way. When you take "feeling" in this way, our thinking requires some kind of symbolization. you can run it back into natural history, as far back We can think only what we can conceive. Now con- as you can be sure there is any feeling, so you ception is something that animals probably do not connect with all biology, and you can take that right have.I think it is a human specialty, intimately back into biochemistry. Thus you make one sub- connected with the use of symbols,which is some- ject out of life.You can take it the other way and thing animals do not do. These are all big subjects; derive all the activities of the human mind from they can be challenged; they can all be threshed feeling. All intellectuality can be derived that way, out. But I will have to ask you to take my word for especially from one of the most insistent feelings itI have been threshing them out for twenty years . we have, the feeling of conviction, when something looks logical or illogical to us.It is not a simple A symbol does not serve to indicate that something feeling. It arises out of a tremendous play of mental is here or is there, the way a sign of that thing, or activities, and it is one of the greatest topics of all that condition,would do.An ordinary verbal symbol human psychology.It is one of the great topics of represents or projects an idea. What does it mean all psychology, how this develops in human beings , to project an idea? First of all, let's look at the and probably not in any other creatures. But that literal meaning of "project."Project means to would take us too far afield.I want simply to point stick out from a level surface. We say, for in- 17 stance, a bracket projects from a wall, a horn are two expressions of it.It is in that sense that I projects from a creature's head.In so doing, a am using "expression." You will find, if you go into projecting object, orpart, oritem of any kind stands it and think about it, that it takes in the ordinary out noticeably, presenting itself more readily to sense of expression, too, but we will leave that out perception.I think that is the circumstance that at present because what I mean is what you might gives the concept "projection" its metaphorical call "logical expression," or projection of the idea value. In our ordinary speech, at least in modern of the thing.That is what we negotiate with a life, we useit metaphorically much more often than symbol. We express the logical form which is ex- literally. For instance, we project a plan of action; emplified by two different things. One is very easy we project a picture on the screen. I think it is safe to get, and the other is very hard to get, so we ex- to say that in all metaphorical senses a projection is emplify the easy thing. a principle of presentation. All human consciousness is shot through and through A logical form is simply a pattern of relationships. with symbol makingandsymbolusing. Most of it is It can be quite simple; it can be very elaborate. In not nearly as simple as, for instance, the visual dealing with languages and codes , you have to have projection of temperature by a thermometer. When some sort of key which tells you how to translate you look at the human mind and the things it does, one kind of relation into another. Of course the you will find such radical differences between men- most familiar ones are writing, labanotation, and tal processes,for instance,between religious wor- musical notation. You have to learn what means ship and planning the hours of the day, , planning what what, and there you have a projection either of you ought to do next, or planning a meal. Or such language or of a dance pattern, but only a pattern. differences as between inventing a dance, com- It is a very abstract projection.Equally abstract posing any work of art, composing music, com- is a projection of music, musical pattern. There posing a poem or a prose piece of literature, and you have made a fairly simple, consistent,and doing arithmetic. There is an enormous difference coherent abstraction by which you can make a trans - there. You get an entirely different set, an en- lation of one code into another. You really have tirely different feeling, and you know very well that equivalent statements .Everyone knows that no two somehow you are doing it by a radically different languages can be translated exactly into each other, , process. but you can certainly make such a statement as , "The length of this table is so-and-so many feet," Now we come to that process . The whole so-called in any language to people who understand what you discursive mode which you use in reading a ther- mean by "foot" and who use foot measure.Say mometer, in doing arithmetic , in planning a dinner, , "centimeters" or "meters" and more people will all that is done, perhaps, below the level of speech, understand you. There you have a code, and you but in word-governed types of thought. You may do make an abstraction. it only with catch words, or you may think you do it without words, but the influence of language, even Your statement in two languages , your written and on thinking that is largely just little images ,is your spoken statement, your dancefigure and the there. It doesn't matter how you think about such notation of it, each pair of statements has one item things. It is all in a pattern that could be translated in common which is what I call the "logical form." into words. "Could be translated" is the important You can call it the structure, a structure where thing here.It isn't that we use words,necessarily.. you leave the thing structured open.In the one case It isn't that we ever translate it, but we could The it is a structure of sounds, in another it is a struc- acme of this kind of discursive symbolism is cer- ture of motion, in a third it may be a structureof tainly mathematics because, fortunately, the pat- sounds which have meanings. In language it is not tern of physical facts, the pattern of things that the sounds that translate from one language into one studies in a laboratory, is very much like the another,,but the concepts.There you have a pattern pattern of mathematics . We have stumbled upon the of concepts which you can express in a great many pattern of physical relations in our mathematics. different ways. Bertrand Russell remarked that, once, and very characteristically and truly said: "Perhaps that is So the process of symbolic projection rests on the why we know so much physics and so little of any- recognition of one and the same logical form in two thing else." He is exactly right. We know enough different things which are, therefore, two exempli-physics to blow upthe moon, but very little of any- fications of the same form. We sometimes say they thing else.Actually any thinking which departs from the factual mode where you can use discursive think it must mean doing this-and-thatit must symbolism requires a different kind of symbolic mean something that has nothing to do with dance projection. at all, either somethilig dramatic or psychological. I say a work of art has import, and use that word Symbol and sense must share a logical form, but simply because semanticists are annoyed and con- one thing we can't put into anyprojective literal fused to have another meaning of "meaning." The form, any discursive form, is the life of feeling. word "import" has another virtue, because with It is the whole realm of what you might call "sub- "meaning "you can abstract the meaning, you can jectivity," inward experience , taking in every little express it in another symbol, and then you can twinge of any little ache, taking in every sim- interpret your symbol in other terms, as with a plest physical pleasure, such as a ray of sunlight dictionary. If we don't know what a word means we on your shoulder, taking in everybit of emotive go to the dictionary; we get a complex of otherwords life and every movement of pleasure, displeasure, that mean the same thing; then we get the meaning by and so on.That is what we are helpless to put comparing those two. You can't do that with a work across in discursive terms. We can name the big of art. You cannot interpret it. You can interpret emotions and that is why people who speak of the it in performance. That is, you can interpret by expression of feeling always think, "Oh, you ought finding an idea, not necessarily the idea, in apiece to be able to say this is love, this is anger, this of choreography, or in a piece of music. Usually is joy, this is so-and-so," whereas I don't know it is what psychologists would call "over-deter- of any single passage of music that expresses one mined," it has more than one possible import, and such lump of emotion. you stress this, or you stress that, and one import or another will come out of it, so that it is very We say, "She is mad atyou ," and that is all we need much, in that way, like a real organism. There- to know. We don'tneed to know how she feels , what fore, the work of art has not meaning but import. she feels, and how being mad at somebody orig- It is a good word because the meaning can never inates,how it builds up, how it grows, how it is be taken out and held up to view and identified.It sometimes kept up on purpose, and all of those stays in the symbol. things.You cannot put over the actual dynamic pattern of a feeling by saying, "She is mad atyou." The interesting thing is that when you make a work The obvious answer to such a statement is,"Why ?" of art that expresses the mode of feeling, it does Then you mention a fact of some sort:"Oh, she so because its elements are structured the waythe thinks you did this-and-that." Why does she think life of feeling is structured. Musicologist and so?"Oh, somebody told her so." Now that is psychologist Harold Pratt put it succinctly, though really pretty crude when you compare it with our naively,,when he said: "Music sounds the way feel - intimate knowledge of physical facts.For instance, ings feel." That sums it up. Dance looks , sounds, when you look at a physicist's equation that covers and feels like feelings feel.But notice that what three blackboards, the statemelt, "she is mad at is the symbol there is not composed of little sub- you because somebody told her so-and-so ," is very, , symbols. Everything has to flow into it.It is a very simple. single symbol which has the import.It is articu- lated, but you can only articulate aspects in it. There is no reason to think that our inner life is so You can't take them out and put them together. An much simpler than physical facts outside , that any- artistic element does not keep its character when body can do psychology who can't learn physics. you take it out of one work and put it intoanother. We have, however, a means of expressing not only It doesn't even keep its character if you take it that somebody has an emotion, but what we know away from one place and put it in another.It does about feeling, and not only emotive feeling, but something else. You may have an element which what we know about our direct experience, our body is, for instance, a spot of very intense color such feeling, our so-called "self feeling," which is the as red or blue in a picture. On thepalette that level of awareness. I think the only symbolism for color doesn't have the same sort of meaning.If that is in the arts, all the arts. What you do when you take it away from one place inthe picture and you make a work of art is to create, not a straight put it in another, you are doing so because you symbol, because a symbol can be translated, but want that element to do something else, and itbe- an expressive form. That is why I can't say that a comes another element in the other place. work of art has "meaning," for that is very con- fusing, especially in an art like dance, where you I want to make the point that when you get an ex- 19 pression of feeling in a work of art you are making virtual gestures. The value of the gesture in dance a very high abstraction. You even abstract from is to make the dance, not to express a feeling at the what is known as a "color value" to some value that moment.That may be at a high point.It may be different colors can have in common. Homer, for all concentrated in one gesture, the way the mean- instance, always refers to the "wine dark sea." ing of a poem sometimes just comes together and Now, Greek wine is red, the Mediterranean is very comes clear in one word, but you don't have to blue,but the depth and the transluscence of the blue have a poetic meaning in every word that you use, in the curl of the breaking wave,and the glow of the by any means. The dance is made out of actual red in a glass of wine are somehow the $ ame. That gesture, but what has to get across is a virtual ges- is what Homer abstracted. That is what, to him, ture, the appearance of a spontaneous expression, made it a perfect metaphor that everybody would and not every gesture has to have that.It is the understand. The "wine dark sea." It is dark with whole that has to produce that. That is, everything a glow, just as wine is with sun shining through it. has to have the quality of that dance, so that a tre- In art you make those abstractions without feeling mendously expressive gesture will mean nothing at that you have to account for the fact that you let red all if it isn't toned to the whole. That is why I say stand for blue, or blue stand for red. That is a a gesture coming from inside is only virtually a higher abstraction than the abstraction "this is red," gesture. It would have no such character if it were "this is blue," "this is green," that is,of color a perfectly genuine and direct expression. It all has values. You have a value there which these colors, to be toned to the work, and within that work some in their places, have in common.That doesn't gesture becomes tremendously telling, even the mean that red can stand for blue somewhere else. pose becomes immensely telling, very much the Not at all. You have actually transcended the phys- way something, let's say, like a little decorative ical abstraction for something that can be symbol- scallop such as the Renaissance painters like to put ized in more than one physical way, even more than into their pictures at the top, becomes very impor- a sensuous way, in this case.So what can stand tant because it hangs over a figure. If it didn't hang for what in a work of art? Nobody can tell you. In over a figure it would be just something you could language we have a dictionary which tells us items see in any department store advertisement.By of meaning.In art there is no such thing.There hanging over a figure, that shape takes on a new is no rule for expressiveness,for making an ex- meaning altogether, as lights do in pictures. You pressive form. There is no rule for interpreting it, can throw them all out and you can make a picture but it is directly given to intuition.It is made by the on a different principle.It can be-very nearly as intuition of import, the idea. expressive, if you have really reached the thing you are driving at in the painting. From beginning to end a work of art has to be an expressive form.Every element that goes into it So the work as a whole is made by articulations in has to enhance that expressiveness, but it doesn't a single form. The essential unity of the piece is a have to have emotive significance in itself, because formal property which is required by its symbolic in a work of art something happens.Instead of function to express "felt life." Our life, or feelings seeming to see an expression of feeling, you per- of life, all arise from a kind of ground line or ceive a quality.The import of art, the feeling in groundwork of body feeling and sensuous orientation, the work of art, appears as quality.It is what we and a sense of personal activity. In physiology that call an emotive quality, a living quality or a dead is simply muscle tonus the autonomous activity quality, but it has the semblance of being a charac- of the nervous system which, for instance, does teristic of the work, and something that belongs to not need any stimulus to make a brain cell fire. the work, because it can't be taken out.In art there It will fire anyway. You can get whole assemblies is a symbolic transformation of feeling values into of cells going into action in the brain through a quality.I think one way you can see how the ele- stimulus, but there are constant circuits of activity ments in a work all combine to make the work, is going on in the brain, and in the whole nervous that each element exists only functionally. You system. After all, the nerves have to keep the cannot take it with you when you take it out, for the muscles activated to keep the metabolism up all the meaning runs out of it. time, at least in such complicated creatures as mammals. If you cut a major nerve to a limb, you The elements are all articulations within a single can expect catastrophe by and by. It certainly won't form.I think in dance it is particularly difficult function, and after a while it will lose its feeding to see that all of the elements are virtual; they are power.Nerves feed the body, which means there is constant activity going on.That is below the physics and so little of anything else." But we do, limen of feeling, for the most part, and yet there in fact, know a great deal through art. is also a degree of activity which, in a healthy being, is felt all the time, though we have no name The question that arises is this: If we really can't for it, and we are not aware of it.It is the differ- know our inner life, if we can't have ideas of sub- ence between a person alive and a person dead. jectivity without art, which is the objectification of Even when we are asleep we keep a certain posture; feeling for us, how does the artist who brings out we keep our postural tonus, for every posture has something new know it before he has seen it? How a minimal degree of contraction that it keeps all the can he know a feeling before he has seen it pro- time, or that it intermittently keeps reasserting. jected?I think the answer is that he has seen it. What he has seen is the quality that a work of art So something in a work of art has the character of has when it gets across, when it is expressive. He this basic life feeling. There has always got to be has seen expressive form, and he has seen it in what I would call the matrix. I think that is what you nature. You know there are days when everything create the minute you start a work of art, and it has a special quality for you. I don't know whether becomes something other than the objects on this everybody has had that experience, but I think table.That is the primary illusion. Upon this all probably very nearly so.There are days when the other things you do, all the other creative ele- everything composes itself, when everything has ments play, especially secondary illusions which a quality of beauty.The creative, the original give it its depth and perspective, which make it artist is a person who is very ready to see that. more than a kind of blank space. Naturally we get a great deal of education along those lines from all the art we have known. A If you create a virtual space in a picture, you will person who has never seen a dance would probably find that what you are really doing, in articulating not get very far in the composition of dance.In it,is using and creating all kinds of secondary the case of a child, the spontaneous expression gets illusions such as substantiality, events, things in the way of the dance.The child will compose going on, motion. Motion is the main one you use something and think of how it appears.He will all the time. In a work of art, any work, all line is make an appearance, but it is always very short motion, and all motion is growth. All appearances and scrappy, because he does not know how to give that come into any work of art are in an artistic it continuity and shape. That is wkv there have been transformation, usually characteristic of another no great infant prodigies in choreography. This is art. So thatyou have an immense play of secondary rather remarkable, for there have been in music, illusions, and they are secondary because they are and there are a few in the other arts, especially not that groundwork, they are not there to stay, poetry. An occasional child makes real poetry, they come and go, they appear and disappear.In though not great poetry, usually, because there is music you get a sudden sense of expansion which not enough articulation of feeling in the world for is, of course, the primary illusion of virtual space. the child yet. Music seems to be the readiest, but It is secondary in music , it is tremendously strong, it occurs more frequently in the adolescent than it is used all the time, it is created all the time. the child. I think Mozart is the only case of a real Musical space is something that many musicians prodigy in early childhood. themselves think is their primary illusion because they are so aware of it, but you are usually hardly The real poet sees in nature that special quality, aware of the primary illusion at all.That dis- and that is what he tries to get.It isn't some- appears.It is like your body feeling. thing that he very intimately knows as feeling. It is a quality from which he actually learns the The main points that I want to sum up here are that nature of feeling.There is an example of that in in art you have what I would call "metaphorical Isadora's autobiography, where she tells about symbolism." You present a single, untranslatable seeing the wind running along a palm frond.She symbol directly to intuition, and in art all feeling says she spent hours and days getting that motion is transmuted into the quality of the work. The translated into her fingers , for she had seen it as great function of the work of art is to present a an expressive element , something she could build in symbol,without which we cannot conceive our inner and use. She had seen it in nature, and it seemed life. Art is the great revelation of the whole life of to her to express a feeling. Now remember, , feel- feeling of which we otherwise know so little, as ings you see expressed in art are not things with Bertrand Russell said,"... weknow so much names. She would never have thoughtof saying, 21

creative artist gets directly from nature , ordirect- "It has such-and-such afeeling," "It feels like this ," or "It feels likesomething," referring it to some ly from human life, sometimes. It was just a pure , abstractedfeeling events in life. It that she saw in the qualityof those moving palm So art is not only the objectification of feeling. fronds as the wind went throughthem. is,conversely, for us, the subjectification of nature. We find our own inner lifepresented in It is not only the artist who seesthus. A very great nature.What the artist has to do, however, is to question entirely. morphologist and biologist,D'Arcy Thompson, re- compose it, and that is another marks on the shape of alily of the valley that is Anyone might just see a little artistic element, or coming into bloom , thegradation, the curve and the a momentary senseof the beauty of something. expressiveness that that givesto it.He says we What we call beauty is expressiveness ,and what- I think that is a ever is expressivefor you becomes beautiful, even might call this "phase-beauty." Medieval or very apt word, butit was a scientist whoexpressed though it may not be at all in the Then he said, "You get the samesort of thing Renaissance canons of beauty.I would say that it. human feeling, in wind going over a cornfield, in waves on the sea, all art is a symbolic projection of giving us knowledge of and you get it, sometimesin reverse, in the kind of a symbolic negotiation, flower that opens at the topfirst, and then matures feeling, where we can have no knowledge without feeling, and the sub- downward."It is the sense of a gradient.It was it.It is the objectification of that gradient that the palmleaf created that gave jectification of nature. That is what givesit that Isadora her idea, and which,incidentally, was rec- tremendous unifying feeling so that you alwayshave ognizable because all our feelingshave a gradient. a sense, when you arein the presence of a great That is why it was an image of a way afeeling goes , work of art, of what is sometimescalled identi- the way a feeling grows, and the wayit ends, and fication with the world, a sense ofexpansion of why she spotted it as an artisticelement.Now, yourself, so that the boundary betweenself and the palm wasn't expressinganything, and the wind world seems to be transcended.It is that trans- wasn't expressing anything on purpose ,but here was cendent quality in art which is tremendousin some the quality, an emotivequality, something that re- dancers. flected the life of feeling.I think it is that that a

Discussion SUSANNE LANGER 1Pr Irving Brown: From whence comesthe matrix? The matrix doesn't come, it ismade. It is made the minute you trans- form a canvas into a space, andthat happens with the firstline. The minute you step on the floor itbecomes a dance floor and the matrixof a dance is established.Your matrix is set up with thefirst move, the first line, the very first element youproduce. There is an excellent description of that in Hans Hoffman'sSEARCH FOR THE REAL.

Irving Brown: Do you find itand then identify it?

Yes, it happens.Usually you don't identify itbecause you take it for granted, you are so aware of it.The fact is that the minute you are looking at even an empty stage,if you are a theatre person,it is a stage to you.Philip Barrie's TOMORROWAND TOMORROW begins with an empty stage, andMartha Graham's PRIMITIVEMYSTERIES begins with the stage in perfectlyblack darkness.It could be a play, , it is still ambiguous at themoment the curtain goes up,but the very minute a dance figure comes in,the whole dance is established.

William Bales: Ben Belitt wrote apiece for Martha Graham many years ago ,called "Dance Piece," and he says exactly that samething. You put your foot on thefloor and the stage becomes a maze. That is thedancer's errand in the maze, tomake shape out of it.

a SUSANNE LANGER Martha Hill: The late Arch Lauterer talked somuch about what happens the minute a human figure enters the space. You perceive spacein relation to a human figure. Youreally don't know how deep, how wide, how high itis.

That is why one of the most dangerous things in theworld is to let a play spill over the footlights.For a while it was the fashion to have an excursion leave the stage, go through theaudience, and return to the stage. That was at a time when everybodythought that audience parti- cipation meant getting into the play and thatthe footlights should make no division. Of course,that completely ruins most pieces.I am not saying it can't be done; I would never say anythingcan't be done. All it takes is a genius. Lucy Venable:I wonder if you could define quality?

It is very hard to define quality since qualityis supposedly an indefinable impression. You see it or you don't.In the ordinary philosophical literature, for instance the British Empiricists,"quality" is used in the sense of red, blue, C-sharp,hard, soft that which was ,to them, a datum. All data, as we call them in science, werecalled "qualities." What I was trying to show here was thatthere are qualities which dif- ferent data could have in common, not in the sense thatdifferent things can be red, and different things can beblue, but on a different level of abstraction, like the red wine and theblue wave which have a common quality.Also, there are relations.Freud, in his early writings, points out that qualities in the ordinary sense,like hot and its opposite, have an intimate relation. That is whatI meant when I said all feeling, and everything that can symbolizefeeling, has an element of gradient in it.School children will often say, "Oh, it's so hot it's cold." "It's so cold it's hot." Every gamut of quality has the twoends, and if you ask yourself what that expresses for "feeling," youdiscover all acceptable, discernible and meaningful quality liesbetween two extremes, too faint to be perceived, and too great to beborne. So it is always inbetween these, and the result is that every artistwho works with any kind of ordinary color, or sound, or anythinglike that, is working with the possibilities of that whole gamut , one way or theother,, so that you have this great fecundity, the greatpotentiality, in every- thing that you use.In every gesture, for instance, you are steering between what is trivial,too little, and what is exaggerated. Nowthe minute you exaggerate, you have to have a very good reason todo so, but you can go as far as you want, to the point where in a quality itcan't be borne, or in an act it would break the form. We alwayswork be- tween what won't make the form , and what will break the form ,in all art.

The thing that only a work of art can put over, , and often in veryabstruse symbolic transformation so that only a really artistic intuitionwill get it at all,is that the characteristic of everything biological, ofall life, plants. animals, green scum has, besides its actual existence, atre- mendous potentiality..Now in art that is where you get your potentiality, , and it is always precarious; when you make an artisticelement you are making it between the danger of not putting it over, of notenough, of too little and too late,and breaking the form. Between not making the form , and breaking the form.This balance, symmetry, is always at the bottom of it, and that expresses what, in life, we feel aspotentiality.

There are many aspects of living, of life, andespecially of "felt life" (and of course art deals only with "felt life"),from which the mind finally becomes articulated and formed. 23

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Joan Woodbury: You made the statement about art being thesubjectification of nature. From a dancer's point of view, would that be the subjectificationof the nature of our- selves as animals? I suppose it could.That would be a very interesting relationship, be- cause you would really have a double processthere. First of all , before you can subjectify something, ithas got to be objective. Now your knowledge of yourself would have to be objectified, and resubjectified, which would be a very complicated epistemological process.When you take yourself as a part of nature , then certainly you woulddo exactly that.

Thomas Watson: You used the phrase"virtual gesture." I wonder if you mighttalk about the word "virtual" for a moment.

When you create a work of art, that work of art is not the physicalthing that you are using your hands to make.It is always in the nature of an apparition. That is, what you aredoing is simply abstracting an appearance.

Now what I mean by "virtual" is an image. You can make theimage which will be a real physical thing sitting there, but theimage you are creating for perception exists only for perception.A picture,of course, is the easiest thing to see. Actually, what is a picture?.It is a surface smeared with colors. What you see are volumes, forms,so-called "space tensions."I talked about "virtual space," which is most easily seen in a picture.It is not the space of the room you are in; it is a space which exists only for vision. Youknow perfectly well that, if you go up to even the most realistic picture,what you will feel is canvas, more or less sticky, more or lessroughened with paint.Certainly, it is not the thing you see, not the space you see. The space you seeis "virtual space." That is a perfectly good term inphysics.Physicists talk about the space that you see behind a mirror as a"virtual space." They will even measure it.In the picture, even if you are painting a non-representational picture, you are making a space whichis not a space in the room. In music you createvirtual time, and the time of a piece may vary greatly. Music is an organizationof time, not an or- ganization of the time that we measure with clocks , butthe organization of a created dimension of time, and that is "virtual time."The reason for always making a virtual entity in art and italways is, everything in art has to be virtual is to make that abstraction ofthe conceptual. You abstract the appearance because the appearance,which has abso- lutely no value in its own right, will take on the symbolic value in away that a real object, which has value of its own, cannot.

Thomas Watson: Then, using the word "gesture" inconnection with "virtual" In dance, you are making an actual movement, but thegestic value of that movement is different in dance from what it would be if youmade it by chance, spontaneously, because in dance you arebuilding up a whole virtual realm of interacting power, purely apparent it is really not there.When you see a visible tension between two dance partners, there isn't really any such tension between them at all. It is an appear- ance. That is What I meant by "virtualgesture." Virtual gesture has to be made in such a way that this appearance isgoverned by the level, the pace, the type of movement, the style of the dance as awhole. It is SUSANNE LANGER

not a spontaneous gesture, yet it looks like one. So it is an abstraction, from an actual gesture, of a dance element.If you see the actual gesture, it just breaks the image wide open.

Dorothy Madden: In other words, you are talking aboutthe illusion that is created by a movement, or a series of movements?

Yes, but it isn't usually created by one movement. The illusionis created by the dance as a whole. Where you have only one dancer in a solo dance,the illusion can be created by one moving body perfectly well. It takes awfully little to create a work of art. I sometimes wonderwhat is the minimum for any work of art.Think of what marvelously big music was created in the Middle Ages without tone color changing with- out harmony, , just in "plain song" where you had not evenchordal music , nothing but men's and boys' voices.If you take that music and play it on a stringed instrument or on a piano, it isnothing. They had to use something which is not usually musical material. They used the Latin words, the big words. If you tried to sing "Wain song" with other words I think it would fall flat as a pancake. The bigness of the Latin words took the place of what we wouh .! do with, let's say, chordal harmony. It filled the form. It is an interesting thing that here you have areally non-musical material which becomes entirely musical when itis used.

Participant: You mentioned a person getting the feelingof what he expresses from his sensitivity to nature, to certain qualities of light, etc.Is this not also a factor in aesthetic appreciationthis sensitivity? How can we make people moresensitive to these things?

Exposure, that is all.I think as soon as you try to take children by the hand and lead them to it and make them feel it, you only get a reaction of falsity, or they feel they ought to feel a certain wayabout it.They don't really like it.That is where you get that false aesthetic in so- called educated society. People feel that they should have a critictell them what they ought to like.That is very widespread.I can't think of anything sillier than to believe someone should tell youwhat you ought to like, because you see it, or you don't. You like it, or you don't. Sometimes you can appreciate something withoutliking it.

From the point of view of the teacher, I think judicious exposureis the only way to sensitize people to anything.Sometimes you can show something to a child by simply calling its attention, simplyexpressing the fact that you notice it yourself. Children will, occasionally,make the weirdest remarks have the weirdest reactions to things.I re- member, one time when my children were little, we weredriving and the wind was blowing leaves on the trees. Suddenly, oneof the children said,in the most vehement way, , "I hate the under-side ofpoplar leaves ." I never knew why, but it was a very strong aestheticimpression.

Much more exposure, I think, is the answer to the "insensitivity"prob- lem. When I went to school, right around three sides of the room ran an excellent copy of the Parthenon frieze.I loved those ten minutes of being able to look at the frieze every single morning. I knew thatfrieze by heart, and I realized, wher, I saw it in the British Museum,that we had a very good copy there.I knew every figure and, what is more, I knew the feeling of those figures, the rhythm of thatfrieze, and what made the rhythm.I knew every fold of the dresses.I realized I had 25

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known from childhood why it was beautiful, and if you asked mewhy,,I would say: "Because of that and that and that."I wish we could have much more exposure good pictures in school where thechildren see them all the time, in a place that is not cluttered by having athermostat at one side on the same wall, and some kind of ornateand meaningless chair.Rather, find a good niche, or wall, and put one good thing on it, and perhaps never mention it.

Irving Brown: Is that what you mean by "judiciousexposure"?

Yes.I should say injudicious exposure is dragging childrenaround to see too many things for too short atime. Judicious exposure, for a child, is seeing one thing many times or for a long time,because a child's perception of a thing grows , and it only grows by constant ex- posure to the point of familiarity. Ourchildren are usually shown so many things that they "ought" to seethat they haven't taken in any of them.It doesn't mean anything to them. They have their nosesrubbed on it, and you can't see a picture byflattening your nose against it. Participant: In speaking of rhythm this afternoon, youmentioned a theory of rhythm which you felt came from artistic form. Would youtalk more about that?

I will give you the doctors' problem. They have beenworking with so- called "circadian rhythms ," meaning approximatelyaround the clock, but not exactly, i.e. , the biological rhythms of our breathing,metab- olism, circulation, the kidneys, the digestive organs, etc. , whichall go in cycles, and all come out approximately evenwith the rhythm of the day, the twenty-four hour rhythm. They have beenoperating en- tirely with a definition of rhythm in terms of periodicity.A rhythm is usually a recurrence of some kind of event in exactperiods of time.

What is surprising is that, although the events recur roughlydiurnally, none of them has any particularly exactperiodicity, and when you line them up your periodicities don't come out right, so that it is veryhard to say, "This is really a rhythm." Whatpuzzled me in working from art no longer with art, though it isillustrated in all art was that in watching the motions of any beautiful animal, or a tennisplayer, you see they never repeat a motionexactly, or even approximately. The tennis player does nothing you could call cyclic inthe sense you speak of the cycles of the heartbeat nowhere nearly asclose as to periodic- ities, orto recurrence. Every motion of a tennisplayer is rhythmic, so what is rhythm? You can see itimmediately in all of the arts. You find it in a Parthenon frieze, but most of all, of course, youfind it in music and poetry.

In biology, I think the fundamental unit is thedisplacement of matter, or motion in the sense ofdisplacementof matter within a certain length of time; the basic unit in biology is the act. By the act I meanthis unit thAt you can find even in a metabolic cycle.What I refer to as a bio- logical activity is a series of acts which are concatenatedin this way every act has a build-up, it has atypical form. An act is a natural event; it is not something that you have toadd to nature in order to get life. You have a prototype of it below the level of life, in a great many chemical reactions.Test it yourself. Take a glass of lemonade and SUSANNE LANGER

put a teaspoon full of soda in it,and what happens? It fizzes , then it comes to rest. You have put analkali into an acid and you get an air stop.All right, that is the end of that.It does illustrate, however, something that starts way down in thelowest forms of life, right down at the biochemical level where youbegin to have what I call, not real acts, but a "proto-act," somethingthat is on the way to forming acts. All acts are of this basic form,of impulse, rise, consummation, and what I can only designate with thegood musical word "cadence." Every musical phrase builds up that way; everyelement in art builds up very much like an act. Now thecadence is the most interesting part, be- cause it is extremelyvariable. It may simply come to rest so thatthe act gets lost it is finished.It goes only so far and then it runs out the way water runs out when youspill it. You don't know just how far it is seepage. It may be taken upbefore it is entirely exhausted and be drawn into another act.It may also do another thing. Thecadence of one act may prove to be the uptakeof another, ,and then you have rhythm. Rhythm is a relation among acts , arelation between two acts, for instance, but not always just two.Let's take a very simple case, where you have two acts of such a structure thatthe cadence of one is already the uptake of the next, so you can'tmake any clean line be- tween them at all. I think the most perfectexample v; Lnat in biological acts is breathing. The minute you start toexhale, the need for oxygen begins way down in your toes, in your shoulders,in every part, every tissue in your body.It builds up, and very quickly gets tothe point where it simply has to turn over into inspiration.You have to inhale when the exhalation gets to a critical point.Now the exhalation is the cadence of the previous act, but it also,though you may not know it, (you think the act starts from inhalation,but it doesn't) starts with the body's need, the crying for oxygen and, in that way,human beings, who use speech and song, controltheir inhalation, as a singer does. It can be very irregular, but it is alwaysrhythmic. It is one of the deep nat- ural rhythms of the body, and you can't gotoo far in monkeying with it before it becomes commanding youhave to take a breath.So there is an example of rhythm which isby no means repetitious.

When you look at a tennis player or adancer who is not dancing a set figure, but changing from one figure toanother, every relaxation is already the build-up of the next tension,and this measure of tensions and relaxations is highly variable.You can buildup a tension so that you really feel itsbreaking point; it has to break somehowbut, as it breaks in a living body, or in a workof art, it already has startedthe next element, the next act.It was out of art elements thatI got this. That is, in many ways, a moreusable notion of rhythm than thenotion of periodicities. I mean scientifically moreusable, and it was derived from art.I am using it now quite far awayfrom art.Other people are, too. Alma Hawkins: It sounds to me asif that is the basis of what weoften speak of as "continuity."

Yes. It is what makes continuity,and what keeps the drive going.You don't get continuity just by putting onething after another.It is real continuity because it drives itselfall the time. When it is done, youget acts piled on acts , actsmade out of acts, and in the endthe whole work 27

SUSANNE LANGER

has the form of a single act.Incidentally, one very great biologist, Paul Weiss, said: "In a way you can regard a life as one act, like one great billow of the ocean, undisturbed by the ripples that play over it. It has a basic form." Every work of art has to have that basic form which, again, is like the form of an act with an initial impulse that can be fed from all sides. There is nothing simple about that impulse.It builds up.It has its consummation and cadence.

Participant:Is this, perhaps, where we get our sense of what we call "dynamics"?

Yes, this is the dynamic theory of biology which comes out of art. That is what I meant when I said that art is a dynamic image. A dynamic image is very hard to make in discursive terms. Every item of feeling, everything you can symbolize at all of the life of feeling, requires this dynamic form.I think you can carry it over into science, but you will never get it out of physics. It may be the image with which you have to operate in biology.

There is a very great difference between a model and an image.In biology you can borrow a great many models from physics, from all kinds of sciences. It was the computer that suggested some wonderful theories of neurology, of what goes on, of so-called circulating memo- ries, etc.They probably have revealed mechanisma of the nervous system. That is fine.But what you must not borrow from physics is the image. An image shows you how something appears.It gives you an idea of what it is that you are trying to analyze and describe. If you haven't got an image, you are just groping around and picking up any- thing you can analyze, and it may be absolutely unimportant. The image gives you the idea of the phenomenon, and nothing else.

A model doesn't show you what something looks like.It does not need to look like the thing it means, at all.It shows you how something works, and that is a different story.It is a different abstraction.In a model you always make a discursive abstraction. You can say it in words. A model will be accurate to a degree. An image is a very different thing. An image doesn't show you how something works,at all . That is why in art an image is something virtual; it is pure appearance, and it is not put together in the way a living organism is put together, and yet it always has to seem organic. A work of art isn't actually a living thing.It has what we would call "livingness" rather than life. It is not a biological object. You cannot analyze it like an organism, and yet it has to be organic.It is an image, not a model.

Thomas Watson: Going back to your discussion on rhythm again, and your mention of a series of acts, the body's organic rise and fall, isn't a rhythm a result of a kind of emotional compulsion, a necessity, a drive?

I don't think so. I think it is the form which compulsion takes. That is, the existence of any actual rhythm somewhere has a biological cause. but rhythm is a form.It isn't a result of a drive. Every act begins with an impulse. When you are making a dance, you are performing an actual act, not something virtual. You are making something virtual, but what you are doing, yourself, is physiological, biological, actual. I would distinguish between "virtual" and "actual," the actual being the realm of our act. r

Left to right: William Bales, Joan Woodbury, Jack Morrison 29

Creativity FRANK BARRON

My subject today is "Creativity." As I started to of the ill-destined League of Nations, and Freud compose my thoughts on the subject for this con- replied. The questions put by Einstein were: "Why ference, I was reminded of the fact that as recently do men have to go to war? Will it ever change ?" as 1959 at a National Science Foundation Conference Freud gave no answer to cheer those who need on the topic of"The Identification of Creative cheering; the best he could say was:"Well, at Scientific Talent ," I realized suddenly,,in the midst least there are people like you and me, who are in of the discussion, that the word "creativity" had correspondence with one another, and talking about never occurred spontaneously in my mind. I never this matter."But a decade later when Einstein had thought the word although I have spoken it often looked Hitler in the eye and read there a genocidal enough and have even put it in the title of a book. intent directed against the Jewish people, he then Even today I don't think the word, and probably for made explicit a possibility that he, and others, had a good reason; it is an abstraction, in an area or a realized.He set out then and took a significant universe of discourse where precisely what is of step in the development of a weapon to destroy many interest is "underlying process." There may be other human beings. In the face of threat to the some good reason for not finding any use in thinking continuing life of his people and his nation, he went the word "creativity," if you are considering the to war. matter with which it deals.It is also, by the way, a recent arrival in language, just as the word This relationship of the most constructive to the "unconscious" is.These words did not occur in most destructive potentialities of human intellect our accepted lexicons until fairly recently. is, I think, part of the setting for the general in- crease of interest in human creativity. Often this Having said this much already about "creativity," consideration is merely in the background of con- I will now continue to use the term. sciousness,but it is there nonetheless, a sort of cosmic optimism tinged with dread. The very great increase in interest in creativity can, I think, be traced to two social forces far The other source for interest in creativity is the more massive than mere psychological research. really fantastic increase in the acceleration of the For a time, in psychology itself, it was fashionable rate of change itself.Here, sometimes, simple to say "all this research on creativity is just a fad numbers can tell you the story that you don't notice which will soon pass." It hasn't passed. I think the much even though you see it happening all around reason is that it doesn't arise within professional you, and within you, too. The rate of change could psychology, at all. be described as rapid between 1945 and 1950, but there is really a radical increase in it since that The first source that I see for the interest on the time.The major developments are ones that we part of people in general in human creativity is all read about in the newspapers. One is the popu- what was signaled by the explosion of an atomic lation explosion. In 1850 the population of the world bomb over Hiroshima. What was signaled, I feel, was about half a billion, and in 75 years (by 1925) was the enormous capacity for destruction that re- it was one billion. In 37 years (by 1962) it had be- sides in the human intellect, and, withal, the fact come two billion.It is estimated that by 1975 it that this awesome power of intellect can be turned will be about three billion. Seven years after that to constructive ends if man should will it so. The it will be four billion. So a child born in 1962 will by role of Albert Einstein in this extraordinary devel- the age of twenty have seen the world's population opment is especially interesting. Some of you may double, and if he lives in California he may seem know the little book called WHY WAR? in which to see it quadruple. And since there will be more an exchange of letters between Einstein and Freud people there also will be more brains. There may is published. Einstein wrote Freud at the invitation be as a result more of the same thoughts, but as 30

we know from experimenth in group problem solv- leadership in education. We must accent that as- ing and word association tests, when you increase pect of human nature which offers some hope that the number of people, the absolute number of rare we may meet the challenge, in brief, the creative solutions or associations increases also. Of course, aspect of our nature.This,I believe, is the ad- you get an obvious increase of common response, mittedly cosmic background of the problem and but you also get a large increase in the absolute the reason for our engagement in it. number of rare responses. It may well be, there- fore, that we are also seeing a great increase in As we turn from these considerations to techniques the absolute number of original thoughts as a func- of study in psychology we are going to drop down tion of the increase of the number of brains. Per- several thousand feet from the cosmic to the very haps other by-products of this are with us, too, mundane, so hold on to your hats.In psychology, although it is not that simple,certainly..Population we are working still with essentially simple enu- statistics on the number of scientists among us are meration, and the kinds of ways of finding out what quite arresting. For example, it is estimated that is going on in the human mind (or human minds) about 90% of the scientists who have ever lived are are not very different from what would have been alive today,,and the amount of technical information available in Sir Francis Galton's time, some 100 is doubling every ten years.So just the problem years ago.In fact, many of our techniques are of information storage and retrieval is a very con- derived from ideas of Galton's.But let me de- siderable one. scribe something about the research program that I am myself involved in. With this has occurred, too, a vast increase in the power available to man; e.g. ,the step-by-step The group of psychologists,with whom I work at the development of things like the steam engine, the Institute of Personality Assessment and Research gasoline combustion engine,the electric generator,, in Berkeley, decided in studying creativity to seek and now the nuclear reactor. There has also been the cooperation of persons of a very high order of a rapid increase, since 1850 particularly, in the creative ability,,and to ask them to come to Berkeley discovery of natural elements, and the control of and be studied by means of interviews and experi- natural forces. There is also vast increase in our ments and tests.We have now studied several perceptual power through developments in photo- hundred people in a variety of fields.We tried to graphy linked to the telescope and radio, including get enough individuals in a given field so that we perception of the very small through the increasing could do some simple statistical analysis within power of microscopes . The efficiency of computers, that field. in turn, is in part a function of the increased effici- ency of miniaturization procedures. A typical study was our study of creative architects. We set up a panel of five experts on architecture, All of these things mean that right now something and we. asked them i;o name individually for us the is happening that is different from what has happened forty architects whom they considered the most previously in the history of this species.This creative in the United States.It turned out that offers a tremendous challenge, or perhaps threat, there was a fair amount of agreement, so that only which it seems as though human wisdom may not 66 names in all were produced by these 200 nomi- be able to meet. Look, for example, at the central nations. We then invited all 66 to come and be problem in nuclear weapons proliferation, the so- studied. Forty of them accepted. In similar fash- called "n-th country problem"; as more and more ion we studied creative writers, mathematicians, countries gain control of the capacity to use nuclear and research scientists. weapons, the danger increases of their setting off a conflagration, whether by accident or miscalcu- Question: Have you studied any of the particular lation. Little headway has been made on thic prob- performing arts or visual arts yet? lem because of the human relationship factors in- Barron; Some painters,but it wasn't a large enough volved.In the face of these facts it seems to me group to make the kind of comparison that we made we are justified in saying that a crowning crisis with the other group, and we used only interviews, in the evolution of man is at hand. not tests. We are planning an extensive study of painters if we can get the support for it. I believe that what the U.S. Office of Education is doing right now is a response,however bureaucrat- Question: When the groups were selected as being ically limited (inevitably), to the need for creative the most creative, was the selection onthe basis of 31

quantity of product, or quality of product, or origi- which is the most widely used, and generally con- nality of product, or what? sidered the most valid,factorially variegated, and comprehensive individually administered in- Barron: We put it rather simply. We said to the telligence test.Again, the group averages proved nominating panels, "We want those people who are to be virtually identical, all within one point of distinguished for their creative contributions to the 130 I. Q. While similar re-testing has notyet been field." The emphasis was on "creativity," though completed for other groups studied, the findings we used other words in the definition, like "origi- with the Terman Concept Mastery Test for those nality" and "freshness of approach." All the people groups have been quite similar.Creative writers we studied were highly productive.I was quite score significantly high3r than architects , and their surprised at the volume of productivity, in fact. estimated average I. Q. is greater than 140. So too with mathematicians and scientists,and only in the What, then, are the relevant findings that are mathematicians sampled is there a positive rela- consistent from group to group and that can be tionship between rated creativity and measured considered to be well established "core character- general intelligence.That relationship is small istics" of the creative person? though significant.Among student painters who took part in one of our research projects at the In relation to creativity and intelligence,two state- Rhode Island School of Design, the correlation be- ments must be made here, which at first may seem tween their Scholastic Aptitude Test scores and mutually incompatible: faculty ratings of their creativity at the end of three years was -. 09. a. Persons of a high order of creative ability are usually in the upper 10%, or perhaps upper 5% The generalization suggested by these findings is of the general population in terms of I.Q. that for certain activities a specifiable minimum b. Within groups of such persons, and even when I.Q. is probably necessary in order to engage in highly creative persons are compared with the activity at all, but that beyond the minimum, merely representative persons in a profession which often issurprisingly low,creativity is which calls intrinsically for creative ability, uncorrelated with I. Q. there is usually zero correlation between cre- ativity and measured 1.Q. If creativity is not a function of I.Q.,what then is it a function of? A clearcut example of these findings is provided by the study of creative architects,carried out by First of all, our findings suggest, it is a function of strle or modes of experiencing, or stylistic ways Donald W. MacKinnon,director of the Institute,and Wallace B. Hall.MacKinnon and Hall compared of using the mind. These include modes drawn from 40 architects (who were drawn from the sample of C. G. Jung's theory of psychological types, and the 66 architects judged by the panel of experts to be polar oppos ition between preference for phenomenal the most creative) with two control groups: one complexity versus simplicity that some of my own selected at random from the Directory of American work has pointed to. Architects,and the other selected so as to match a.The perceptual versus the judgmental attitude. the highly creative group in certain characteristics, such as age, geographical location of their offices, According to Jung, whenever a person uses his and similarity of background in training and pro- mind for any purpose, he performs either an act fessional experience.They found that the high- of perception (i.e.,he becomes aware of some- level test of general intelligence we had employed thing) or an act of judgment (i.e. , he comes to a because it is considered to provide accurately dif- conclusion, often an evaluative conclusion, about ferential measurement in the high I. Q. ranges (the something). If one of these attitudea is strong in a Terman Concept Mastery Test) failed to differenti- person, the other is correspondingly weak. The ate among the three groups.In order to counter judging attitude is said to lead to an orderly, , care- objections that the test was too limited to verbal fully planned life based on relatively closed prin- reasoning, and that it was perhaps subject to errors ciples and categories, whereas the perceptual of measurement because its administration was not attitude leads to more openness to experience, in- individually monitored, they called upon their sub- cluding experience of the inner world or self as jects some time after the original study to take well as experience from without.The perceptual another test,the Weohsler Adult Intelligence Scale , attitude facilitates spontaneity and flexibility. 32

In our studies, every groupbut scientists is pre- 3" x 5" white cards. We asked some 80 painters dominantly perceptual rather than judging, and in throughout the United States to take this test. We every group, including scientists , the more crea- asked them to say which ones they liked and which tive individuals are more perceptually oriented and ones they disliked. We compared their likes and the less creative are more judgmentally oriented. dislikes with those of people in general and then we picked out those figures which showed a big per- b.The intuitive attitude versus the sense- centage difference of like and dislike between paint- perceptive. ers and others. Those were cast into a scale to The act of perception itself,,according to Jung, may yield a score representing one's degree of resem- be of two kinds:sense-perceptive, or intuitive. blance to painters in such preferences. Now, it The sense-perceptive attitude emphasizes simple turned out that the painters were selecting figures realism, and is a direct awareness of things as that were more challenging, in the sense that they they most objectively are in terms of the evidence were more complex than the other figures, and of the senses. Intuition, by contrast, is an indirect less obviously balanced. The kinds of figures dis- awareness of deeper meanings and possibilities. liked by artists were generally static rather than Creative individuals are characteristically intuitive.dynamic. They were constructed by a geometric principle that was easily deduced at a glance. They c.Complexity versus simplicity. were generally cleaner. The other figures were frequently described as messy, or even chaotic, One of our main findings, probably the most solidly in some cases. Creative scientists are very much supported by diverse kinds of evidence, has to do like artists in these preferences. with the relationship of complexity to simplicity, or order to disorder. We noted that the individuals I have interpreted these and related findings in identified as more highly creative seemed to be my book CREATIVITY AND PSYCHOLOGICAL able to discern and to prefer more complexity in HEALTH (New York: D. Van Nostrand Co.,1963) whatever it was that they were attending to, if it as follows: was not readily ordered, or if it seemed to involve contradictions that were perplexing, or that could "We are dealing with two types of perceptual pref- not be resolved at the time.On the Rorschach erences ,one of them being a choice of what is Inkblot Test, for example, creative individuals stable, regular, balanced, predictable, clear-cut, show a marked tendency to synthesize, to find a traditional, and follewing some general abstract single synthesizing image in the ink blot which principle; the other a choice of what is unstable, brings together many elements.In oiler words, asymmetrical, unbalanced, whimsical, rebellious they pay attention to more of the possible determi- against tradition,and at times seemingly irrational , nants of response. Color, shading, and form, e.g., disordered, and chaotic. as well as content such as human or animalforms. "We suggest that the types of perceptual preference Another test we made up ourselves is called "Symbol we have observed are related basically to a choice Equivalence." We present a stimulus image such of what to attend to in the complex of phenomena as leaves being blown along in the wind. Then we which make up the world we experience; for the ask the respondent to create other images somehow world is both stable and unstable, predictable and equivalent to the stimulus. For example, leaves in unpredictable, ordered and chaotic.To see it the wind could be...well, one responseactually of- predominantly as one or the other is a sort of fered was "clothes in a Bendix dryer, being tossedperceptual decision; one may attend to its ordered up and down, and seen through the window."Anoth- aspect, to regular sequences of events,to a stable er was "a civilian population fleeing beforearmed center of the universe (the sun, the church, the aggression." We scored the responses just as you state, the home, the parent, God, eternity, etc.), might score an essay examination , giving points for or one may instead attend primarily to the eccentric, the extent to which the suggested image reproduced the relative, and the arbitrary aspect of the world aspects of the original stimulus image. (the briefness of the individual life, the blind un- caringness of matter, the sometime hypocrisy of Another test that we developed, not intended to be a authority, accidents of circumstanc( the presence measurement of this factor, but relevant to it, is of evil, tragic fate, the impossibility of freedom called the Barron-Welsh Art Scale. This consist- for the only organism capable of conceiving free- ed originally of 400 line drawings in black ink on dom, and so on). 33

"Either of these alternative perceptual decisions challenged. For such an individual, optimism is may be associated with a high degree of personal impossible, but pessimism is lifted from theper- effectiveness.It is as though there is an effective sonal to the tragic level, resulting not in apathy and an ineffective aspect of each alternative. Our but in participation in the business of life. thinking about these various aspects is as yet based only upon clinical impressions of our subjects,but "At its worst, such a perceptual attitude leads to it is perhaps worth recording while we go on with grossly disorganized behavior, to a surrender to the business of gathering more objective evidence. chaos.It results in nihilism, despair, and dis- integration. The personal lifeitself becomes "At its best, the decision in favor of order makes simply an acting out of the meaninglessness of the for personal stability and balance, a sort of easy- universe, a bitter joke directed against its own going optimism combined with religious faith,a maker. The individual is overwhelmed by the friendliness towards tradition, custom, and cere- apparent insolubility of the problem, and finds the mony, and respect for authority without subser- disorder of life disgusting and hateful. His essen- vience to it. This sort of decision will be made by tial world-view is thus depreciative and hostile. persons who from an early age had good reason to trust the stability and equilibrium of the world "We have not hesitated to refer here to perceptual and who derived an inner sense of comfort and bal- decision, to an act of choice on the part of the in- ance from their perception of an outer certainty. dividual.That is to say, we conceive this as a matter not simply of capacity, but of preference. "At its worst, the decision in favor of order Such a choice does of course involve perceptual makes for categorical rejection of all that threatens capacity, but beyond capacity it is a matter of disorder, a fear of anything which might bring orientation towards experience in a sense, per- disequilibrium.Optimism becomes a matter of ceptual attitude.In their important theoretical policy, religion a prescription and a ritual. Such article (in search of the perceiver in perceptual a decision is associated with stereotyped thinking, theory) Klein and Schlesinger have emphasized that rigid and compulsive morality, and hatred of in- their empirically found patterns of modes of per- stinctual aggressive and erotic forces which might ceptual response (to which they give the name upset the precariously maintained balance. Equi- syndrome) are tobe thought of as 'preferred styles librium depends essentially upon exclusion, a kind of expression rather than required ones' (italics of perceptual distortion which consists in refusing theirs).In search of the perceiver, they came to see parts of reality which cannot be assimilated inevitably upon choice rather than capacity or ne- to some preconceived system. cessity as the determiner of observed response.

"The decision in favor of complexity, at its best, "This very perceptual decision, of course, is itself makes for originality and creativeness, a greater determined; and it is to the search for the deter- tolerance for unusual ideas and formulations. The minants that the next step in this line of research sometimes disordered and unstable world has its will be devoted." counterpart in the person's inner discord, but the crucial ameliorative factor is a constant effort I have given here a somewhat sketchy overview of to integrate the inner and outer complexity in a some of our best-established results.Those who higher-order synthesis. The goal is to achieve the are interested in a much fuller picture may find it psychological analogue of mathematical elegance: in my forthcoming (Fall, 1967) book, CREATIVITY to allow into the perceptual system the greatest AND PERSONAL FREEDOM, to be published by possible richness of experience, while yet finding D. Van Nostrand Co.,and in CREATIVITY: Its in this complexity some over-all pattern. Such a Diversity and Development, to be published in the person is not immobilized by anxiety in the face of Spring of 1968 by Holt, Rinehart, and Winston. great uncertainty, but is at once perturbed and Discussion r/ANK BARRON

Participant: In the life history of theindividuals studied, was there a time of recognition of themselves?

There was. We asked when it had begun,knowing what they were - writer, mathematician, architect.Mathematicians knew earliest. One man worked in a canningfactory. A glimpse of sunshine caughthis eye. It was like a mystical experience;he knew he had it in him to be some- thing besides a worker in a canningfactory. Another man suffered a grievous loss; a dear friend committedsuicide. First, he wept. Then it occurred to him he could eitherstep back or step forward.If he stepped forward he would have a life ofcreation. He stepped forward and felt he was one with the universe,identified with the cosmic order. Whil.e in college, Theodore Roethke wrote anessay lamenting the fact he never got "A's" in writing, forhe knew he was going to be a great writer. Creativity in Bonnie Bird:I wonder if we don't have someconfusion about creativity. dance has become a very specific "thing"to some people, namely, how youteach compo- sition. We need to discuss what we meanby "creative" in the teachingof dance.I think it is many things, from different pointsof view. For you, as teacher, it isbeing able to help a student. Why is it importantin the education system? Wehave to be able to answer in words that have somemeaning, as John Martin says, "inthe viscera the guts," and hit in terms of people'sexperience.

Marian Van Tuyl: I think we have to gobehind dance, and discover what the poweris that we have in our hands.That will lead to recognizingthat dance is an art which deals primarily with the kinesthetic sense.

Joan Woodbury: Is it a process we aretalking abouta process of growthin an individual from one stage to another? Is it acommodity? In your experimentations,discussions and discoveries, nave you decidedanything about it?

As I said, I never thought the word"creativity" in some nine years' work on aspects of the problem, and I evenwonder whether I still ever think it, except as it is now part ofdiscussions that occur. Probably one of the reasons forthis is that I think of different aspectsof activities that play a part in creative process.Indeed, much of our measurement effort has been devoted to different aspectsof this process . Originality, , for example, is a thing distinct from spontaneousflexibility, which, in ton, is different from adaptiveflexibility, which, in turn, isdifferent from associational fluency. All of thesethings play a part, for instance, in writing. Take the question: Is notall writing creative? If youhave a group of people, allof whom write poetry, I would saythat the activity they are engaging in is intrinsicallycreative. There aredifferent or- ders of merit within what they doand what they produce.Further, if you read their poetryand think about it in thebe otherterms , you can generally say, "This poet is veryoriginal in his ideas." "This onehops around very rapidly in terms ofimages." Then you can begindifferen- tiating this big "i-t-y" part of itand, in fact, when you do getdown to brass tacks about any creativeproduct or particular processleadirg to a product, you don't talkabout creativiV, you talkabout these particulars. 35

FRANK BARRON In talking about architecture, youonly say a problem solution is creative when it has these other qualities: the originality, , and various other hallmarks of what you call creativity. What I am saying is that some activities can be ordered in terms of the degree of intrinsic creation called for in them, then, beyond that within the given activity, , you can discern orders of originality.Part of the discomfort one may feel is that the term "creativity" has been popularized; another part of the dis- comfort that I feel is that there is some sort of halo around the term or an occasional dollar sign.

There is also a tendency to forget that there are unpleasant aspects of creation; it almost always involves destruction. In relation to the edu- cation process itself, the very first thing is to think of a chid in school. Before he goes to school, he moves around very freely.In school he sits unmoving at his little desk for a large part of the day. That image conveys one important contribution dance mightmake to education in regard to the creative potential of children. There is a tendency towards overemphasis of the verbal in education. The healthy thing about an interest in creativity of movement is that it may help restore balance, giving full scope to the child's potentialities.There could be real re- form in educational practice in the elementary grades if those things that the arts are primarily concerned with were brought back into the setting. I think your point, Marian, was very important about what this power is that we have in our hands , and the step behind dance to the kinesthetic.

Jack Morrison: If we think of research as discovery, then research applies to usall of the time. One of the things we haven't doneinthe arts is to include research.It has always been classes and take care of the students. Nothing is wrong with that, unless you fall to work at discovering new ways of doing things. I think we know what dance is, and that we have to accept it and see how we can do it better. The best way to begin is todo, in various places, what you people can do very well and could do better uIcier different conditions. What are those different conditions? Let's say we want the kind ofdancer Alvin talks about. We've all known such youngsters unless they have already dropped out in a fourth grade slump. So what are we going to do about that? What are thekinesthetic actions we want to encourage. That is part of our research at everylevel. We will have different ways, but let's get at this kind of discovery.

Eugene Loring: One of the most important things is to make people aware of themselves as human beings, aware of human relationships, and awareof nature around them. IncrePcingly, in teaching choreography, I find students totally unaware of themselves and life.I believe they will learn awareness through movement, and be able to express it in movement. Even little children are not aware; they don't recall what they see in nature, they are not aware of touch, smell, hearing.It ie terribly important that we make them aware, because what else is there to create about but life itself, and human problems? Participant: One of the problems in choreography classes is finding your own way as a student, or as a teacher helping the student find his way when he is blocked by habits , stereotypes and imitations. In the complete works of a writer, , could you spot in his de- velopment a time when he might, consciously or unconsciously, have been imitative in certain early books,then gradually begin to see his individual characteristics come to the fore and ultimately come into full bloom? FRANK B.P.RHON Oh, yes.I think you get a high degree of imitativeness, even among people who are basically quite original.Yeats is an example. He is certainly a poet of tremendous power anduriginality, and yet his early work is highly imitative. I was startled, on reading a letter from Yeats to his father, to discover that his prose completely imitated his father's styleHowever, that is to be expected; that is how you learn, to start with.

I think we try too hard.I think we should take it a little easy on this creativity implication.If there is any, it will emerge.

Vera Embree: So far, at this conference a key word has been "exposure." We have to use all of the methods we know, which puts a great responsibility on us, as teachers. In a given class you may reach one student if he attends a concert. You might reach another by saying, "Try to move, restricting one hand to the hip, one hand to the head. What can move?" When trying to get my high school students to make a dance, I have found that ! have to make them aware of their bodies, and that it is all right to use them, because many of them are restricted by the disciplines that have been imposed upon them in our society. They have to be released first,and I find that invariably this comes from teaching them something about technique. Usually, it starts at a very elementary level, and then it develops. Sometimes, experience with other arts provides the stimulus. It may evolve out of listening and moving to music.In my school, there are many children from deprived backgrounds, where they just don't even know these things exist. I let them realize that they are there, rald that they can be fun; it is just that elementary, before somebody can finally come out with a dance.

Elizabeth Hayes: What do you feel are the values and dangers of apprenticeship in the arts: Do you think it helps or hinders growth as artists?

I don't think I could say anything about it beyond that; Triturally, every- one learns somewhere. What do you all think about it?

William Bales: We were visiting Grant Wood ir Iowa. Ho taught everyone to paint the way he did.I said, "Don't they all turn out to be little Grant Woods?" "Um-hmm." "That's abominable, isn't it?" He replied, "Well, if they have any talent, they won't be happy going on painting like Grant Wood, and they will go their own way. If they don't have any talent, they will at least have learned one discipline."

Even the great geniuses are certainly not un-derived, and you have Stevenson's recommendation, "Play the sedulous ape," and so on.All the greatest artists have served apprenticeships. They ly.ceak it some place, split from the master, and go out on their own. Picasso did, making the break by doing some symbolic thing like taking his mother's name. You learn where you can, and if you can learn from someone who is great in his own right, you would be wise to do it, I suppose, unless it interferes with something in you that would be lost if you did. I don't think there is any general prescription.

Martha Hill: Alvin, how did you start to become a choreographer?

Alvin Ailey:I always wanted to make dances, but for a long while it wasn't practical.i couldn't do ballet boys just didn't dance like that it was impossible. Once I was going tu write nyisic and the Great American Novel.I imitated all the poets from Baudelaire to Eberhardt. Then I found I ester Horton, and he was making the kind of dances Ithought 37

FRANK BARRON were important and meaningful, bringing together some prettywild elements modern dance. Tt had everything in it, the writing, the poetry, the art, the paintings I wanted to do, and from there I started to make dances, feeling my way slowly, because you have to find out if you can make a living doing that, and I'm still not sure you can.It is some- thing you do because you have to do it.

Lester Horton never taught any courses; he didn't make you do exercises of anykind. He simply opened things, presented things to you. There was music, there was painting, there was great taste and imagination, all there for you to see. It was just the atmosphere of that man what he radiated his whole personality his marvelous creating, the way he lived, what he was, that touched anybody who was sensitive.

Selma Jeanne Cohen: Eugene, do you feel it would have been easier for you, getting started, if you had had courses in composition? Eugene Loring: Oh, positively. Martha Hill: Do you think all dancers should be required to study choreography? Eugene Loring: Yes. Martha Hill: To make original work?

Eugene Loring: No. That is not necessary.I think you should study choreography just as a musician, even if he is not going to be a composer, studies harmonyand counter- point to understand the structure of the music he is playing.If students understand how things are put together they will advance more intelligmtly, and they will understand a choreographer more readily. As we all know, in the professional field, the problem of economics is constantly greater, so the choreographer needs people who can respond immediately.

Lucy Venable: How do we give students the broadest kind of exposure to choreography, , if our location does not provide it?Musicians have scores to read, painters have paintings to look at, but what do the dancers have to see, except their own teacher?

"Dances vanish into thin air" is one of the generalizations I keep thinkihg about.

Eleanor Lauer:It seems to me that a person who has worked really creatively in any of the arts will tend to carry this attitude into many other aspects of his life and thus , auto- matically,,to shun the banal, the rigid, the fraudulent, etc. As dance teachers , we work with large numbers of students, only a few of whom will go on to become dancers in the professional sense. With the many others , we try to help them find in dance a means of expression and growth within themselves as well as a source of pleasure in seeing dance performances. But, beyond that, I would hope that if we could help developthlir creative capacities,their attitudes toward everything they encounter in the world as they grew up would be affected. They would not insist on simplified solutions to complex problems , they would not join "hate groups ," they would not be likely victims of demagogues, etc. The broad benefits of involvement in creative activities from childhood could be reflected in every phase of life.

Jack Morrison:I think that is where the stakes are for education.

39

Music and Dance BETTY WALBERG

I am gointo speak of some of the ways in which music course that is taught for the dancer. I don't I think we( an enrich dance music, nomatter where like this sort of distinct separation, for it lacks a it is used in the studio, in college, profession- kind of continuity in growth and development, so I technique class, and say ally and then tell you of some of the devicesand am going to begin with the total techniques I have found helpful. what I think can be done in it to further the picture from the start. I find there is great lack of musicality inthe studio, in the childrens' school, in the highschool, in the There are many scales (the tonal materialsof mu- college wherever technique is beingtaught. Usu- sic) which possess various tone textures andfeelings ally, music has a stagmant and dull soundin the of space. These are never explored, butcould be, classroom. There are two reasons for this.One e ren while the dancers arejust doing a plie. In is that, many times, the musiciandoes not under- addition to the "regular" major and minorscales, stand dance or does not like dance. Theother is there are the whole-tone, pentatonic,twelve tone that the teacher really does not likemusic, and icale, and the modes. A twelve tone scale is a does not have a knowledge of music and its fasci- very complicated one in which toimprovise suc- nating complexities.There is rarely a two-way cessfully, but one can take what might becalled a discussion between the teacher and musician. This "tone series," and develop that series.If, in a is harmful to the students, because they mayend class, you start thinking of just tone sounds, it up with a separation in theirmusical education. might help the invention that takes place,making more of a play between thedance and the music. There are several areas to consider in how to use I feel there is a great lack of wit in the useof music music for dance.I began to think about this on in the dance class. Sunday afternoon when Mr. Jackson played for "Improvisation." We all kept saying, "Come on, Often, you will fiLid a redundancy of tone color or Jack, enter in and play. Do some music." What tone center in a class. There is a reasonfor this. we were actually saying was,"Will you please un- It is easier to improvise in some keysthan in derscore the movenier,.." We weren't really asking others, and it becomes a habit. I think theteacher him to make music. There is nothing wrong with and the dance musician should have much moredis - that, but we should be aware of it of what we cussion with each other, before andduring class. really want. The teacher can say, "Let's try modes today," or, "I would like to try a whole-tone scaletoday, while The following five things apply to dance music: un- we doplies," and hope the musician knows.It is derscoring the dance, supporting the dance,keep- important that it comes from the teacher.Often, ing the dancers together, accompanying thedance, he may be after a certain quality.If the musician and, finally, dance and music together that im- starts experimenting on his own, the teacher may portant area where the dance and music aresuch say, "That doesn't feelgood." Actually, what he is integral parts of each other that they are like voices saying is that it is not comfortable.I find it very in a string quartet. I don't think we do any ofthese dangerous to have it always comfortable inclass. five things with awareness, variety or imagination, so I am going to discuss somepractical ideas, A comment about keys; none of this, Ifeel, is at which ra,.ght expand the use of music, academically all mystical. Keys can affect the way you move; and profes s ionally. you do react to keys.If the minor scale is played a lot in the class, itdoes something to the feeling Music education in relation to dance, wherever it of the room. It can make a heavy atmosphere.The is found in L Jhool , in a perforniance, or in a key of "C" can have a different spacefeeling from company is divided into six categories: music the key of "G". You can only become awareof this for childrens' classes, for technique classes,for through discussion and experimentation. The flat composition classes, for choreography, how to use keys have a different texture from the sharp keys, and perform that music in a performance, andthe and some keys are better than others for certain 40

instruments.It is important to sense and know this , dancer in composition or choreography, so that he because,when you begin choreographing and select- will not always use the same meter he has had in ing music, or having music composed and, eventu- technique class for a movement pattern. ally, orchestrated, the key you choose, or the tone center that is chosen, will greatly affect the dance Think about how you might expand your use of me- work.I think you must see that this awareness ter in the classes. Meter sets up "main" accents begins in the technique class. and "secondary 1 accents,but the dancer is also in- volved with "impulses." That is why the musician, When you start experimenting with key relations or writing for dance, has to look at movement to find scales, the student will start listening and, by that out how long it takes,where the impulses lie, where listening, his posture changes. It mightjust change the main and secondary accents lie.If the music- in the ear area; it might change in the back of the ian keeps on playing the same thing, the impulse head; it might change in the way he descends or will remain the same no matter what is the emo- ascends.I find it very exciting, and I think we tional or content use of that movement pattern. should all try it much more. There should be more experimentation with the Moving on from the tonal relations of keys or the dancer as the "melody" and the piano as the rhyth- scales selected, we come to that strange thing mic structure, and then a reversal, in which the called "meter ." This is a fascinating and mysterious pianist just plays the melody, and the dancer thinks thing when it comes to dance.I, personally, don't of himself as the rhythmic accompaniment or har- think of meter in relationship to the rhythmic struc- monic structure. This builds up a sensitivity to ture. The rhythmic content of the movement, or rhythm and harmony, and it can be very exciting. rhythmic pattern of the movement, suggests the structure of what I am going to compose. but not There is not enough exploration of what I call the the meter.Often, with children, if I beat out a basso-ostinato use of music.It is usually a little certain rhythm and then say, "Whatdid I do?" they motif, two bars or four bars, which continues, and will answer, "Oh, that is a tango." But, if I say repeats itself, and repeats itself. It has an exciting "Three-four," and ask what that reminds them of, rhythmic content with, in its own way, a beginning they will say, "A waltz." Now, they really didn't of a melody, and it makes the dancer aware of a think of a meter from that rhythmic pattern. To new energy.I enjoy using the basso-ostinato with me, a meter has a content, and by contentI mean sustained movement or an adagio, because it puts a quality of space , recall , and even , perhaps ,form. another kind of pulse inside the legato movement That is because, as a musician, I see bar lines. of the dancer with its rapid, agitato feeling.

On one occasion, a choreographer said to me, "I It would be very inventive to have the pianist sing want a basil pulse, or a basic pattern, Betty, of to his own accompaniment. No one ever uses the " and he demonstrated, because he couldn't voice in class. Try using the voice as well as the verbalize what he wanted.I said, "Do you want a piano, or use the texture of the piano, the wood, gallop or a jig?" A gallop is in two-four and, for etc.I am not terribly fond of isolated sounds of me, visually, it is much morecondensed than a wood, then playing, and then ins1 -.2', the piano for an six-eight, and the choice may affect the movement. effect, but I think it is fun, if the pianist is agile I bring this up because, often, in the dance clPss enough, to play the keys and then add a sound on there is no exploration of meters. You do aplié, the structure of the piano. or you do something across the floor, inexactly the same meter every day. Who is to say you can't Now we enter another areaof music for the class try a pli6 in a five-four? By meter, I also mean the use of dynamics andexpression: legato, stac- the starting of an exercise with an up-beat or a cato, accent, stress, marcato,phrasing, tempo. down-beat. That affects meter and phrasing. Pve All of these affect timing and themusicality of the been watching "down-up -up -down-up -up" for years . dancer. Many times, a teacher orchoreographr I don't know why it can't sometimes start with "up- will say, "I would like an accent there."What he up-down-up-up" or "down-down-up-up-down." really means is a stress. A stressexaggerates the time; an accent is somethingthat is more ex- There are no set ru.,cs involving meters,except in act, and we all know what legatoand staccato are. regard to notating. The technique class can have I have not been to too manystudios lately, but, much more exploration in meter.It will help the usually, the music all sounds the sameto me, be-

i 41 cause itnever has any variations inquality and dy- sequence of movement is set up.It is not always namics. If you are using a concept of staccato for rhythmically varied, so it gives me a marvelous an exercise, I think you should ask thepianist to chance to be really creative. With modern, some- stop using the pedal. Too much pedal can make the times, it is so complicated with impulsesand studio murky with sound.I don't believe any mu- accents that it leaves me little room for experi- sician would be hurt if you said, "Let's don't use mentation, usually ending up with my simply making the pedal today, let's try the class without the pedal sound effects. Once in a while, tlie teacher could and see what we find." devise a simple pattern, and then the dancer could experience something more musicallycomplex. The accent and stress will affect the class in the leap and the )ump. Are you going to catch the stress We sometimes say a person is a borndancer, be- of the movemnent or the stress of the music; when cause he is rhythmically sogood.I have done no the danGer is up, when the dancer lands, when the research on this, but I do think there probably are dancer takes off, in the middle? Too often, the people born with a natural sense of rhythm.One of dancer marks the accent, and the music mimes the the places to make students aware of whetherthey accent.Eventually, it becomes like two people are listening and reallyrhythmic is in the technique talking at the same time; they are saying the same class.I find, many times, that the class is very words, but you don't hear either one of them. sloppy. The teacher says, "Go over in the corner and feed out in fours." The pianist sits downand This brings up the whole problem of trainingdance he doesn't have a phrase. The dancers don'tknow musicians and dancers;I call it the contrapuntal when to come in on the beat, and it goes onand on. device. Awareness, and the use of dynamics,will strengthen the rhythmic sense, but it is that matter Often, we think of rhythm as something constant. of comfort, again.I think it is very important to That is what you call "pulse," though the express- bring into the class a much stronger use of counter- ion is not in the musical dictionary. What wehave point between the music and the dancer.It can be- been talking about here is not pulse. Pulsereally come, in a sense , like a music coursewithout being means what the heart andthe blood stream of the pedantic. By the time the student beginscomposi- person are doing.That is why you will frequently tion or choreography, he may have avocabulary and find that a dancer will say, "You played that too knowledge of music that just seemed to sneak upon quickly for me today." Usually not it is justthat him and, most important, a physical awarenessof he is feeling different that day; his energy isdiffer- music. ent. We confuse rhythm with pulse. When I speak of rhythm, I mean the "whole thing," which includes I think, also, there should be morejazz in the accelerando, retard, rubatothey are all differ- classes. By jazz, I mean good jazz,and by "good ent.I don't mean "twice as slow, twice as fast," jazz" I mean jazz that satisfies my taste!I think which is the way to become more proficient in using that is about all it amounts to one's ownpersonal movement more quickly, more slowly, and hanging taste. We seem to be frightened thatif we play on to the pulse. There are exercises tocultivate pulse, and others to develop rhythmic awareness. jazz,it might seem a little ordinary, ,mundane,and not very intelligent, but I don't carewhat age you I often use the "Goldberg Variations," played by are, you do respond to jazz.You respond to it be- Glenn Gould, as an example of the difference be- cause it has a very strongrhythmic drive. tween rhythm and pulse. The dancer will believe it has a constant beat. Then I will say, "All right, I see nothing wrong with young peopleexploring the let's try clapping to it." It is terribly inconsistent, so-called "Beatle" music. I have analyzed it, and but that is how Gould interpreted the whole rangeof I have worked with it.I did some "Hullabaloo" the composition; how he used the notesrhythmically.. shows just to find out what it is about.It is really built on the madrigal tonality, especially thekind You should seriously consider the means by which called English "Rock and Roll." It actually centers you arrive at both pulseand rhythmic training. around a tonal center. This music.is here. Why Rhythmic training develops the sense of phrasing. ignore it? To me, the phrase in dance is not like the phrase in music.I consider a phrase in dance to be what I have found that I enjoy improvising for ballet more melody is to music. There is a subtle difference. than for modern, if we are going to make a separa- Phrasing in music is the way in which I might stress tion between 'le two.I enjoy it more, because a a note, slur a note, how Imight interpret; but a melody in music is the rhythmic structureof highs I think you have to work both ways, but in thelearn- and lows intone. Therefore, when Ithink of phras- ing experience it is important that thedancer com- ing in dance, I am more apt to thinkmelodically poses to an alreadywritten piece of music, so that what a melody is like. Mostdancers, when they he will sense music as form, not just structure. for me, get into choreography, havedifficulty creating a Form and structure are different. Form, structure, the phrase,because we stress the pulse rather than the is the harmony, the melody, the Structure phrase. tonal structure, the rhythmic structure. is like the blueprint the architect uses tobuild a To increase sensitivity tophrasing, pulse, or building. Seeing the building only through thatblue- rhythm, the pianist should be given more oppor- print, canbe alittle dull and hard to imagine. You tunity to set the tempo in class. Ateacher will need to see the actual building. Toooften, we teach often have one pulse, and the wholeclass is con- music as structure and not as form. ducted with that same pulse. When thestudent leaves the classroom , he is aware of only onetempo There should be much more workingtogether be- ideas. for a movement pattern. tween the students and the musician; trying With a written composition, the musician canhelp Sometimes I ask the dancers to visualizethe nota- tremendously in analyzing the dance. Moreim- tion. A musician is greatlyaffected in his inter- portant, I see no reason why things can'tbe "said" pretation of a piece by the way it isnotated. A within some kind of preconceived form.At least, dotted half note looks and feelsdifferent from a try it, so that it isn't such ahaphazard sequence helpful dotted quarter.I find I am more conscious of the of movement. The musician can supply a work and, look of the note when I am working withdance.It "distance" between the dancer and his is fun to say, "Let's have absolutesilence in the with this distance, the dancebecomes less self- class for a moment. Let's thinkabout a pli6, vis- indulgent. The musician can become aneditor.I ualizing a dotted half descending, andascending to am assuming you have agood musician when I say six eighth notes. Don't click yourtongue, just see this.I think you must do this, becauseotherwise it." Then set the pulse.It is amazing to see what we are going to lose thepeople in dance music, for happens the change of body movement,when they they don't have a chance to be ascreative as the start thinking about it.Or say, "Let's try eighth- choreographer. quarter, eighth-quarter, down,and then move up something like You must work with all areas of musicwith dance: with 7 half note or two quarters" and so on. that.Marvellous things can happen.I think it is Webern, Beethoven, Schubert, Bach, worth investigating on your own. There is a gamut of musical material;short, beau- tiful pieces that can be used incomposition class. Silence :s very important. It is hard tohold still Try these in the technique class; usemuch more the quietneas worries you. Afterthe dancers have music in composition, and what happensis that, the experience of visualizing thenotations a few during the entire time, the dance studentis listen- times, subconsciously, they begin to senseover- ing to music In an active way. You canlisten to fearful of just standing still music all of your life, understanding arondo, a tones; they are not as and it doesn't or having little musicwhile moving.It can help sonata, a symphony, structurally, overtones in the mean that you know how to useit compositionally. them to be aware that there are earphones on body as well as in music. For a dancer to sit in a room with listening to music over and over againmust be a alienates him There is a strong tendency toward toomuch mu- strange experience for him. I think it him sical support in technique classes.By support, I from the music.It is more sensible to have and move to it, mean the amount of music(notes and dynamics) listen at home. If he wants to getup within the meter or tempo.I believe that is why he can.It is not a separate thing tolisten to music, He must many choreographers rebelagainst music, when to understand its form,and move to it. the music. they finally start choreographingfor themselves. do all three. He has to listen and use An effort should be made to make the music more I work with dancers who can onlydance by counting. sparse and clean. They hay?. to go on counting, constantly,because they don't know how to listen, andhow to use the I am not in favor of all compositionbeing done with- music when they move. Aprofessional must have out music; that is, first composingthe dance and dexterity in both realms. then putting music on the frameworkof the dance.

4 43

Susanne Langer used the word "cadences." I often body; syncopating in that fashion, rather than syn- have students attempt to choreograph a cadence. In copating only in the sound of the feet. music, there are various types of cadences, which can help along new ideas in movement. We have There is an area in music called grace notes and the perfect cadence, imperfect cadence, mixed trills.I will say, "Try a grace note in the port de cadence, half cadence, deceptive cadence."De- bras on the beat.I don't care what you use, the ceptive cadence," to me, is crossing a phrase in finger, or anything. Try a movement like a grace a movement of a dance you think it is going to note anticipating the beat. Try it in the trill."It resolve itself, and then it moves on.I don't have calls for subtle timing, but, also, the imaginative students do a cadence exercise musically; I have use of movement. You would have tofind your own them do it in movement. Then, I put music to it, way of doing it, but I have tried it andwonderful so it becomes a movement and musicalcadence. I things happen. I always relate it to the vocabulary play many cadences, and I say, hopefully, "Try for of music, so that students feel it is not separate. that in movement." It can be done; it is not any- thing that takes magic. Actually, it is hard, hard One more illustration on choice of meter: a chore- work; doing, doing, doing, and more redoing. ographer will say, "I am going to do about this tempo." I'll say, "Do you want it 3/4, 6/8, 3/8, Then there is a motif. A motif in music may be a or 4/4?" These look different; they aredifferent, little two-bar sequence that has a certain character. and they should feel different. They should affect It can be usedwhen a dancer is depicting a charac- the movement.Unfortunately, many people who ter. The contraction of the old lady's shoulder in work with dance don't know the possibilities. They THE COACH WITH THE SIX INSIDES is a motif, think 6/8 moderate tempo; 3/8 alittle faster; Bill's boxing movement in the "Champion," and Jane 3/4 medium; and 4/4 a sort of march tempo. Dudley's movement in "The Harmonica Breakdown," There is a tremendous range of tempo in 6/8, 3/8, which I remember so vividly, are motifs. and 4/4.If you have strength in movement, your tempo really communicates. A motif, a melody, and a theme are all different, but many times we think of them as the same, and, If, in the training of a dancer, you use these de- worse yet, treat them in the same way. One should vices I have been discussing, it can't help but affect start making distinctions , and this should take place his attitude and feeling towards music when he in the composition class . A theme speaks for itself. starts to choreograph. It is different from a phrase, or a melody, or a motif.It announces the tone color of the piece. Choreographers use music in very different ways, The most common use, of course, is the theme and because they instinctively respond differently to variations.It has no special distinction until it is music. I am going to pick four, who are quite dif- varied, when suddenly the original theme takes on ferent. One man I have worked with, and knowvery another color. Usually, the theme is very simple well, Jerry Robbins . He is very aware of the hori- so that you can make variations onit. zontal structure of music, and he is moved by what he calls the "rhythm" of the piece. That is why he In teaching rhythmic analysis, I am against con- chooses Stravinsky; that is why he feels a kinship stantly putting notation on the board, and having to jazz. He calls it the "organic" quality of music. dancers simply standup and walk or clap the rhyth- Mr. Balanchine delights in the analytical part of mic pattern, for it doesn't accomplish very much. the music.He is involved with how intricately Many times, I can have my dancers clap a pattern something is composed, the melodic structure, the beautifully, walk it beautifully, but move orcholle- contrapuntal and harmonic structure. He is what ograph to it, they cannot. The hardest thing for the I call the "linear aware" man. Anna Sokolow and student is to recognize the inner pulse of a rhythmic Martha Graham use music in such a fashion that pattern.He may be able to devise highly compli- they don't necessarily dance measure by measure. cated things, but, if he can't relate to the inner There is a movement pattern, perhaps 20 counts , pulse of that pattern, he never seems to be what I and maybe the music and dance start together and call a really good, rhythmically aware dancer. end up together at a certain point, but what happens in between is quite separate. Miss Sokolow uses Learning syncopation is complicated, and much it more, I feel, as an underscoring of movement more investigation in the manner ofteaching it mood or effect. should be done, isolating the different areas of the 44

I haven't touched on electronics at all, because I I liked the idea of Joan Woodbury's using vocal have not worked with it.I believe in it, but I don't sounds in the demonstration of improvisation the necessarily believe in the way it is being used.It other day. I think more of that can be incorporated has often been used more in a pretentious manner in the experience of the dancer not necessarily than a sincere, emotional manner. It is an excuse. in performance, however, because you have to be The composer and choreographer didn't know what careful as to what vocal sound means.It is diffi- to do, musically, in the first place, so they brought cult to have a vocal sound on stage and then bring in little "beeps," which have nothing to do with the in music and have a meaningful relationship be- content of the dance. Does all movement lend it- tween the two. self to electronics? Do all ideas? These are serious considerations, which do not appear to You must realize that these are all just my own matter to many, who seem to believe all ideas work personal feelings and personal experiences.I am with electronic music.I do not think they do. There concerned that there are very few musicians be- are very good composers working in this medium. coming involved in music for dance.They are Students should listen to their music.It takes a leaving it. Very few musicians will play for dance good deal of thought to compose, because they do anymore. have a form. The dance should not have a hap- hazard form just because the music seems to be haphazard.

Discussion

BETTY WALBERG

Ilk Joan Woodbury:I have been thinking about what has been said.Possibly I should have said to Jack (the musician for the Improvisation Demonstration), "You set yourself some musical problems which are related, somehow, to what we are doing, so that in your improvisation you also have stops, which are of various lengths, that have to do with well, balance on one leg something that might have to do with balance of tones." But I was not asking him to watch what he saw.

You must see dance if you are going to play for it.

Joan WoodbuH: Couldn't there be some correlation between co-existing at the moment as a player?

What is the point of it, Joan?

Joan Woodbury:I think it's to sense some relationships between.. .

But you are asking him to be on his own, and the dance to be on its own, so I don't see what the relationship is.I thinkyou were making it much too separate from what was happening physically.What would have happened, Jack, if she had said, "Improvise in the style of Webern his 'Six Short Pieces' " W it would you have done?

Jack Jackson: Just that, I think.

What would have happened musically? It would have had stops, right?

Joan Woodbury:I would have had to be a little more explicit.

That is what I am talking about, Joan.You must be specific with a musician. 45

BETTY WALBERG

Jack Jackson:I wouldn't overlook the possibility of a preliminary discussion.I think, if I had had a clear understanding of what the objectives and problems were, I could then have edited and interpreted. The question was, whether or not I was to be impelled by what I was seeing, or whether I was to act independently.

Dorothy Madden:I set a certain study in which I asked the students to illustrate in movement, tensions, silence and negative space, with reference to modern concepts in many of the arts.I asked the musician if he would please do something rather lin- ear, perhaps in the feeling of a madrigi.l.He said, "I don't see it that way."

Well, I would just tell him to do it. You are not in error,and he isnot. Just tell him to work and do it.Now, he may not, but he might find something by doing it.

Dorothy Madden: We had a long discussion on this.

Well, you have to understand that musicians like to discuss things, and it is good to give them a chance, but there is a point where you say, "Please do it;I am after something here." Now, what do you mean by "negative space"?You see, that would throw me, as a musician.

Dorothy Madden: Silence is really what I meant. In painting, thespace you haven't used is called "negative space."

What would you think that relates to in music? Ifyou have a rest, you don't have negative space. If you have silence,you don't have negative space. What were you after?

Dorothy Madden: I was after that linear feeling, that "drawing" feelingyou get from not too much harmony.

My reaction to "negative space" is that I might play something a la Scarlatti,and I would leave that for a moment and go into something with a completely different musical texture, and the space between those would be, to me, "negative space." That's how I would treat itas a musician.But, really,,if you said "negative space" to me, I wouldn't know what to do.I am cross-examining you. You brought up a prob- lem. You should just tell him to try it.

Bonnie Bird: What do you think about the possibility of using the tape recorder con- structively?It is rapidly becoming the worst enemy of live music, and yet it is going to be used.

You mean recording something and then using it for a performance?

Bonnie Bird: Yes, and for class work, too.

Sometimes, I think if you have a very bad musician, it is better to have good music on tape, but I think it is terribly limited.It is a hard question to answ9r,,Bonnie, because it certainly is not ideal. Sound- wise, there is a big danger in working with "canned" music all the time, because it does feel and sound very different from live music. BETTY WALBERG

The tempo, energy and "presence" aredifferent. You can play ex- actly the same tempo on a record as youdo with an orchestra, but it is going to feel different in tempo. Themusician and dancer should be aware of this.

Dorothy Madden: What do you feelabout a teacher who uses a drum foraccompaniment?

It depends on how inventive the personis with the drums. Sometimes the sound of drums will do the work,and the dancer is doing nothing. That is the danger. They get soemotional about the sound that, actu- ally, nothing is happening in thebody.I think it can be done with great excitement if there is arelationship between the two.

Ruth Murray: I do feel that themodern student of dance doesn'tthink of the music, necessarily, as something thatis too important.

If the teachers and the studentsfeel the need of this person,usually the administration will adjust,financially.If you make him a nec- essary part , and he is sovaluable and so good , they will often pay more.

Joseph Gifford: If you get adecent enough salary for youraccompanist, you can ask more of him. This is not someone youhire by the hour. This is a facultyposition. As soon as you get it on thatbasis, it gives a certaindignity to the position.

I think you have to look at itboth ways. You couldbring in someone who is very good, perhapsfor only three times a week,and pay him well enough. He doesn'thave to be part of the wholeorganization.

I think we can start by eliminatingthe word "accompanist," andreally have that person be a creative partof the class. There are times when one accompanies as anexample, for a square dance. Wehave to be careful how we use the term,and think of accompanying as inthe "Lieder" of Schubert, where the accompanimentmakes its own melod- ic line.

Alma Hawkins: We have had atendency to think that the teacher isthe one who is bring- ing insight and understanding tothe class, but you have beenshowing us how the musician can also contribute inthis way.

You have to open up a chance forhim to do that.I think the only way you can get involved indance and love dance as a musicianis to par- ticipate in the technique class as well asthe composition class.I can't stress that enough. That is whereI got my inspiration for mylife's work playing for dance classes.I didn't just iump into composing for dance. You can get peopleexcited if you involve the dancemusi- cian so that he is participating in acompositional way. As he impro- vises, he is -eally writing, composingmusic. Most musicians don't realize how valuable it is,professionally, to understand dance.Your imagination opens up when you startrelating movement with music. What usually happens, becauseof my dance experience, isthat I end up doing all of thearrangements for a show,because what we do in dance and music is so exciting on screenin comparison with someone 47

BETTY WALBERG

standingup and doing nothing. If a person like Mr. Robbinsdoes scene changes, I relate to them movement-wise when does the set move around, what is the feeling when the set moves around, whatwill re- sult, what happens to the stage? I end updoing all of the underscoring, because of my dance experience.

Jack Morrison: Betty started out by describing a situation inwhich technique and music were presented together, rather than music overhere and technique there.I think there are many implications for all of theperforming arts pedagogical ones, which have to do with the use of time.For example, in theatre we have been looking atthe English. Duncan Ross, at the University of Washington, says, "Wewill only teach acting in a room that is at least two stories high, like a theatre, with voiceand movement and acting all at once, never, ever apart again."This process is, I think, absolutely sound. These things work together, organically, all of the time.It is a lot of malarkey if you just say "voice." You can't just say "voice" or "music" or"movement"! You are suggesting the same thing in dance, and I suspect thisis cutting across the borders so that wecould have a working situation such as you describe, where,in a room, at a regular time, there would be composers and choreographers and dancers workingtogether. You could also cut out three courses and do the same thing;only really do it.

I don't think you can separate the craft from the art.There is too much separation.For instance, in the teaching of rhythmic analysis there should be more movement. Sometimes , the musicteacher doesn't know anything about movement, so that two people arereally needed to teach this necessary course. Alma Hawkins: Jean Erdman, at our last meeting,stressed the importance of having a theatre and a stage for dancers as alaboratory for learning.

Nik Krevitsky: I think that what Jack said hasthe strongest implications for the curricu- lum in dance and music. The person he wastalking about, who wants this theatre for an acting class, instead of one room where youwould just concern yourself with voice, is a person who is hard to find.Betty Walbergs are pretty hard tofind, too.Thirty years ago, at Bennington, there was a coursecalled "Experimental Production." Nothingof that kind has happened since. To do"team teaching" in the dance curriculum, youhave to get people of equal stature,who respect each other and can worktogether like Martha Hill, Norman Lloyd and Arch Loiterer,who gave the course at Bennington. Arch would present a problem in composition thatwould deal with space and light; Marthawould present a compositional problem in movement;and Norman would present a problem deal- ing with music.The students were really learningdance in relation to music, space, color and light.This is not happening now.It is of the greatest importance in the cur- riculum that people in theatre, music anddance work together so that, from the very beginning, students can have this experience,instead of waiting for a graduate course. No one person can do it all. None of usshould have the arrogance to assume that he can be the total Renaissance man and do thewhole works.

When Jack Morrison was speakingof the English theatre, I was re-- minded of the time I saw THE FLEA INTHE EAR, a production by the National Repertory Theatre, which is oneof the best repertory com- panies in the world. It is a farceand, as I watched it, I said, "Every- one is really dancing upthere on the stage."Afterward, when I 48

BETTY WALBERG

talked with the iirector, he said, "They are always involved with dance. When they start a play,,they often dance the role, choreographing the movement." I think it would help dancers to have some acting to bring another dimension of movement for them. That could be part of the laboratory. The terminology the director uses is very different from that of a choreographer. The image is entirely different.

Participant:It is interesting that when Jean Erdman auditioned, in a period of two weeks, 168 actors for THE COACH WITH THE SIX INSIDES, a large factor inher choice was in terms of how they moved in the scene where theyhad to go around in the little, imaginary "flivver."They all apparently had a good range of speaking, etc. , but that was the determining factor.

William Bales: There is one problem that I don't think we haverecognized. There are very few places that are training musicians fordance. I think this is crucial to our problem.

Alma Hawkins: It seems to me that in the universities we can do much morethan we are doing in some kind of cross-fertilization with the music department possibly offering courses for musicians in dance.

A lab course just to improvise with dance could attract people,I know. I don't think there is enough improvisation in the musician'straining. You can only do this by a lot of hard work and practice.

Allegra Fuller Snyder: There is a whole group of musiciansjazz musicianswho are oriented to improvisation. I think this kind of work would excitethe young jazz musician.

Jerry Mulligan is a person who really loves doingthis kind of work. He is a very well-trained musician and vitallyinterested in improvi- sation.I would think that some of you could get him to comeand try improvisation with the dancers. As a dancer, you have to start very, , very early to learn about music. It is interesting, if you go through a musical dictionary, most of the descriptions are in terms of movement. "Rhythm is the motion of ..." "Melody is the motion of...""A melody has a content, a quality of space ..."

Martha Hill: And "Andante is like walking.'

It is a little separate education that you should put yourselfthrough. I think a musical dictionary should be in the classroom forstudents to refer to, so that they can acquaint themselves with musical terminology.

Allegra Fuller Snyder: We do have to know how to talkabout music. On the other hand, I don't know whether it is exactly the same thing aslearning music in the way a musician learns music. I felt that Betty was saying that there is adifferent kind of understanding about /711.13ic for dancers. So I was a little bit worried about itbeing said that,"It's just a question of dancers getting more fundamental musiceducation."I'm not sure it is that simple.I think it is music education for dancers , but again,I think it involves this special person the person teaching us (like Betty) whounderstands both sides. 49

BETTY WALBERG

Martha Hill: I agree with Allegra that there shouldbe special courses in music fordancers. On the other hand, I am going to bethe "devil's advocate" and make a strongpoint on the other side. The ideal person in dance inthe future would be equally asgood a musician as he is a dancer. Hewould learn to read music when he wassix or seven.Betty Walberg knows about dancing; she doesn'tdance, but she knows our shop talk,she knows technical terms, she knows one movementfrom another. She knows dancebetter than a great many dancers, andI think dancers have to know music aswell as most musicians or we are never going to getthis thing meshing. This shouldbe done in for the public schools.I am making a "court case" forgetting the respect of the dancer art of music by not having itwatered down which, of course, Allegra did not mean.

William Bales: You are saying music asmusic, then?

Martha Hill:I am saying, ideally, , you wouldlearn music as music. Eugene Loring: I am teaching a music coursefor dancers.I had a girl who could not learn to shift her weight, justone-two-three. She would doone-te-dum, one-te-dum; and after she had note valuesI said to her, "Laura, thatis not a dotted quarter, an eighth note and a quarter note.That is three quarter notes."I never had any problem music as possible; again.I think it is terribly importantfor us to know as much about musicians de not respect us because wecannot talk their language.Every time I can talk with a musician in his language,his eyes open wide, and he isimmediately ready to work with me. Theproblem is selling the need for music tothe dancers.

If you make it exciting, they willlike it.

Carl Wolz: I would like to suggest that someknowledge of movement notation by the dancers would not only increase theirmusicality but would give them someprestige in equalizing the role of the teacher of dance andthe musician in the situation.

another whole discussior.,because it is just seeing this Ruth Murray: This is really in total thing in reverse.I think it is extremelyimportant that musicians get courses movement early in their careersbecause, now, the music teacheris teaching much of whatever dance is given in theearly grades.If you look at mnsic textbooksfor the primary grades, you will findthat a great deal of theteaching material is movement, and yet they know nothing aboutit.The movement that is producedis the most stilted, stereotyped kind of thing. It is all verywell for us to talk aboutincreasingthe musicians' respect for us by being able totalk their language, but we'vegot to say to them, "Yon have to understand what we aredoing, and you have to provide for yourmusicians some movement experiences, becauseit is not only gning tohelp them in their craft, but it will help them in their teaching."Music students are beginning to comein. They don't like it, because they don't move they are embarrassed but before they finish, they begin to get this relationship we have beentalking about.

William Bales:We have all said it dancers should be trained as musicians and vice versa! Alma Hawkins: We have been saying things in many different ways. Westarted with the specific of music as one of the areas that we have tothink about; the importance of our having more respect for it, greaterknowledge and understanding in relating music to dance. Then we moved on to say that we have tobring the specifics together for a more functional use of all the elements oftheatre.

William Bales:I have an anecdote that behooves us to learn terminology:Vivian Fine, the composer, said, "I left modern dance years ago.I used to get fifty cents a lesson to accompany dance, but I left it when one of thegirls I was working for said to me one day,'Vivian, play me some sideways music.'Then she said, 'Now play me some standing still music.' That is when I left."

Alma Hawkins: Thank goodness we have a Betty Walberg!

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Left to right: Allegra Snyder, Elizabeth Hayes,Ruth Murray, Bonnie Bird, Thomas Watson 51

The Biological Organization of Man to Move

VALERIE HUNT

It is interesting that you have gone to other fields distinct from behavior; a person would behave one for stimulation.I think of Dr. Langer and the way, and he would move another way, quite unre- tremendous message, the ideas she brought us. lated to his conceptuallizing, to his symbolizing, Here is a philosopher whose breadthis vast, to his creating, or to his perceiving. Or, do you particularly in the field of aesthetics and the arts. have this other view, which I think is a more ideal To hear her say she has been studying science for one, that the human body is a matrix? It isn't all, ten years , and is coming out with a book on "mind or everything, you have been talking aboutduring and feeling"l here is an individual who, to in- this conference, but the living body is the start, crease her insights , has gone to another field. and a part of everything that happens in dance. The We reach a point where the areas in which we have moving body is not just a tool or an instrument. been spending mo3t of our time really do not answer It is dynamically involved in all behavior.If we some of the more profound questions we raise. can take such a view, then the other specific con- This has been my problem, too.I started in the cerns fall into a much better perspective. area of pure science, and I stayed in it for a long time, trying to answer many of the questions Let me tell you what I believe at this time, and I which I raised about movement. I came to cul-de- would like you to date it "today ," because lam quite sacs where the information was not available and, sure that it will be altered as I gain more insight. I am sure, in many instances will never be avail- I believe that the moving body is the center of man's able from pure science. Therefore, I reached out experience. As the center it is intimately involved into the areas of psychology, psychiatry and phil- in perception, and it is intimately involved in con- osophy for answers which could fit into the area of ception. But the body is more than the center of s cience . experience; it is also the basis of further responses . Body movements show what has been conceptualized I have listened to your group discussions, and this and what has been perceived. The body is not only is what T have heard: a need for technical prepara- part and parcel of perceiving and conceptualizing, tion of the dancer to dance, to express; the possi- but it, in turn, reflects what has been perceived and bility of codifying various techniques and arriving what has been conceptualized. In other words , it is at better ones; the need for viewing man with a total the center of man's experience, what has happened view; the need for more knowledge and training of to him in the experience, and what he does with it. the instrument of expression.I do not know the answers, but one of the problems that you seem to Let me clarify further. Such things as sensations, struggle with is that you view the moving organism percepts and concepts that have been experienced as an instrument, and you look at it assomewhat show up in body expression, and even alter biolog- disparate from its expression, its communication, ical functions. What we have perceived is perma- its symbolizing.I sometimes feel that this is an nently recorded in neural and tissue cells, an-d as easy view. Do you see the human body as anin- such enters into all ensuing expression.In fact, strument, a tool?I heard this word many, many what has been experienced will cause functional times, and without a doubt, I have used it, too a and structural tissue change.Because of such facts tool, like a garden hoe, that we become very skill- I am unable to see the body as separate from ex- ful with, that we can do something with, such as perience. Therefore, I believe that the biological gardening, farming; or as an intrinsic thing, like facts and experiences of the body are all that we pigment, for example, that we can mix and evelatu- have to work with in education, and that by educating ally come out with something creative.If we take the body through movement we can develop the that view, we see movement as something quite entire level of the human's expression.

1*Susanne K. Langer, MIND: AN ESSAY ON HUMAN FEELING, Vol. 1 (Baltimore: The Johns Hopkins Press , 1967). As a scientist, Iwould like tomake some remarks Just a word about the natureof the organization of about the living body, which,I think, have the muscle. So often we and ourstudents have named greatest reference to movement.I see the living muscles and looked at theirattachments, thinking body as organized and directed energy ortension, this was a study of movement.It is not. This is a and the manifestation of thisliving body is moving. dead approach. We 1st realize that there are You might reverse this and saythat movement is many static bodypositions, and from different po- organized energy or organizedtension. But what sitions there are differentmovements possible. of this living body? We should remember that muscles arenot the same , determines the organization look the same on the First, we know there is ahuman biological or- regardless of whether they outside, or cross the joint in the sameway, or lie ganization for movement,which is not exactly like That takes us back tolook in proximity to oneanother. Muscles are quite that of other animals. their functioning, as based bones and ligaments, notjust to unique and individual in at the nature of In those areas )f the bodywhere describe them specifically, ashinged or arthrodial on their strurture . in terms of movement. we must maintainstability a lnst our primary joints, but to look at them of that the human body is force, the pull of gravity, vtnave a quality Did you ever stop and think muscle different from that in areaswhere we do built to go forward, andto go backward becomes somewhat more difficult? We can gobackward, not have to maintainthis control. but all human joints aretruly built to progress out frontal plane. The We have muscles whoseprimary function is to toward the environment on a fight against the pull of grav- upper part of thebody is structurally built sothat maintain stability and but it goes upward and ity to make possibleadditional movement through it not only goes forward, called the deep red muscles,and outward to contact the environment.The range of space. They are they are unique in that they are veryslow respond- movement in the upper partof the body is far great- sidewards than it is backwards. ers .They create all of ourflexibility problems er frontwards and When they get a The legs , more limited inall ranges , are structured because they get extremely tight. neural impulse, they respondslowly and they relax to move primarilyforward, or to hold the body sta- slowly; these are the ones that tear. tionary while standing. Suchskeletomotor arrange- ment is compatible with majorsensory equipment. forward; we turn our body to There is another type of muscle,commonly called The eyes are focused extremely rapidly and side; rarely do we turn our eyesto pink muscle, that responds see things to the for any period of their maximum location.The ears give us more does not maintain muscle tonus that are in the time. We have to keepstimulating them constantly. information laterally. The areas lovely ballistic , the fast, with the environment are These muscles give us the greatest sensory contact movement. In the spinal area are the upper part of the body,and the direction is up or free-flowing primarily red muscles, in the arms areprimarily and out, and to the side. pink muscles, and in thelegs there are paired red functions. Do you know that if a jointcan't move in a certain and pink muscles for both direction there isn't anymuscle there to move it? learn basic anatomy We have another kindof muscle that I think is im- Movement specialists must Eugene Loring brought this way. What is the shapeof bones at the joint? portant for us to consider. therefore possible? Such this to my attention intalking about the value of What movements are lowering of body weights by placed.Wherever, the plie, the value of determines where muscle is muscles. There are several in the body, there is thegreatest joint movement, the contraction of leg number of muscles or- kinds of muscle contraction.One is a lengthening there will be the greatest shortening. These are not the ganized to perform the numerousacts. Once, when one, and one is a kinesiology, I decided there same. Thelengthening contraction is ajudgment I was first teaching contraction must occur to ought to be a way toredesign the body to make it of how much muscle nearly, but not quite, overcomethe resistance move better; soI made an attempt toalter it func- I failed, because every or the weight.The weight creates the movement tionally and structurally. controls it.In a lengthen- time I got a better movementin one part I created and the muscle merely part.About allI ing contraction, someresistance is overcoming stability problems in another but it is not overcoming gained from my mentalexercise was to learn the this muscle contraction, advantages that result from it rapidly. A shorteningcontraction is the oppo- tremendous movement site; that is, the contractionis overcoming its the body's skeletomuscularorganization. 53 resistance, either body weight, or body weight and stress of gravity, the strongest connective tissue object weight. lies over and adjacent to antigravity muscles . Like- wise,the more we stress the body by moving, the Here I should relate some new information about heavier and heavier becomes the connective tissue strength of muscle. Strength is a neural phenom- in the stressed areas. Literally, connective tissue enon.Recent research tells us that although a grows and serves as a gtiy wire. We lean on it, and muscle will change its connective tissue gets we don't have to contract as many muscle fibers. tougher, it gets more turgid, it has a greater Hence, in terms of just living, we need firm con- amount of sarcoplasm this does not constitute nective stability, but in terms of dancing, we some- strength.It is the result of strength. Strength is times think we have too much. Now the only places a,, ability to stimulate the nervous systemto its where the human body really gets tight, unless there maximum and to fire many motor units all at one is some pathology that affects overall connective time. Strength is not the result of muscle change. tissue of the body, are in those areas under stress. It is true that when the muscle gets firmer, the We never get tight in the abdominal area; we only person is able to perform certain feats thathe was get loose there. not able to perform before. But strength is pri- marily a neural facilitation. Another aspect in the biological organization of man to move is the nature of reflexes. I am not refer- In the biological organization for movement there ring to all of the possible habit reflexes that can be is another big area dealing with the nature of con- established.I am talking about some very basic nective tissue. Most anatomy books state that the gross reflexes which operate or mustbe altered structural architecture of the body is determined by and controlled in all movement.These operate connective tissue. The body is made up of proto- primarily on a spinal level, and they are extremely plasm which is organized into such forms asbone, strong reflexes. Whenever one muscle group in ligaments, muscle, skin and hair by the arrange- these reflexes is used to a maximum, there is an ment and form of the connective tissue. We are overflow to all associated muscles. The reflex mostly connective tissue, with large areas of it in which is probably the most important is called the the body in the form of fascial planes and muscle extensor reflex. I will ask the girls to demonstrate It is coverings,which are primarily related to moving. thia.You have seen it a thousand times. The body areas having the greatest mechanical nothing unusual, but it is one that organizes our stress also contain more connective tissue for pro- movement. tection. Since the primary stress to the body is the

Demonstration:

(To Students)I want you to jump upward, extend your body just as high as you can extend it.I want you to turn sideways. Leap as high as you can leap.

(To Audience) Pleast note several things that are happening. When thestudents jumped, a combination of movements occurredsimultaneously: their feet plantar flexed; knees , hip and back all extended as the result of the extensor reflex.

Let me demonstrate the same reflex in several other ways.Pam, I want you to lie dowr. on the table on your stomach. Will you contract oneof the muscles in the reflex? Dc it as hard as you can.Plantar flex your feet as hard as you can.I did not ask her ta raise her legs off the table.I asked her to plantar flex her feet, but you will notethat the stimulus overflowed to all extensor muscles.

(To Pam)This time will you raise the upper part of your bodyand arch your back just as hard as you can without using your arms? 54

(To Audience)I didn't ask her to plantar flex herfeet, yet she did. I didn't ask her to raise her legs , or extend the hip joint. You can seethe entire reflex operating as if it were extending the body against thepull of gravity. I could name the muscles,although the location is more important.

(To Pam)Will you stand here, and slowly relax?Gravity will flex the hip joint, the spine, the knee joints, and dorsi-flex thefoot. The extensor reflex operates against gravity flexion by extending these joints. We ought to usethe entire reflex for strength- ening any muscle within the reflex.If you want strength of the feet, or strength of the quadricep, you ought to use every muscle of the entirereflex.

Then we have another yely basic reflex whichis particularly strong in infants.It is called the flexor reflex or the reverse of the extensor, involving thosemuscles of the body which have to do withflexion.

Demonstration:

(Te Students)Pretend you have something in your hands.Will you push and crush that thing as powIrfully as you can?

(To Audience)Note what is happening to the body. Gail isgoing down toward a squat. If I had brought a hand demonstrator, it wouldhave registered how much strength you can get in this hand, whilestanding erect, as contrasted to the greaterstrength when the entire flexor reflex is used and thebody joints in the spine, shoulders, hips,knees, and elbows all flex simultaneously with handflexion.

Haven't you seen the flexor reflex in thedance? One of the problems in our dance movementswith some people is that we want them to do both, soini.imesseparately, and sometimes together, or amaximum flexion in one part of the body and at the same time amaximum extension in another part.This takes training or control of two powerful basicreflexes.

The next reflex I want to show you is thecrossed extensor or crossed flexorreflex.It is the reflex that gives us balance during locomotion.

(To Students)Will you jump and swing one arm forwardand one arm back while your legs are doing the same thing in natural opposition?Note that all but one did natural opposition quite automatically.

Gail:I was choreographing.

That brings to mind another point. The crossed re- peculiar quality to their gait, a lumbering, swaying flex is operative in walking and running and is so movement which gives them no balanceproblem basic that, unless altered by higher neural centers , only because they are four-footed. it will operate in all simultaneous flexionand ex- tension of arms and legs. Many of the things you Another neural phenomenon is called reciprocal do in dance alter the most basic reflexes into move- innervation.I want to make it very practical be- ment that is more stylizedand more interesting, cause it is terribly importantin movement. Actu- but you should know that the basic locomotor pattern ally, reciprocal innervation means that when one is a crossed reflex. Now, if you areworking with side of the body is in active muscular contraction beginners who are not skilled, you mayfind that there is corresponding relaxation of its opposite when they are concentrating or areself-conscious musculature. This is again one of the most dom- they break the crossed extensorreflex, and walk, inant, most consistent reflexes operating onthe leap or run using the right arm and leg inflexion spinal level.In a task-oriented movement geared while the left arm and leg extend. Neurologically to efficiency, the antagonist relaxes whenthe agon- there are two animals hitched up this way,the ist contracts, but when the goal of movementis bruin bear and the camel. These animalshave a communication, expression of emotion rather than 55 mechanical efficiency, the reciprocal action of stretch which I will review for you, and then come muscles is thwarted. For example, when you do back to practical application for dancers. a restrained movement that has a greatdeal of power, , you do not have reciprocal innervation.You For a number of years I have had the feeling that are stimulating muscles on both sidesof a limb at techniques of stretch were inefficient, even doing the same time.It is completely unfunctional, but damage to the body. My feeling was that we should it is expressive, and that is important for dance. devise methods of stretch that used reflexes to It is dramatic, too, because it is unusual, and it is gain relaxation so that the body cooperated rather frequently more interesting than a simple efficient than fought back. My subjects were 150 college movement. It is difficult not to use reciprocal in- women. Some were dancers, someathletes. We nervation.Its function is a free-flowing type of affixed electromyographic electrodes to the ham- movement, or the efficient handling of an object. string muscle groups of each subject. We recorded Many specific dance techniques have as a goal the the muscle tension produced from three types of control of normal reciprocal innervation. While stretches: the bobbing, the static, and what I named this is desirable in producing interesting movement , the reciprocal relaxation. it likewise increases residual muscle tension. Briefly, the results showed that the jerk or bob Let me divert our attention briefly to theproblems caused the highest tension in the stretched muscle , of flexibility as related to muscle tension.Flexi- and the static stretch next most. You all know that bility, like strength, is a neurological phenomenon if you bounce and jerk there is a recoil or a stretch and not just a connective tissue problem. Tech- reflex, and if you stretch slowly you feel the pain niques that have been used by dancers to getflexi- of contraction. We also learned from this experi- bility are of two kinds; a bobbing or extreme jerk- ment that by using reciprocal innervation we got the ing movement, or a static, held position in which greatest stretch and with the least discomfort.I the joint is stretched to its maximal range. Ihave will demonstrate this. just finished an electromyographic research on

Demonstration:

(ToStudents) Stand, feet together, back flat.Bend at the hip joint into flexion.

(To Audience) We can measure how far they go by theposition of the hands in relation to the floor. Although this is not a good criterionfor hamstring flexibility, it is a relative measure from which to judge the effectivenessof an exercise.

If the students flex at the hip with a very slow stretch,they get immediate stretch on the hamstrings, which is quite painful. If they bobaround a little bit, it doesn't hurt as much for the simple reason that there is not a constantpull or stretch reflex.But, on the other hand, with every down movement theydo, they get a contraction which in- creases the tone. Here is anexample of a reciprocal innervation type of stretch.Put your hands about ti t yourknee level, right against your thighs, with yourelbows ex- tended, your knees extended, and your feet together.Everyone wants to spread the feet in order to take the pull away from the biceps whichis the tightest muscle of the ham- string group.

In this starting position the hamstrings are notbeing stretched. Now, will you contract your abdominaland hip flexors as though you are going to pull yourtrunk and head down toward the ground? But don't let yourself getpulled down because your arms are hold- ing you back.Pull very hard with your abdominals, with yourflexors, but keep your elbows straight, hands on thighs just above theknees. Now, very slowly let your arms bend. Note how much more flexion ( r.:curred atthe hip joint.

11 56

Participant: Oh, that feels good.

You see how much farther you went down? You should be able to getbetween 10 and 15 degrees on one stretch, no bobbing, no pain, no stretch reflex. What we have done here is to contract flexor muscles , causing reciprocal relaxation in the extensor muscles, allowing them to lengthen, and thus putting a stretch on adjacent connective tissue.It can be done anywhere in the body where agonist and antagonist muscles are of somewhat comparable sizeand strength.

Demonstration:

Here is an example of the three types of stretches applied to the pectoral muscles.

(To Students)Will you put your hands behind your neck? Pull your elbows back.

(To Audience)They do not have a great deal of movement range. We could jerk the pectorals, increasing the tension, or pull the shoulders and the arms back,creating pain from the strong stretch reflex.

When using the principle of reciprocal innervation, we would start withthe same posi- tion, hands behind neck, but this time the arms and shoulderswill be only slightly drawn backward.I will stand behind the person, placing my hands on the backof the upper arm. (To Student) Will you push your armsand shoulders back against my resistance for about 10 seconds,until your pectorals reciprocally relax? Then I graduallyde- crease my resistance. Note how muchfarther backward her arms moved, and without pain.

The reciprocal stretch can also be effectively used to stretch tight hip orleg adductors.

Demonstration:

Sit with your legs spread apart about 45 degrees,knees extended. Place your hands on the floor close to the outside of your thighs.Now, contract your hip abductors , or try to spread your legs farther apart while you resistspreading with your arms. After about 10 seconds contraction, slowly take your handsfrom the floor, allowing your thighs to spread apart. You can now place the hands on the insideof the thighs and gently press outward.It is not unusual to get 10 to 15 degrees more stretch from one stretch. Not only does the reciprocal type of stretch increase the rangerapidly and without pain, but the range will be maintained for a muchlonger time, and strength will be gained in the agonist muscle.

This type of stretch is now being used in the Dance Department atUCLA with far fewer injuries and muscle strains.

Demonstration:

Let me demonstrate this same type of stretchfor the back muscles that get so tight. (To Student)Lie on your back with your knees bent and yourfeet flat on the floor. Place your hands againstyour knees ,keeping your elbows extended. Contract your abdominals and hip flexors as though you were trying to do sit-ups.Keep your arms stiff, and work hard to flex your spine. You are contracting oneside in the mid ranges , so as not to get a stretch reflex in the back. Now, after severalseconds, grab hold of your knees and pull yourself into flexion. Note how much morespinal flexion you were able to get from this one simple exercise. 57

frontier in all science To continue our discussion onthe nature of the body Today, the most exciting the sequence of bodily comes from theexperiments of molecular biolo- to move, let us consider that each living cell movements. Movement always startsin the middle gists. They have discovered Whether movement terminates out contains structural formsof nucleic acid in mole- of the body. experiential coding away from the body orin close, it must start in the cules providing a genetic and central part of the body, in the torso.If you are of each cell. The namesDNA and RNA, derived been given to these sitting down, and raise yourlittle finger, , the move- from their chemicals, have You are not able to substances. While thespecific code whereby in- ment had to start in the center. carried out in the develop- move any partof your body without first stabilizing struction is given and the middle. Although you know it,sometimes you ment of new cells is not yetdeciphered, it is known have forgotten that strong or stablemovements of that memory in the form ofcoded information or form within the the legs and arms are onlypossible if the back and stored learning is retained in some abdomen are equally strong.Sometimes I feel that DNA and RNA in each living cell. dancers spend too much timeconditioning the legs profound implications and not enough on the trunk. Such molecular facts have for all disciplines concerned withhuman life and How pervasive is that middle? behavior.It seems tenable that humanmovement Participant: and experientially Can you specify it? behavior is likewise genetically programmed in living cells. We whohave worked and the hips.It is with movement developmentand its expression in It is the whole torso, the trunk proof, that we are everything but the arms, legs andhead. A dramatic dance have believed, without of human life example occurs with post-polio youngsterswho have dealing with a very basic level normal muscles in the arms andlegs,but weakness even cellular. their arms or in the trunk. They can hardly move awaits future bio- legs. Remember that oneend of all shoulder and While verification of these ideas of the biological hip muscles attaches to thebody and unless this end logical discoveries, consideration is held firm, the other endattached to arm or leg nature of man to move ,would be incomplete without the discovery and functionof cannot move strongly. Unlessthere is mobility and some reference to strength in the trunk, with theability to contract DNA and RNA. by holding, lengthening andshortening, the entire movement of the body will beaffected. If you watch the very excellent dancer, you can seethat the Let me summarize.I've tried to give you a very organization of man movement starts in the middle.Often, students of brief review of the biological dance prefer to exercise theperiphery because to move. Such informationtells us a bit about how The middle is ter- the body knows how to moveand defines our limi- the middle seems so unexciting. I think that is ribly emotional. Emotions firststimulate striated tations and our base capacities. provide.I do muscles in the trunk and at theproximal joints of about all a biological approach can While it is true that nuances of not think that movement asdirected energy can be arms and legs. nature of man to emotion are expressed in theperiphery hands, understood from the biological head and feet the most powerful emotions pri- move. to the trunk. marily stimulate muscles attached have reviewed so far are For example , in the Oriental dancethe center of the All of the things which I human beings and cannotdescribe body is held firm; in the Balinesedance the center common to all '3a1 laterally.In the adequately the great rangeof individual movement of the body moves a great individuals. We know Tahitian dance the center of the body movesanteri - differences or the style of held erect, but that basically humans arebiologically similar, but orly and posteriorly; the torso is different. There is a there is still movement in the centerpart.I want their styles are extremely to stress that it isn't justthese specifics about kind of unique movementbehavior. The interesting information about thing about movementstyle is that it is evident in bones and muscles, or isolated in dance. Whether physiology, which is important.It is the organi- all movement behavior, notjust of muscles, the the movement is task-oriented, or the purpose zation of bones, the organization directed, or a subcon- organization of reflexes, the organizationof con- creatively or expressively important factors scious gesture, the personhas continuity in his nective tissue, which are very Some individuals in movement capabilities. style, and he has variations. in many tasks over display a higher continuity thanthey do a variation By evaluating the movement determine the movement throughout their entire movements . several weeks, we could style of individuals. From thisstudy we found out that style is consistent withIndividuals. We have completed a studywhich established the of style.Using a reliability of certain aspects quality of movement. 7-point scale, we evaluatedthe moveme4 of 40 We all know that style is a the amount of time, Although it is complex, we candiscover those base youngsters by observation of style. As dancers the amount of space, the amountof force which reference points which underlie Then we gave and movement spenialists, we usenumerous words they used during daily activities. words are neither accu- them some tasks, such askicking and throwing tc describe a style. Most We asked them to rate nor clear. We find no commonnomenclature, balls, running and skipping. tells what it perform these skills as big as theycould, . i.d as because how we describe movement enough, it didn't means to us. It haslittle to do with style, but more small as they could. Strangely having seen that style. really make any difference what youasked them to to do with what we get out of their style was We tend to like the style thatis our style, and dis- do or how you asked them to do it; to us. There is a consistent. It mks as big as they couldmake it, but like the style which is foreign Department at UCLA it wasn't like somebody else'sbig. We also found study going on in the Dance movement on the in which we are tryingtoarrive at, to evaluate, the that the observers tended to rate dancers with scale, based upon their ownmovement styles. style of dancers , and then assign they always graded certain styles to choreographerswho have a similar If their movement was small, choreographer's ideas smaller than a person who hadlarge movement. style. We believe that the fast, they perceived fast demand certain styles of hisdancers,and if he has If their movement was capacity, he has diffi- range, and theywould eval dancers who do not have this 1117 Vement in a greater particular dance. to choose our observers culty trying to lead and teach a uate it as faster. We had enduring sort of thing, be- from both those who had veryfast movement and Movement style is an basic concepts. very slow movement; verybig and very small cause it is based on very movement; very strong and veryweak movement.

Demonstration:

I am going to ask the girlsto do a number of movements,and I want you to watch them of time, purely for style.I want you observers tolook at such elements as the range force, and space that each girl uses.

(To Students) Girls, will you warm up asthough you were preparingfor a danes class ? Now, will you jump rope? We arenot at all interested in yourstyle of jumping rope, behavior. or your specificskill in jumping rope. We areinterested in your movement based on time? Will youchange and improvise, based Will you improvise movement time, force or on force?Will you now move, based onspace? Now, will you choose space the one you enjoyed most and continue improvising? force, and Joseph Gifford: It is a curiousthing that first you askedfor the emphasis on time, second on last on space. But I was awareall the time that for me theemphasis was on force. three exist in movement, butperhaps you are more perceptiveof force. Valerie Hunt: Of course, all from one emphasis Did you notice that thegirls did not change very muchwhen I asked for the change to another? 59

I like to think of style as a centraltendency from indicates that what he called bound flow is a com- which you can deviate in both directions.But if bination of burst flow followed by restrained flow. you could watch theireveryday movements, how 1 they walk, how they eat, how theydri:e a car, you Burst flow can be described as asudden burst of would find that there is a central tendelelyin how energy followed byrelaxation.The total amount they perform simple skills , and it isbased upon of neurological stimuli is given to themuscle at their range and proclivity in the useof force. They one time, with noaftercharge.The movement use what is most compatibleand comfortable for flows until the energy is spent. Weoften describe them. Some individuals have a verylimited range, burst flow as a movement with afollow-through. and, regardless of the situation, theyrespond The movement may be great orsmall but in every within this limited sphere. Others have agreat instance the time and force areequal a great range which allows them a morediverse style when force produces a quick movement and asmall force needed. However, they too will return to a more a slow one.Skill in striking, kicking, jumping, comfortable style in everyday m ovement. Youhave and throwing, essential in mostsports activities, taught students such as these, whose movements requires efficient burst flow rhythms.It is ap- are in the upper ranges, on acontinuum. parent also in ethnic and contemporarydance.

I want to bring to your attention theshape of move- Free flow movements arecharacterized by their ments in space as an individually expressiveaspect ballistic or smoothquality, with a gradualbuild-up of style. The movement shape in spacehas to do of force and speed, followed by agradual diminution with the path one's limbs take . There arethose who of both.Neurologically, the amount of stimuli slowly. Both burst and move primarily in circulPrpaths.There are others rises slowly and decreases who, in their gestures in their handlingof ordinary free flow are energy - conservingflow patterns. tasks, regardless of task demands,still follow These are so prevalent Li youngchildren as to be straight line; ; and straight paths . Regardingdirec- called innate.In older liff: , and with increased often lost. tion, we have seen that we arebiologically equipped levels of tension, these flow oitterns are to move for yard, yet there arethose who show strong style differences by backing up.This is The third pattern is a sustainedflow. The move- fairly exciting, becaase it isn't common. Stillother ment appears to have a constancyin power and speed people move up, and don't appear to like to move from its beginning to its end. Whathappens neuro- throughout down; then there are also the down movers.Some logically is a steady and even stimulation f.ast one or a slow people do both. They move up if such isdemanded, the movement. Whether it is a needed or felt, but can likewise accentthe down- one, the force andspeed do not alter. Many danc- ward movement. This , of course, isideal, but it ers use this rhythmquite exclusively. Perhaps, often limited style because it is less efficient orordinary, it may is those with a very dominant and dramatic import. that we notice most. have more communicative or I believe it is less innate and morelearned. Movement direction also contains a levelof move- ment related to the ground. Theextremes are The last type of flow in whichthe dancer is par those who walk on a high level, whogesture on a excellence is what I call the resistanceflow. The oeld restrained high level, as compared to thosewho, even though movement appears to be strong standing, move on a lower level. throughout. It gives a feeling offorce or power, of something terribly dramatic , or of thestruggle with Another element of movement style ismanifested human emotions. In restrainedflow the neurolog- sustained flow, in individual rhytiun. Rhythm, as Idescribe it, is ical stimuli occur much as in the rhythm within an act, andnot rhythm between acts. that is, as a steady stimulus. But it differs in that only to the agonist The rhythm within the act is frombeginning to end in sustained flow the stimulus is both of the movement, or the flow of themovement. It muscles, whereasin the restrained type stimulated together. is based upon patterns ofneurological stimulation. agonists and antagonists are This gives a drag or a hold-back quality to the From electromyographic recordingsof movement movement. four distinct patterns which we we have isolated it appears have named: burst flow, freeflow, restrained flow, From electromyographic recordings and sustained flow. Laban describedtwo types of that the bound flow, with which mostof you are flow: bound flow and free flow. Ourresearch acquainted, is not a pure flow pattern.It is a 60 combination of burst flow, a sudden explosive of the human body as determined by the pull of movement, followed by a restrained flow in which gravity.All weight judgments are judgments of the movement is then held back by contraction of body weight plus object weight, or the weight of the antagonists. Such a flow has an explosive start objects as compared with the body. For example, followed by a suspension. one of the problems we have in judging athousand pounds of weight,and the amount of force necessary We could make some interesting observations about to move it, is that our reference point, body weight, the flow aspect of individual styles. You have ob- is not comparable, neither is our force. served that persons who use one type of rhythm predominantly have difficulty when task demands When we gain weight, as by falling down, our per- require other types.I do not know that one flow ception of weight becomes increased. When we lose is more or less communicative than another, but weight, as by leaping up, or jumping in the air, , our I do know that the sudden shift from one to another perception of weight is decreased. Elevators give is dramatic. Probably dance teachers' techniques us this same feelingof weight. Do you know where are based upon their preferred style of rhythm. we feel weight most? Interestinglyenough, in the middle of the body, right in the center of gravity, We have discovered that residual neuromuscular the core of the body. In fact, balance is really the tension is patterned upon the preferred flows .For perception of weight and its distribution around a example,in the manual testing of tension of a person central axis, avertical and a horizontal axis . When in a reclining position, the person will resist the we try to improve balance, we are working on the movement of the testor (restrained flow), assist perception of weights , and the jr.dgment of the power the testor's movement (free flow or burst flow), or that it takes to control and handle these weights. hold the position (sustained flow). I have published Weight perception is one of the major aspects of a study concerning manual tension testingentitled kinesthetic awareness. Sensory nerve endings in "Validation of the Rathbone Manual Tension Test the joints,muscles,tendons,ligaments, activated for Muscular Tension."1 by gravitational pull on the mass and density of the body, give us information about the weight of this Let ma revien my discussion so far.I described body. The kinesthetic awareness of the astronaut pertinent facts about the biological nature of man is confused because with the diminished gravita- to move.I brought out the fact that despite the tional pull his perception of weight is altered. He biological similarity of people , individuals possess must be educated to counteract this perceptual dis- a style in moving, namely, , in the rangeand use of tortion in body weight. Without re-education he time, space, force and rhythm.I also stated that misjudges the power necessary and is inaccurate this uniqueness in individual movement was the re- in his movements. sult of experiences with the body, and percepts and concepts that had been developed as a rcdult f.,f such We know that during the rapid stages of growth some experience. I reminded us that memory of experi- youngsters display an adolescent clumsiness . Some ence was recorded in the body, and in turn was of tin causes are feelings about body in a social reflected in ensuing movement experiences. But setting, but some of them are actually changes in recorded memory does not remain in isolated frag- body weight.If the weight changes , so must the ments :information is fused, elaborated and ab- concept of weight change.If you rapidly increase stracted into whole concepts.I have chosen those your own weight you have similar problems ,and most important concepts which have their roots in there is a lag mtirne before your concept of weight movement experiences. The individual styles we is altered sc chat Njou can accurately determine the have noted today stem from these concepts. power needrxd to control body weight.

I want to talk about a concept of force. A concept We did a pilot study of the relationship of weight of force is,first and foremost, a concept of weight, perception to the judgment of force. Our subjects , because force is nothing but an evaluation of an a group of young college women, wereasked to lift amount of energy used against weight. We cannot an object a measured distance with theminimum accurately judge force unless we have some judg- amount of muscular contraction. We took electrical ment of the weights that this force has to work recordings of the muscle potentials .Then we against. Our basic and our first weight is the weight blindfOled them and asked them to move the object t'ARCHIVES the same distance again. We found they were not OF PHYSICAL MEDICINE, Vol. 45: no. 10, very accurate on the secondtrial.Following this pp. 525-29, October 1964. 61 initial testing we instigated a sensoryre-education Later we had him balancing on tin cans ,chairs, program lasting three months.We taught them to beams, as well as balancing objects.At the end of perceive the weight of their ownbodies by being a, semester, althoughI did not anticipate this, his manually. aware of j oint and musclesensations .In the training residual tensions were too low to measure sessions we followed those procedurescommonly used in techniques of relaxationclasses. We had Let me go on to the concept of time.A concept of them handling objects ofdifferent shapes andtime, the sense of the relationshipof events , or experiences weights.Our emphasis was constantly uponthe within events , we know is rooted in recognition of muscle tension as a measureby which with the body those internal sequences such as to discriminate weight. After onesemester we re- breathing and heartbeat, behavioralseries like tested the subjects according to theinitial pro- sleep and hunger, also environmentalrhythms of cedure, and found that their minimummuscular day and night, and seasons.A measure of the contraction to perform the same task was nowabout passage of time comesfrom how long it takes us half that of the pre-test. When blindfolded ,subjects to move from here to there.I have observed that neuromuscularly, , were consistently moreaccurate in measurement youngsters who are restricted of a predetermined distance. We believethat we who cannot move rapidly, alsodevelop a slow time had re-educated the concept of weight. concept.I am sure when automobilesfirst came into vogue there was a great distortionin the time Additional evidence of the relation of weightdis- sense, because onecould travel faster. Most of us crimination to movement comes from atwelve- know how jet plane travel upsets ourtime sense. year-old clinical patient. He was referredto our If our base inference point for time is nowlong it lab with obvious coordination and balanceproblems. takes us to move somewhere, it isunderstandable We found that he had a ,very poor conceptof force. why our fast machines confuse us. All force to him was either greatforce or no force. Instead of working on the difference betweenthe In most forms of psychologicaldisturbance or psy- feeling of strong force and light force, we worked chosis, wefind a great disturbance in the concept on the perception of weights .We had him balancing of time.In fact, it may be one of the veryfirst in many positions, constantly stimulatinghim to symptoms. It is my belief that we canonly change recognize the difference in feelings of weightsof the movement speed by changing theconcept, be- the body in various positions. We would upsethim cause movement helpsproduce the concept of time, slightly and let him feel his weight shift. Gradually and becomes a reference forcontinued perception he gained a concept of the vertical and thehorizon- of time. If we really alter the timefaczor of move- tal, which not only assisted his balance, butalso ment we are altering a conceptof time. gave him spatial reference points.As he developed a weight concept, a greatdeal of improvement oc- The concept of space I believe to bethe most im- curred in the motor performance. He learned on portant concept that I will havediscussed. I put it his own to ride a bicycle and to swim , and became last because it is the most elaborate,and because quite accurate in his judgment of force. it can only be developed along with, andfollowing, a weight concept. Before ideas about spacedevelop, I doubt that an idea cf "soft" or "hard" canbe de- there must be some concept of weight. Of course, veloped without a concept of weight, because power we should say space-timeconcept, because space really is a judgment of the amount of force it takes presupposes time, the factors thatlie within space , to move a resistance. the series of events that occur in space, therela- tionship of objects in space . The very first measure Another young clinical patient's movement re- of space is the space that our own bodies occupy. sembled a spastic cerebral palsied.We found We know nothing about space without a personalref- excessively high tension in all areas of the body, erence point: the spaceof my own body.I didn't with poor weight perception. Our procedure was get a chance to ask Dr. Langer, but myfeeling is again based upon the perception of body andobject that we can't abstract "space" into "virtual space" weights. We challenged his balance upside down without a pretty sound concept of "space,"and pri- and right side up.Too many times we think of marily "the space of my own body." If you watch balance as some form of upright stance. Actually, an infant develop a spaceconcept you will note that that is the perception of weight in one position. by touching his own body he suddenlybecomes aware We started him, of course, on a low level, sitting, of both the touched part and the touching part.He lying, kneeling. because his balance was so poor. defines his limits of space on his bodysurface, not deep in the center like a weight concept, but the other concepts are related. That is the conceptof boundaries between his space and other space, body image. While there are many other descrip- which is outside space. We know that the periphery tive terms , I think the word "image" is the most of the body is extremely sensitive to allenviron- correct and encompassing.Body image is the mental stimuli. Hands and feet give the greatest memory of experiences we have had with ourbodies sense of body boundary orseparateness from en- and the organization of these experiences into akind vironment. In the sequence of body spacedevelop- of wholeness which gives us information about our- ment, children first define the erogenouszones selves as living, moving organisms.Without it which are connected with the environment.When we cannot movepurposefully. In psychopathology, they draw pictures of a human body it is ahead. when body image becomes grosslydisturbed, all Later, they put a body on it. Armsand legs are types of movement aberrations occur.The body last to be incorporated. We oftenfind adults who image represents: the reality of thebody as we know little about the space of armsand legs, and know it; all of the sensations that come intothe body; they move these poorly. the defined body surfaces; the senseof the vertical and the horizontal; the feeling of bodyweight; the I have talked about the peripheral spaceof the body, , vision of body shape, size, color, andthe sounds but directional space is likewise body -oriented. the body makes, all organized into abody whole- Direction has to do with poles of space. Welearn ness which is "me." up and down body space,because head doesn't look like feet, and about back and front space,because The body image is all of the conceptsI have talked we are equipped to goforward and not backward, about wrapped into a totality. In fact, youcan't see and front doesn't look like back. Thelateral aspect anything without seeing a part of your body as a of the space concept is ir. ich more difficultbecause background. You may not consciously perceive your we are structurallyidentical; even the nervous nose as you look atobjects, but it is there and a system is identical. Theability to discriminate part of what you view. You cannot recognizetouch "sidedness ," or side space of thebody, must be except by perceiving your body thattouches or is learned. I don't mean dominance, such asright or touched, and you cannot perceive weightdivorced lea naadedness. I mean the ability todiscriminate from your own body weight. We knowsomething the right from the left side of thebody.If I gave about how body image develops and changes.Some should have a some of you a right-leftdiscrimination test today, time around the age of five or six we It is flexible , you would be better than average,but some of you fairly well integrated concept of body. . still don't know your right from yourleft.With changing with time and circumstances.Clothing kinds some it would be asymbolic problem of identifying temporarily alters a body image. Certain body; others the word "right" and the word"left." Once one has of movement exaggerate the feeling of developed the concept of sidedness of his ownbody diminish it. Many average people possessunder- this must be transferred tosidedness of other ob- developed and poorly defined body images. The jects, and particularlysidedness of objects in ref- physically handicapped, who have beenunable to erence to his body.Such skill has been called use a limb, do notincorporate that part within their "mirror image." Do you know why someindividuals body image. They will draw picturesof limbless cannot follow someone else inmovement? One of bodies. When a limb is amputated, the person the problems is a confused mirrorimage. Some experiences a phantom limb. Although thelimb is women cannot do theirhair while looking in the absent, the memory of sensations stillexists in the mirror, because the mirror reversesthe image higher neural centers. Phantom limbs arepainful and they reach for the wrong sideof their heads. long after the lesion has healed the wailing of a Many motor problems can be tracedto the inade- starved sensorium for stimulation which nolonger quate development of bodysidedness and its exten- exists. sion in mirror image.It is a problem in accident "skin deep." proneness.There are new studies on accident We know that body image is primarily proneness and people who getconfused by sudden It has nothing to do with viscera, or heart , or lungs . turns of cars coming towardthem, and mistakenly Since it develops from experiences with ourbody turn the wrong way. These peoplehave an inability in its environment, those parts inclosest contact to transpose sidedness to otherobjects. with, or most affected by, environment, are more sensitive. When we elevate the body in aleap or Let me move ahead to thefinal concept, which I twirl, we lose the feeling of body weight, diminish- think is the largest gestalt, and towhich all of these ing the body image.I am thinking about some of 63 the dervish dances , composed of extensive twirling , cultures is not the same as ours, and ours surely which are known to produce a trance-likeeffect. has changed throughout the years. The activities Probably, this feeling results from a dissolving of and movements that we don't like to do accentuate body image. Little children explore body imageby sensations and feelings in the body which are not twirling. The sudden gaining of weight, such as particularly comfortable.Perhaps this explains landing from a jump or an elevator stop, increases why many physical education majors do not like our feeling of body. A change inposition, a change dance, even though they use comparable movement of axis,will heighten the body image.Leotards, in sports activities, and why the dancer feels he for example, or anysubstance which comes in direct has an albatross around his neck when he is asked contact with the surface of the body as it moves ,will to move with an object in his hand. The movement heighten bodily sensations and sharpen an image. focus of the dancer is "introverted" to his own body, , If you really want to learn to "hula," put on a grass whereas the movement attention of the physical skirt. The costumes which dancers use are notjust educator is "extraverted" to outside objects used for the audience. They are used to heighten balls, bats,etc. (diving, tumbling are exceptions). the sensation of the dancer about his ownbody,, or particular part, and thus free his movement. I have Many participants of this conference have spoken even tried this with some youngsterswho moved about the value of working with dance experts , and poorly in certain parts of their bodies. I have hung what this does to the person, in his capacity to things on their limbs so that every time they moved , dance.I think that the various techniques and the the tactile stimulus was increased.I was amazed personality of the master teacher help develop a at how their movement-improved. flexible and comfortable body image which immeas - urably enhances dancing capacity. . When I work with Participant: How much is the person his own body children, I don't ask them to like different kinds of image? movement, I ask them only to experience them be- He is distinctly his body image.He cannot be cause I know if they will allow themselves to move otherwise. There can be a problem between what differently, then something is going to happen to we call the "ideal" and the"actual" body image. their body image. It isn't just something that hap- The ideal body image is that which youhold as a pens to the muscle or nervous system as a result goal, and the actual body image is that which you of technique. There is a change in the person's really have accepted as you.If the two are not concept of himself as a result of his movement. similar, stress results. Unless a person is com- There was one Master's thesis from UCLA which fortable with his body image, he doesn't like to reported that the completeness of the body image move, because every timehe moves he is exag- of children in the fifth, sixth and seventh grades gerating the body image he doesn't like. Heisn't was positively related to the degree of motor skills . body-oriented and is not aware of his body, I think this accounts for some of our sitters . We are all concerned with educating man to move, yet sometimes we lose track of the fact that itis A very sudden change in force, or in time,will education of the body, through the body, to move. heighten body image. Movements toward thebody By moving there are changes that happen biolog- fortify it, and movements away from the bodytend ically, there are changes that happen conceptually, to diminish it.I found that average children who and these are reflected in movement. In turn, they are struggling with thedevelopment of body image, are basic to the kinds of choicespeople make in and there are many of them , made more movements movement. I don't see an instrument as one thing, in toward their bodies than out away fromthem. It and the dance and concept development and experi- is almost as though they were seeking morebody encing and perceiving as dissimilar things. I think stimuli. there is a great continuity within them.I have tried to pick out some facts about movement which These are my speculations about body image,but I think are basic -basic, and to clarify pertinent there is more than just average evidence forthem. aspects of individual movement style and, finally, We tend to choose those experienceswhich are to reiterate my belief that individual styles cannot compatible with our body image concept, and reject be attributed to happenstance. They come from those foreign to it.Body image is not just sensa- having perceived and used our bodies, developing tions and perceptions; it contains a valuescale ofbasic body concepts which are so fundamentally good and bad as developed M a social setting.I am strong that these become parts of many other sure the body image of people in verydissimilar concepts which we, as human people, operate upon. Left to right: William Bales andIrving Brown Left to Right: William Balesand Irving Brown

nr,

4.

Left to right: Robert Lindgren,Dorothy Madden, Virginia Freeman Weil 65

DANCE IN EDUCATIONFour Statements

Jean Erdman

There are so many things one could talk about and develops a technique , a way of approaching that relating the dance to the dancer, and dance to the training. Immediately, then, the dancer-choreog- education of dancers. But, before everything else , rapher becomes a magnet to which aspiring young let me say that in our country the sponsorship ofpeople are attracted and, right away, we have the the people teaching in the colleges has made it age-old scene of the artist and apprentice , and there possible for dancers to exist at all by providing is nothing more wonderful than that! The student, opportunities forspecial teaching and perfor- as apprentice, works in a sort ofmonolithic way, mances. Many of you at this conference table are a very concentrated way, , discoveringeverything the very people of whom I speak. Therefore, it is his body can do, what dancers' bodies can do, quite natural that creative dancers should develop through this particular viewpoint. an ever closer relationship to colleges. In the college dance department precautions must We are gathered here, in fact, to define what this be taken to preserve the excitement and the true new relationship is to be.To start with, beyond meaning of what an art is, the significance ofhand- developing an intelligent audience for dance, the ing the art down from one individual to another college training programs are about to yield a won- through the generations. The dance program must derfully rich rewurce of new dancers. This does be carefully planned so that individual, excited not mean that the studio life of individual dancers dancer-teachers are there to inspire the students. will not continue; it certainly will, for it serves a slightly different function in the dance picture as a The artist-teacher,,to be inspiring , need not always whole. However, even those of us who have studios be a professional performer or professional chore- and are interested in seeing the dance develop in ographer,,for teaching is a creative art with its own the way of our own aesthetic point of view, whether kind of ecstasy. But, the artist-teacher must have we look for new dance company members or go to a had a life-transforming experience in dance in some college to choreograph and teach a specific project , way an experience that subsumes all information should be able to work with the dancers that have and knowledge about the art, welding it into an been trained in college.It is possible for college organic self-generating creative activity.This is teaching to prepare young dancers properly because the indispensable requisite if teaching in school the body of techniques is well enough articulated curricula is to contribute to the development of to make the day of the studio-trained performers the art itself.It is not enough simply to translate as the sole source of new dancers a thing of the past. ideas and principles of dance into words or books The advantage of this broader base and wider range or films, even if this is done intelligently. of points of view carries with it, however, one very real danger.If the training program becomes This is the main thing:wherever dance is taught "academic" organized so that: "This term we it should proceed as a gift-giving situation from learn how to fall, this term we learn how to skip," one generation to another through personal ap- and that sort of thing it becomes merely an ob- proaches and contacts. What is taught is secondary jective body of material to be learned, and there because dance is so huge that almost any set of is no excitement. selections of the total possible movement life, if it is taught in this way, will yield the possibility of Traditionally, the arts have been taught from mas- a contribution to the art of the dance. ter to pupil, individual to individual. The most ex- citing thing about a dancer-choreographer is that he Knowing that we must have the artist in the teacher, , is burning to express something in dance, and be- what about the teacher in the artist? The dancer in cause of that, creates not only a repertoire, but his own studio may concentrate on training his also a point of view about training the dancer 's body, , students to reproduce as closely as possible his own image, in order that they beuseful to him in open for a new experience for the student. He must his choreography. .I would describe this as "training not be told that the answers have all been found; he bodies" and it is different from "teaching people." must not be told that this way or that way of doing The artist in his studio need never develop in him- a thing is the only way to achieve astatement, an self that spirit of sympathy which makes giving exciting statement in the art. complete. The college dance teacher, on the other hand, may never have developed that spirit of This seems to open things to a kind of chaos,but creativity which inspires. We have, then, two the idea that always helps me not to befrightened distinct qualities that must be found in both the is that movement itself is made up ofthe still dancing teacher and the teaching dancer.The moment, or the image, the thing youremember, spirit of creativity, the need to express, is seen and the moving moments , the part that never stops , in the artist on the stage. In that role he isfocused which Ls the energy of the movement. If thedancer toward one end, and all material goes toward that is being trained to be able to control and toshape end. People,objects,everything goes to shape that a maximum energy use,he has to appreciate coth moment of a statement, and it is a creative, out- the clarity of the moment of stillness , and thefree going, aggressive, marvelousthing,rich and flow of continuing motion. In studying a very clear- overflowing.The other side of that same person ly selected vocabulary of movement , such asballet, can be the spirit of pedagogy,which is a spirit ot the appreciation for the moment of thestill point sympathy, it seems to me, and all the current goes can be felt physically. Onthe other hand, in the the other way. study of movement in various other approaches to technical training , or in the experience of movement Paradoxically, then, the gift-giver must first re- in improvisation techniques, the dynamicof motion ceive. This "sympathy" enables the artist to open is felt as a logical balance to thestillness, thus himseli to receive from the student what it is the allaying the dance student's fears of too manythings student is trying to express .The artist must be able changing too quickly. It is like beingafraid to run to shut the doors of his own need to expresslong fast downhill -- the speed is just too much.Or enough to open himself to someone else's needand being afraid to do too many turns on your toesbe- then, out of experience, guide the student toward an cause you might fall downthe feeling that motion expression which is not necessarily the artist's. goes too fast and takes you awaywith it.Is this This is what I mean by the in-going current to the something that nobody else ever feelsafraid of? individual teacher-artist, and the other is the out- Jose Limón: "Continually!" going current of the dancer-artist.These two currents are in wonderful flux in anydancer who Isn't ii scary? You have to dare to do it,right? is also a teacher of dance and I think almost every Well, then, there are all kinds of other things you one of us here knows thatfeeling. have to dare to do, to let go, so that you can go on.I think that that is one of the important things If the professional dancer -choreographer is going to in training dancers.It is very easily lost sight of be involved now in teaching in colleges, a set-up if you are given absolutely fixed patterns in which with a broader base than his ownindividual studio, you learn to feel secure because youdo them all the he will need to develop this spirit of sympathy,for time. That unprepared moment, that momentof a not every student will be slatedautomatically for new, unknown, possible movement,is taken too far his own company as those in his studio might have away from you. been. And he has to function in a wider field with varying points of view coexisting.In such an en- Two things the flexibility of the mind and the vironment it will constantly be apparent that the plasticity of the body should guide the building of discoveries of one generation become the sentimen- a dance program while thestudent is being trained talities of the next. It may be hard for the artist to to appreciate the absolute beauty andclarity of realize that the things he discovered, those things what a statement is , whether the student is tobe he shaped and gave form to, are now everybody's a professional dancer or not.If one is going to property. But the artist who follows, the younger study the art of the dance, there is only onething one, is going to have to find a new way. to do and that is to get into it, todo it, and to study it for its human value. In organizing the teaching program, there are two things of great importance: first, the inspiring If we are thinking about the colleges and univer- teacher; and second, that the doors must be kept sities taking on the training of dancers,making it 67 vital so that it will really contribute to the dance My students at New York University School of the scene, I think the most important thing these in- Arts, Dance, Theater Program this year thirty- stitutions have to realizeis that the physical five of them range in age from about seventeen entity, the psychosomatic combination of body and to twenty-six.I'll never forget the expression on mind, which is being educated in the study of dance, their faces when I said to them, "I would never is absolutely significant. And it is the education of presume to tell you what form your dance should that psychosomatic entity as an indivisible unit take."I thought some of them were going to drop that can point to the answer to all the educational through the floor because they were afraid: "You problems of the world!Dance study, because it mean you're not going to tell us how to compose a so obviously includes both body and mind, can re- dance?" Others were so amazed that I then said, verse the fragmenting process now going on where "All I wantyou to do is something absolutely wild the mind goes ticking along, finding out this,and something completely crazy. You're in a safe place; finding out that, studying variousphilosophies, nobody's going to see it but us, sotry something." writing them all down from various points of view, and so on, while the body that holds that head up is Not only the artist-teacher, but also the student just as dead as a doornail,because it has never been must produce "inspired" work, i. e.,meaningful- asked to become integrated into the thought process. to -the -creator. Such an open attitude on the part of the teacher is frightening for the very reason that it In teaching dance, especially in a college setting, I forces the student to the edge of his own known am sure we have all seen students with very real world, that is,the place of inspiration. But if the fears about pushing through to learn something, student does produce an honest statement, it is, of or pushing through to become more mature human course , relatively easy to point out where the state - beings. You can always tell where the barriers ment was unclear and to help find the form that would are in their personalities by what they do when best express it.The only caution for the teacher they move.If you can get the student to grapple is to prevent the students from thinking that any- with that area of movement he has been refusing thing they dream up, because they dream it up, is to deal with, he can make a jump to becoming a great. new kind of person.This happens over and over again. Thinking of it, not in psychological terms, The core, the thought that should be in the minds of but purely as dance teachers, as you watch these all of us who want to make a study program, is that students turn into dancers you can see where they nothing should be done to damage the possibility have had to grcw and that they have done it physi- for the courage to be genuine. Then the natural re- cally. sult of attending dance technique classes is the trained performer, providing the student has talent "Doing it physically " means that they have been able and keeps at it, and the teacher keeps telling him to let themselves grow, and it has affected them what to do next. mentally and emotionally.This is simply re- stating the meaning of ritual. We do not have many I made an exciting discovery this year at New York rituals in our society today, but the ritual of life University in the program with Nenette Charisse in process is practiced every time the student teaching ballet and Gladys Bailin and me teaching goes to dance class.This ritual brings about the contemporary dance, along with guests who came possibility of a wholeness in the learning process, in throughout the year to teach contemporary and so that the student can grow up while he learns. ethnic forms.I used to make speeches; I used to harangue about the fact that a dancer didn't need The rmbination of theory, movement, analysis, to study ballet to be a dancer.I still know that is 'and composition makes the human being true, but the enrichment of the process of learning, __,eparate these subjects from dance history and the specific clarity with which one proceeds is ant. Jcher things because I want to express (par- remarkable when the student has a chance to work ticularly at this time) that the way the student has in the traditional, marvelously symmetrical, ab- to use his mind in working with this combination solutely secure form that ballet is,while also having goes under the heading of research, because he is a chance to try various forms in other areas, on pushing to the very edges of his own experience, different days. and sometimes to the edge of everybody else's ex- perience, if he comes up with something no one Whereas I have always felt it was important to be has ever seen before. trained in more than one contemporary style of give much thought to that dance technique, I now realizethat that is true of We must remember and As long as all the very preciousand delicate thing that goes tocreate the whole range of dance. It is so invisible, so subtle,and it de- teachers understand each otherand make the stu- an artist. pends so much for nourishmentand growth on the dent aware of this, workingtoward the goal of ex- by any one person teaching. Inclosing, I can only reiterate my cellence rather than being dominated have to be inspired, teacher's personal attitudetoward movement, all two main points: the students and they must be allowed tocreate somethingnew. goes swimmingly.

Carl Wolz Allegra Snyder

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ad e< Valerie Hunt Alma Hawkins mOid1/11.1191.1111.1111111WRIFINIPIPIMIXIII

69

Alwin Nikolais

I just finished reacIL 6 Michener'sTHE SOURCE. a creature has todo with this idea of source. I am This novel describes how someone manythousand also supposed topracticedehumanization. This is years ago becameimbued with an insight into a a difficult word tocontend with in view of my aotuhl source of Life.The concept was so powerful, passion for what humanity meansaial what human- caused such fervent devotion thatmillions of people ism means , and the relation of these to awellspring have endured tragic suffering just tomaintain con- out of which all life growstowards some unknown tact with that source. Perhaps itis crass to relate direction, and which the arts explore. this to the process of art; nevertheless ,I think that in some fashion we, too, go throughthe indignities, It may seem immodest even topretend to have seen the heartaches, and even the massacres though such a thing as this mysterious source,but I think the last are vicarious. I believethat, in some way, that an artist operates on faith thathe has a con- the whole context of our meetinghere has to do with stant contact with it.If he doesn't, he can't work. this same problem of relating to source. He must have some faith thathe has a trunkline to this undercurrent, along which he can pursuehis We are trying to find methods and meansby which operations to a vision thatreveals it.As a chore- we can maintain a vista, aroute, or some kind of ographer I have the privilege ofsitting in an au- When I opening, through which students mayhave a vision ditorium and watching what I havedone. into a source into art. Often, weforget that art watch, I am absolutely terrified everysingle mo- is first, dance is second; when we comeright down ment.It doesn't matter if theperformance has lam just as to it, art doesn't give ft. hangwhether it takes place been done fifty times the fiftieth time through painting or dance orsculpture, or even terrified as the first , because performanceschange side some form ofmulti-media. We are inclined to be radically. I often wish there was a hole on one I'd love to too much the specialist.Working in mixed media and a throne on the other. Sometimes, myself, I can tell a lot of storiesabout that, be- cral ,1 in that hole,and other times I would like to cause I find that, often,the specialist devoted to sit triumphantly on the throne. dance fails to see the art source. Heis like the foot doctor who tries to cure a badback by pre- Now,,in my gathering years , the thingI have learned scribing arch supports. is to know when I'm goodand when I'm bad, a-I need no one to tell me. I have tohave that faith ir Fundamentally, we are concerned withthe me- myself.Very often, after a performance,people chanics and the environment that weoffer to young will come back people whose opinions I respect visions of a and whose sensitivities to the arts Igreatly admire , people so that they, too, may have T rompmhpr one source, that is, alt. We areawfully afraid of th.t and they say unreliable t"-gs word "art" now, but I don'tbelieve we can afford instance, particularly, where Iused a large white ,how the cowardice, despite the factthat we really don't ball.One person came back and said, "MyGod know specifically what it is.If we did know specif- did you have the bad taste to bring thatball into op- ically what art is , we wouldn't have tosit here today eration there?"I looked a little bit astonished at and think about techniques andmethods by which this. But hot-foot, rightbehind him, was another stroke of genius to we can practice thefool thing. person who said, "That was a think of bringing that ball in!" Now,each one's I thought that I might best helpif Iexplained some- opinion I admire.You can take every portion of if you listen to every- what the process I wentthrough, telling my own the thing you have done and, history in relation to my vision of the source.This thing advised by everybody whoseopinion you re- probably seems a kooky thing for me to say,be- spect, and alter your workaccordingly, you will cause I read, offand on, that I'm supposed to be have nothing left.You have to operate on your avant-gardist, and perhaps you wonderwhat such own faith inyourself and your own contact with your source. and Doris Humphrey's NEW DANCE with Josh Lim& as that luminous central sun around which One day, one of my dancers was out walking with the dynamic happening of figures shook every mole- her husband and children in New York City. . As they cule of your life . These were visions that remained passed a pile of rocks,the baby,,who was four years in mind, along with Hanya Holm's TREND, where old, po-nted and said, "Look, Papa, scoolpture." the mass of dancers, just by raising one hand Children twenty years ago would not have perceived together, blew off the whole top of the universe. sculpture in that pile of rocks. We know that the These remarkable things fed me. peculiarities of history and our rituals of living change constantly.Today they change so quickly However,,I don't believe I necessarily saw what was that it is hard to keep up with them.It seems to intended for me to see. I saw what I wanted to see. me that although the source remainsthe same, the For example, in Graham's FRONTIER, of course physical shape it takes is constantly changing. Icall I saw the magnificence of the pioneer woman, the this the socio-dynainics of the time.What made spirit and all that that meant, but I also saw a something work for us yesterday is not necessarily manipulation of a spatial environment that was the thing that will work for the studenttoday. In fantastic that a woman could be a goddess in substance and reality,,what we are talking about now is what tech- space, manipuladng that mystical manipulate niques,what pedagogical methods and procedures I couldn't help but feel that I wanted to will keep open a path to the source.I don't think space; I wanted to explore it,and shape it into my we are concerned with any setphysical formula own vision. sprinkled with vague philosophical mutterings ,but the principles are somewhat mystical. With Hanya, who was labelled the teacher of space technique, I didn't see space, really. Isaw another As a young man,I never dreamed of being a dancer, kind of dynamic thing.Regarding source here, I because this was not within the socio-dynamic think- was able to make contact withthe sight and visions ing of the small town from which I came.It was that the performer gave us.There was also the an impossibility. And yet,in the course of events, teaching, the actual classroom event, but, curious - cne day I was taken to seeMary Wigmar, and, just ly,,although I was inspired by classes with Graham, as the child said, "Look, Papa,scoolpture," I said, with Holm, with Humphrey and Weidman, with "Look,Nik, dance ! " That was it. But what is more , Martha Hill, with Bessie Shoenberg, and with Louis it was my first conscious vision into source. Horst, I was much more deeply affected byother things. This was in 1933, and then there was a gapof sev- eral years which seems , as I look back,rather I remember most vividly the course inexperimental short, but I'm sure was painfully long,because I production with Arch Lauterer and MarthaHill. didn't know how to get to the source. There was Here, I saw a relation of a dancer with aform in no information, no way tomake a contact with the space. Once more, I am not surethat I saw what thing I had seen that was so magnificant, soright - I was intended to see, but I saw aroad toward the the vision since labeled "moderndance. " visions that I wanted to enter. I lookback upon that period and I suddenly think that, from apedagogical In the course of the next couple of years ,I found point of view, there was probably alot wrong in Truda Kashman, who had worked withWigman in this huge smorgasbord of material.You were fed Germany, so I immediately attached myself toher bouillabaisse, raw onion, cream cheeseand sour to try to be hammered into somethingthat could cream, steaks and what-not,and any ordinary di- manifest or, in some way, make contact with that gestive system would have repelledit, being made wonderful thing I had seen. violently sick. However, you mustremember that the socio-dynamic time gave us adigestive acid This led, in 1937, to perhaps the mostmagnificent that penetrated this whole mixtureand made it belly dancing we experience Bennington. This was the time when right. I think that if we had taken modern dance was at a tremendous pitch. Of course , would still have come out with something,because had both the I came with raw nerve edges,and with a cavity that the spirit of the time was such that we only the bulldozing process ofBennington, at that appetite and the juices to absorb it. time, could fill.In the course of the next three intimate classes in years I saw MarthaGraham's LAMENTATION, her I clearly remember the small, IMPERIAL GESTURE and AMERICANDOCUMENT , dance criticism with John Martin,and recall, too, 71 gaining a real insight into abstraction in, of all When I was teaching for Hanya at Colorado College, cla 3 ses,those taught by John's wife , Louise Martin. without a word of warning, two minutes before class (These were acting classes.) time, she said, "Here, Nik, go into this class there are thirty-five kids and give them a class Someone asked Helen Tamiris, "What do you think lesson."I didn't know what a class lesson was; is a dancer's most needed requisite?" and she I hadn't the slightest idea what she was talking replied, "Chutzpah!" This is a Jewish word that about.I knew it wasn't a technique class , so I means plain guts, period.You had guts then, but wasn't supposed to teach technique.In some way, you also had the dynamics.It was that time. I'm she had the sudden kooky thought that this was not sure that the time exists now.I don't know what I ought to do next, and I entered the arena whether we have the acid to penetrate such a smor- thinking, "Now what'll I do?" In a rather frank gasbord.I do think we can present and adhere to fashion I said, "We are here to find out something a basic continuity of the art which stillallows for about dance let's begin."I just put out a simple things to be born in it. problem, and before I knew it things were happen- ing in front of my eyes.That whole summer I I come from part Russian and part German back- devoted to a continued exploration, somewhat like ground.Once, John Martin said that was a good the child in "The Emporer's New Clothes ," who coml._ -n, because the German has theanalytical says ,"But look, Mom, he's naked!"Somehow mind and the Russian says "the hell with it," and we were able to create anatmosphere out of in- goes off with wild imagination.I suppose this has nocence, out of stupidity,in a way, and then to servedme very well. I know that I have the curios- have something start and, with the most innocent ity, particularly in teaching, to question, question, possible eyesight, to really look at it and see what question all the time the things I do. was happening.

During my first year at thePlayhouse, Ruth A few years ago I was talldng in Montreal, and a St. Denis called. She said, "I have tomake a film, man from Wesleyan UniversityPress came up to and I need space. Could you possibly let me use me afterwards and said,"Will you write a book the Playhouse, and how much would itbe?" I said, about dance?" I said, "Oh yes , I'd love to do that." "It will certainly be nothing, we wouldbe greatly Even though I can't write and I don't know why I honored to have you here." She insisted,"No, I said I would do it, I was hooked. And this is a want to do somethingI must do something.I'll wonderful thing, because, in the process of trying dance for your children there." She didn'tknow, to write that darn thing, I had to discover what it but at that time we had probably the toughest kids was that I knew. This was the job tobring to the in New York coming to Saturdays at Three.I surface one's own experience and one's knowledge. thought, "Oh God, what's going to happen?" She insisted.I decided, "All right, we'll try to pad it I started to write, and the first thing I tried to an- as much as we can. I just don'tthink it will work." swer was: What is Dance? I spent so manymonths Little did I know about a great performer. That wrestling with myself about the definition that, lady came out, and she danced for those kids . They ultimately, I endedup writing seven chapters about were absolutely still, and they had thevision if they it.This was a painful process , and still is , and I never did before. When the curtain wentdown at don't know that I'll ever finish, but I am going to the end, the kids whistled andscreamed. They had try, because the process of working to get this out seen the greatest thing of theirlives. Miss Ruth of my interior is a very valuable one to me. came out afterwards and she justheld up her hand. Those kids went right down zoom to absolute In teaching, particularly since the time of that ex- pin-drop silence . She said, "When I was a little girl perience at Colorado College, I have been trying to I sat in a balcony in Chicago and looked at a dancer get down t0 some germinal things. I'd like to pro- performing, and at that moment my life was made. vide a basis on which any student could build ac- I knew this was it. I only hope that this afternoonI cording to his unique experiences.I don't know if have given some one of you the same experience." it is possible. We talk about ballet, about Graham technique, about Holm technique, but is there a I think that to be able to clear the debrisand try poss:ble technical basis which rests underneath, to get young people to have these experiencesis a and which we can offer to a student, so that he can wonderful thing about the educational process as we then be equipped as an instrument to carry out his hope it can be. vision?It seems to me that, fundamentally, we are concerned with culture and education, but that has crazy explanations for man's standing upright we often emphasize education at the expense of the better to reach a banana, for example, but it culture, the study of pattern minus sentient evoca- would be difficult to stand before a bunch of students tion, of ritual devoid of magic. and say,,"You standupright now; you have done this because you are reaching for a banana." Another The basis, from our point of view, is sensitivity. explanation is the phallic image.Again, to me, We talk about sensitivity,,taste, sanity, and all the this is sheer nonsense because as artists we know things that relate to the idea of a person developing this is not it.At that moment, man exemplifies his feelings to a point where he achieves such a the whole desire, the beginning and the end of hu- sensitive reaction to himself, his environment, manity, the point towards which he goes, and you and his universe, that he is able to perceive and find that the magnificence of this creature is not judge with accuracy. This is a matter of training being realized. He only has to stand to let you know the senses, but, even more, training the per- where his failure is within the scheme of things. ceptions. So we are fundamentally concerned with We are still talking about the shape of this creature . sensitivity.. Now he begins to move: this is a psycho-neuro- To go back a moment, perhaps we would say, "Sen- physiological action. Out of some compulsion, he sitive to what?"I began to make a definition of begins to move, and the shape changes it is no dance in which, as a sort of generalized base, I longer the same.Is he sensitive to that shape? proposed that dance is the art of motion.I like to Does he have the skill , now, to design himself in distinguish motion from movement. It seems to me the shape which speaks ? movement is a term which we apply most frequently to the gross act, or the total act itself.In other This is one of the things I have tried to explore . Just words,I move this package of cigarettes from here look at the arts; look ot the new shapes we are con- to there.The nature of the itinerary, the detail tending with today, the meaning of these shapes as that occurs during this transpiration of action, is contrasted with the wire literal shapes we were motion, and that, to me, is the art of dance. It is concerned with earlier. We speak of dance as a not the gross movement, it's the detail of the mo- kinetic art, and I think this is basically so, but we tion which is the fundamental of the art of dance. are concerned not only with kinetics , but with visual Therefore, if we are teaching dance, our job is to things as well.I have many theories about this. try to help the student develop his sensitivity to For instance, I feel that there is a great difference motion to as high a degree as possible. between what the eye sees and how it introduces what it sees into the brain, as against what the ear We are not talking of one thing but, rather, of many hears and how the ear introduces that into the brain. things when we think in terms of motion. For ex- I think the ear has been a more abstract receptive ample, we have in motion a body of matter.This organ than the eye, because we say, "Seeing is be- body of matter has a particular form. We have, lieving," but the ear may receive "hearsay," which secondly, the space in which this matter moves, is not quite as believable.I think this is why music, we have the time in which it moves , and we have as an art, is much more highly abstract than the the nature of the motion itself. We have the content visual arts. of the detail, the vista of the itinerary, the reali- zation of that which transpires in between. You On the other hand, we know that in recent years the take any one of these particular things , and you have eye has become accustomed to abstraction.No the world at your feet, because you deal with the longer is it dominated by the literal fact, for the matter itself, that hunk of matter which we call simple reason that, as scientists and artists open the human body. up new vistas , we have gone into space and time which are not physically present, and, therefore, Immediately, we have a fantastic thing on hand. we think more metaphorically. The eye has sepa- When kids standin front of me and do just a simple rate ways of introducing things into the brain. When plie, I think: What is my responsibility; what is the eye sees color, it goes into the brain by way theirs ? In the first place, you have this thing you of another path than when it sees motion. Motion call a human being standing upright in front of you. probably goes through organs of kinesthesia, which There is its whole history, right there. What does introduces another kind of psychological itinerary. this creature mean? What does he show? Science Shape is probably perceived through still another route. the young person today In my work, I have explore( thepotential of shape vast areas have impressed with what he sees, that we are notallowing him to as anotherkind of vision adding to the kineticvis- ion, and I have done this withcolor also. The ex- explore. haven't even ploration in this area is vast, and we audience where five begun to talk about time. A few summers ago , I was in an critics were outlining the waythey looked at a dance. apiece, and each of the The excitements of our newconcepts of time are Four of them had five rules fantastic. Freda Miller has adefinition of music. four enumerated his rules .As I listened, I thought, 3/4, fast and slow. There is "My God, every one of thoserules was broken at She said it was 2/4, What are they lookingat?" a certain amountof truth to that. However, we now least fifty years ago. of enigma, that it is re- Until it came to littleMargaret Lloyd.She sat at know that time is a kind frankly and space may even the end and she turned tothe other four and lated to space, and that time know what you aretalking But in handling time, Iknow I do said, "I really don't be inseparable. I just go and look." AndI thought, "God it quite differently.In 1957 I did a thingcalled about. PRISM. One section wasdevoted to the shattering bless you!" of time.To do this, I employed someunusual To me, these devices were Let me return to the ideaof source.I think there theatrical devices. of source. One is the visionthat not just theatricalities,but, rather, a means by are three areas of time to break the performing artist himselfgives.Another is the which I could enter a new area here and 3/4, fast and slow." I felt that socio-dynamic vision that is happening the barrier of "2/4, makes things different.The there were many other thingsthat produce time in now, and therefore different from what we are ac- third is the classroom itself.I have always been a structure, quite in education are as much re- customed to in the normalrhythmic sense. aware that you people sponsible for the source as thoseof us who create of space. Even motion and perform .I mean this positively, , notnegatively.. We :lave vast new concepts it's the old story The other day I gotthe shock of my life, One does not precede the other; itself! the chicken or the egg? it Euddenly realizing that Ihad become a patternedold of which came first, myself. Murray doesn't matter. A student mayget it in the class- greybeard.I was disgusted with Someone had been on tour and, in a zooin St. Louis, he room without everhaving seen anything. sowething without everhaving taken a had taken moving picturesof an eagle. Ihave never may see One may have a naturalfeeling for the s ocio- seen motionlike that.I have never seen adancer class. dynamic times and come outwith it. move that way.And I thought what damnfools we millions and millions ofkinds of are. There are So what do we do tomake a situation inwhich this motion that we don'tbother with, while we pursue that, and the wonderful thing can own. ?I hope we can achieve our ritual ofteaching ballet and this, the direction of arevolutionary ritualistic movement.What some success in other kind of vapid outline for danceeducation. tremendous areas we areleaving untouched! What

Drawing by Alwin Nikolais r

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Margaret Erlanger Betty Walberg

Chailotte Irey Martha Hill ,4,0110:1r..-7tIv-pyr-,-,,rn-

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- 75

Patricia Wilde

I would like to start by telling you a little bit about You are not dancing just for yourselves a fact my background in dance, because I think it's very which gets lost a lot of the time. People get so in- different from all of yours. I joined a professional volved in what they feel in the dance, but it is also company when I was fourteen, so I never got into something that you are trying to express to other higher education, as you can imagine. The reason people.If you can't get it across to them, you that I was able, at such an early age, to go into a should just stay in the studio and enjoy yourself, company was that I had had very good training in but you shouldn't be on the stage. What is shown Canada. on the stage is often much too personal.

Now, I know there are many sides to technique, and It is most important for a student to be close to a it isn't an end in itself, hut it is so important in teacher and to believe in him completely, but he enabling a dancer to become an artist in freeing then has to go on and learn from many, many dif- him to be a complete artist.My growth in the ferent sourcesfrom people he doesn't agree with , companies went very quickly, I think, because, be- often, but he still can learn from them. This will ing technically capable, I was allowed to work with broaden the students as future teachers. They the great people who were working in the ballet should start their training to be teachers in the uni - companies at that time, and they used me in every versities.Except in rare cases, students in dance type of ballet. Although I had strictly ballet tech- in universities will become teachers or people who nique, De Mille used me in RODEO; Masshie used write about dance sometimes choreographers me in some slightly neo-classic works;and, of but more often than not they will be teachers, so course, Balanchine in a strictly balletic way. Even that the more experience they have under guidance, Valerie Bettis,when she came to the Ballet Russe before they go out on their own, the better. They de Monte Carlo, used me at age eighteen to dance are going to make mistakes anyway, but it's better the role of the mother; and I think she was quite if somebody is around to say, "Careful, you're not pleased with me as a mother! on the right track," or, "Take it a little slowly in this area." I was allowed to develop as an artist, because I had come with the technique to back it up. So I cannot Working with professionals, experienced indiffer- stress this area cnoughthe necessity of becoming ent styles and ideas , can help to form the young completely capable in at least one technique during artist. This can be done in college and, as a mat- the early training period. That is not to say that ter of fact, is being done more and more. Masters , you shouldn't study other techniques. Of course, such as Mr. Limón, Mr. Nikolais, Miss Erdman, you must have other techniques, but you must have or, in ballet, Mr. Balanchine, can bebrought in, the assurance,the wonderful feeling of knowing that even for a brief period, to work with the students you can do anything in one area. in classes and choreographically, , so that when they do dances they really have a professional standard, I think that it broadens you to go on and do chore- and don't just get out there for experience's sake ography if you have a really fine vocabulary. It is alone. Such encounters can have an exhilarating important to work with professionals , people with effect on dance students. Anyone they are studying experience, so that you can grow through the work with constantly doesn't have quite the same effect. with them,and then go on to experiment yourselves . You, as teachers,know that someone can come in It is very hard for the young artist to start off and say one word and it changes their whole life. "baring" himself without any background, without You may have been saying it for ten years. any vocabulary to say %mit he means.I suppose there is a marvelous inrkocence in not having a These are my beliefs: first of all, the technique vocabulary, but I don't think it remains very in- that they should have to prepare them, and then the teresting for very long. Many choreographers have opportunity to work with great artists. Together, wonderful ideas,but they don't have dance technique these experiences will allow the young dancers to or dance vocabularies with which to sustain the go on to become complete artists themselves. work and to keep it interesting for people. ..

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Drawing by Alwin Nikolais 77

José Limón

A young dancer was speaking to melast week about cator and the educator-artist tobring this about? have not the dilemma confronting all young peopleduring our In other words , we are here because we present era. He said, "How futile it seemsto make abandoned our courage, nor our hope, nor our the effort to continue to better yourself as anartist , vision: the courage that persists in theface of all will to worry aboutplies, stretches and a turn- out, adversity, the hope that the human species blow itself come to its senses at the verybrink of the abyss , when the world seems to be preparing to art, and to hell.It is a strong temptation just togive up, and the vision without which there is no grow a beard, stoptaking baths, and take to the no civilization.Events may well prove us to be Bt: until pills and banana peels." wrong; that we are deludedand fatuous. that happens, what else can wedo but go to the the plies, I found it hard to answer thisdiscouraged and dis- classroom and the studio, and worry about couraging utterance. One expectsdisenchantment the stretches, and the turn-out,the turn-in, the and disillusionment from older peoplewho have been jumps, turns, runs, falls; thedesign of a move- kicked around for years, and are afflictedby battle ment and a gesture, madebeautiful andineffable in fatigue. From the young, one expectsthe fresh, time and space, the ephemeralmade as immortal naïve vigor which innoccmce and inexperiencealone as any man-madething can be, the power and elo- possess.I went back in my remembrance te my quence and nobility of manthe mover, the .dancer? own youthful experience,and tried to compares my origins as an artist with those of the present gener - How does one end? How does onebegin? ation of incipient dancers. One canonly speculate about the experience of others , but one's own ex- Permit me to cite my own personal experience, perience is , for better or for worse,the only gen- which is the only one I know truly. uine one.I know that not all youngdancers feel this heavy discouragement. There is anabundance I attended the sixth, seventh andeighth grades of First Street, or enthusiasm and impetus,fortunately, but the the Amelia Street School, near East above remarks by a talented andaccomplished just thic side of the Los AngelesRiver.Before family from Mexico, younger artist are symptomaticof a malaise which that, a member of a refugee often undetected and unexpressed,hidden I had gone to a convent school inTucson, Arizona. exists, The nuns saw, under many surfaces. How per t.asive itis, one can You see, lam in familiar territory. only guess. In any case, it set me tothinking that instantly, that I could draw and, arming mewith this is one of the problems thatthis conference colored crayons, paints and brushes, set meto fascinating might very well consider anddiscuss.What can decorating the classroom with strange, Easter (bunnies and yellow baby an artist do whenconfronted by his fellow man's Lew symbols: for Washington's Birthday (cherries , hatchets , seemingly incurable predilectionfor violence and chicks), hats), Thanks- brutality; this addiction to savageryand bellicosity ? and little boys in three-cornered muskets, Indians, How can he keep from beingappalled and paralyzed giving Day (Puritans, turkeys, (witches, brooms, in all his faculties by thedread phantasm of im- bows and arrows), Hallowe'en minent destruction? How can the arts growand pumpkins, bats , owls, black cats , ghosts),and, of ambience of course, most delectableof all, Christmas with you flourish in the poisoned, embittered and bulg- our era? How canthey survive? know who and his reindeer and chimneys ing stockings on the mantel pieceand the heavily We are here to speculate onthe precept and prac- loaded tree. tice of the art of the dance.We are discussing how and training of the tender I knew not one word of English.Or rather, I knew to improve the education because it young plants , which wehope will grow to strong two "yes" and "no." "No" was easy, word meaning precisely the maturity, and what can bedone by the artist-edu- was also the Spanish 1 same thing. But thepictures, which the nuns gave the beauty of this vision wasalmost insupportable. able to understand me to copy andenlarge on the walls , blackboards , It was only much later that I was and any other surface available,needed no trans- what had happened: thedance was the alchemy purest gold.I lation. Very soon, I knew exactlywhat they meant. which transformed base metal into now see that this wasthe moment when the seed was knowing it, surely, , The dear ladies in charge of me at theAmelia Street planted in my brain, without my only an adolescent School recognized the Michelangelo. I had itmade. for, make no mistake, I was, as aggressively so, proud The thrilling adventure at Lincoln HighSchool on can be, a male and a man, with alge- of that manhood which could proveitself among my North Broadway was four years of art, and re- bra, geometry, science, economics andother aca- contemporaries only by a complete scorn might be construed as demics as only incidental and trivial inconveniences , jection of everything which which kept me from taking art classesall day long. weak or effeminate.I was already on dangerous ground merely by being an artstudent. Art was Matriculation at the University of California,South- bad enough, and just barelyadmissible. Dancing, in the school audi- ern Branch (as it was thendesignated) proved to be especially that which I had seen would be caught a cruel disillusionment.True, I enrolled as an torium, was for girls. No man art major. But I discovered to myprofound irri- dead taking his clothes off andprancing around to tation that I was expected to continue theinanities music, making sissifiedmovements. Ghastly, un- of higher mathematics , and otherdreary and cum- speakable violation! What Ihad seen moved me bersome subjects, and_thikt art was only asmall deeply, and I kneN , that I wouldrather die tenthou- It was to portion of my program.I tried it out for a few sand deaths than confide orconfess it. secret, which I would desperate months.I was conmsed by an imperious be a wonderful and shameful of my will:kill it, impatience.Nothing matteled but painting and suppress with all the power sculpture. The frustration provedinsupportable, bury it, forget it. and one day I severed the umbilicalrestraint and, using my right thumb, found myselfin New York Now, I was in NewYorkCity, and I was going to be Michelangelo and Picasso rolledinto one. My des- City, Mecca a drop-outfrom college. tiny was clear as daylight.Then one afternoon, this You will ask, "Very well,what has this to do with ignorant provincial was taken to amatinee concert dancing? by Harald Kreutzbergand his partner, Yvonne transparent Greek tunics; Let me see: I knew dancingearly, in my childhood Georgi. There were no There was always the no soft, swooningmovements and capricious pran- in Mexico, in the theatres. There was a terrible Spanish dance, and the MexicanJarabe (hat dance cing of young bacchantes. and eloquence.There was the to you) , at all the patrioticand religious festivals power and beauty and remote glimpses of compelling drazna of the moderndance. I saw, with and sometimes mysterious could do, be- the dances of the Indians , seenfrom a carriage a searingclarity, something a man the square of a cause dancing like aproud stallion, or an Angelof window or a balcony overlooking miniature was dances,of course, the Death, or a lover out of a Persian small town. And the social destiny. old fashioned ones, waltzes andpolkas, mazurkas , worthy of a man. There was my confirmations, birth- etc., to celebrate baptisms, reminiscence to do with weddings. Later, across thefrontier to the What has all this personal days, let's see: North, I was to see theNorthAmerican forms, tap our work here? Now dancing, ballet dancing , and, atLincoln High School , -forgotten moment of the purest I was twenty years old. Toolate, I now know, for a never -to -be late. in the school audi- a dancer to beginhis training. Too late, too magic; at a Christmas pageant kind of dance when I well-known contemporaries What if I had known about this torium, six girls, all fifteen or sixteen? What of mine from the classes inphysics and mathe- was ten years old, or even suddenly transformed, under mys- if I had lived in a societyand an environment where matics, were unworthy? What terious multi-colored raysfrom unseen spotlights , the dance was not looked upon as the shortest, sheerest if I had known where to go tostudy? What if the into lithe nymphs, clothed in Shepherd at Tucson , like alabaster, schools,the Convent of the Holy tunics,their 1 -7ely thighs gleaming School, and Lincoln their arms archingdelicately above heads those Arizona, and Amelia Street High School at the end of NorthBroadway, and the of goddesses. old University of California onNorth Vermont Ave- that there were certain menwhose To my entirely unprepared eyesand sensibilities , nue had known 79 destiny it was to be dancers, and that these fore- compose and produce dances, and perform them ordained ones would go to any lengths to comply anywhere and everywhere without it.Just try! with this destiny? What if I, and others like me, had seen not just the shamefully beautiful nymphs, So Johnny and Billy can go to dance classes: in but Nijinsky, Kreutzberg, Shawn, Bill Robinson, primary school; later, as an adolescent, in high Fred Astaire,Ray Bolger, and their many wonder- school; and still later, as a young man, in college ful descendants ? You will notice that I am confining or university or to the local ballet school. myself, for the moment, to the male experience. Girls have had no problem. The parents of the But what classes ? Are these good, bad, indifferent , Martha Grahams and Doris Humphries did not feel or barely adequate? Who teachesthem? What is disgraced that their daughters, after being en- the caliber of the instructor? What credentials and chanted by a Pavlova, a Duncan, a Loie Fuller, endowments does this teacher possess? Not aca- decided to devote their lives to the dance, and went demic degrees.Artistic credentials. We are deal- to serve an apprenticeship with St. Denis and Shawn ing with a performing art a creative art one or Fokine. You can imagine what thiseminently that is every day, Pvery hour, every minute, be- respectable pair of middle class parents would have coming more demanding, more competitive. And, said and done if little Martha or Doris had been, fortunately, rightly so. Can this teacher give the say, little John or Billy.This, as you well know, young aspirant the properfoundation of a successful did happen in other families this calamity, this career, or will this instructor,through inept- disasterand, when, after all parental pressures , ness, incompetence and ignorance,endanger, and persuasions,diplomacies and threats failed to dis- possibly do permanent and irreparable harm to a suade the wayward offspring, he was disowned, and vulnerable and unformed instrument? toldnever to darken the paternal portals again. He was as if dead and buried, and his name was never Alma Hawkins,in asking me to prepare this paper mentioned. The stricken family lived with a shame- to read to you, mentioned that "dance is in the ful secret festering in the remotest corner of its midst of transition in many of our colleges and darkest closet. universities. There is an opportunity for change and development." She asks, "What do you think Much sweat , much perspiration from many dancers is needed? What would you like to see happen?" has literally covered and soaked many studios and stages,and flowed under the proverbial bridge since I am hoping most fervently that the change is of a those times. The climate has changed. It is much radical and drastic nature. Radical in the sense friendlier all around, and young people who are that higher scholastic authority will no longer place born to be dancers have, if not an ideal present, at the dance under the department of Physical Educa- least a more hopeful future. There are propitious tion.Dance is not gymnastics, nor hockey, nor sips. I know that there are some convent schools basketball. It is an art. Some colleges anduniver- that have dance classes. Primary schools concern sittes have already done the dance , and themselves , themselves with the art, to say nothing of high the honor of making this distinction. Drastic in the schools and colleges. And I do know that Dance I sense that, implementing this separation from ath- or Dance ll is open to interested boys. And I do letics, the ambience for the dance should be frankly know that these boys pay for their temerity by be- aesthetic, that is, having to do with the philosophy ing satirized in the school corridors by their con- of taste, of the critical perception of the beautiful, temporaries. But there is a great difference. The and, further, fully of the theatre, for dance must young ones in question are taking dance classes with be first, and above all, good theatre. the knowledge and consent of their parents, and the rest of adult society is not likely to ostracize them There is no good reason why these two radical and as some kind of monster. Parents observe that the drastic changes shouldnot be realized. Excellence world we live in permits a successful dancer as is nothing new to American universities.The much, or almost as much, status as a successful faculties of science,economics, mathematics, grocer, banker or lawyer. He has become respect- etc., are often nothing short of brilliant. Already, able and, since we live in a conformist, middle there exist some first-rate dance departments in class society, our respectability is the "lingua the world of higher education. These only point to franca" of commerce with our fellow man. Liie the need for a proliferation, and (to use an adjective the dollar bill, it is a fact of life, and try to have currently of a sinister connotation) an escalation of a studio and have dancers to work with you, and that excellence. The attainment of this goal is assimple as it is ultimately, , the professional world)and the primary would have been for me difficult.First of all, the dance faculty.Ideally, schools. How fortunate it artist-teachers, practic- if someone had said, atthe Amelia Street School, it should be composed of for you. Come ing professionals. This is instantlyruled out. No "Look, there is the dance waiting Auditorium and see this and dance artist in his prime will wantto leave New down to Philharmonic outlying university for that company this weekand the next and the next. York City and come to some take. The training is a permanent tenure , or even asemi-permanent one . There are classes you can performers are long and arduous. You mustbegin right now. You Incidentally, not all first -rate Astaire, or first-rate teachers, but it has been myobservation can aim atNijinsky, or Kreutzberg, or how to teach good all three, if you like.Learn them all, and then that almost all good dancers know mathematics, and dancing. Good dancers are usuallythe product of decide. Don't be impatient with good teachers , and in the long processof becom- science, and grammar.A good dancer needs them whether consciously all. Go on with your drawing. Itwill not be wasted. ing good products they absorb, mathematician, part or not, the methodsof their preceptors. A good dancer must be part engineer, part poet. Come, dothe plies, and the and there Where does that leave the would-befirst-rate dance stretches,and all the rest. Time is short faculty? There is that category of personwho, not is much to do." the training and being a first-rate performer, has Innocence, when an sensibility of one. Here we come againto the aes- That, friends , was the Age of the agonies of thetic values, and to the knowledgeand the feel of artist could look forward merely to close to the the artistic struggle. Life andhuman destiny were theatre. This person must come as world wars artist-dancer as possible in all respectsexcept that predictable.Even the calamity of equipment should be could be weathered andsurvived, somehow. You of performance . His aesthetic maimed, return to of the highest order, , and he mustknow what makes could, if you weren't killed or left off. I did. But the young good theatre. In other words, partof his prepara- your work where you his forebodings tion and training, a good part,shoulo consist of dancer, who was telling me about and discouragements , has adifferent situation con- some sort of associationand experience with a first- fronting him. This is no longer anAge of Innocence . class performing company.If this seems a little it is well to remember We are no longer facedwith tanks , submarines, too rigorous a requirement, busters," and other only when rigorously saturation bombing with "block that excellence is possible We are faced high standards are demandedand complied with. such obsolete and primitive weapons. with nearly total obliteration as aspecies , nothing in all things, is per- With reference to departmentsof theatre and drama, less. Man, the perfectionist fecting the means of his perfectannihilation. Those it is well-known that possiblythe best in theatre in the universities. The of us who have lived andexperienced and accomp- this country is being done in with an icy, , cold, commercial theatre is either notinterested in good lished can regard this prospect contemporary, or the serene fatality, freeof the frenzy of fear and panic . drama, both classic and Shakespeare, brutal conditions untior urFich itmust function make Very well, no more Bach, no more If man wants that, surelyhe a venture intogood drama a risk it does notdare no more Parthenon. should have it; that is what hedeserves. to take very often. And for us here, the If such excellence exists inthe theatre of the uni- But the young all the young. young dancer.What do we say to him? Howdo we versities,why isn't it possible to achieveit in the dance? Is it because,when you begin your training answer? at seventeen or eighteen yearsof age , it is possible Humankind has been faced with theinsoluble pre- to became a creditableactor, but not, exceptin unusual cases, even anadequate dancer? dicament before. an There is a solution to this, I think.A dancer, to I am reminded of a beautifulthing a theatre the Theatre San Carlos. contribute as distinguished anachievement in dance opera house in Lisbon contributes to the achievements My company and I playedthere during our European as a young actor architecture, of drama, should have begunhis training at ten Tour of 1957.It is an utter jewel of In other words, a all white and gold, in thestyle of the Italian Baroque years of age orthereabouts. too large. Just right.Superb deliberately coordinated concatenationof purpose opera houses. Not ,dukes,magnates, and poor should be established betweenthe universities (and, sight lines .Kings 81

his nearest men can see equallywell what is being done on the I have mentioned the artist-teacher, or Instruct.Instruct stage.The performer feels that he can reach,relative, the teacher-artist, really reach, the occupants of the neareststall and expertly and superbly, yeP .But more is needed. the last seats in the highest tier, next tothe roof. Inspire. Inspire continually, ,constantly, and with- It is a jewel of comvs Inicative theatre.It was built out pause.Bring the artistic experience, raw, in 1794 A.D. That was at the heightof one of the immediate and powerful, to the young.They should most convulsive moments in humanhistory. The see, hear, feel, tasteand smell the art.To the world seemed to be falling apart. There wasblood educators I say, perfect your curricula,get the beet available for teaching staffs, getample studio and terror..In Lisbon , they built this lovely edifiee , performances. Yes, and it has survived to our day. space, fine theatres for your all of this. Thenbring in your mostimportant ally, best efforts will The violence of 1794 we know, inretrospect, to be the performing artist , so that your mild by comparison with that whichconfronts us come to the fruition to which youaspire. You are today. And a miracle may come to oursalvation. horticulturists enough to know that thestructure, Who knows, man may come to his senses.The the anatomy of a tree consistsof roots, trunk, ally, possibility does exist. I, for one, hold to it. Ihave branches, foliage and fruit. The artist, your which we all serve. to. Otherwise, I would not behere, looking hope- is at the creative root of the art fully for betterment, for progress in oursmall You flourish among thefoliage, and you bear the concern, the dance small, yet solarge, so per- fruit which is the new generationof believers.In sistent, so indomitable, so beautiful acomponent your concern for thisfoliage, this flowering and fruit; bear in mind that the roots mustnot be ne- of our nature and our society. glected and starved for lack of irrigation, or, as Sanity may yet prevail. That isthe answer we can my good friendAlwin Nikolais put it in his forth- give the young. right, pungent, Connecticut Yankee manner,don't Meanwhile, how to improve the dance ineducation? put manure on the leaves, putit on the roots.

Drawing by Alwin Nikolais ; fr

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Esther Pease and Marian Van Tuyl 86

Dance for AllChildren A Statementof Belief

higher education, it becameapparent As the group gaveconsideration to the farsightedplan for dance in experience precedes thecollege and university levelsof that attention mustalso be given to what dance the be provided just as inother areas , suc :. asscience, English, etc. With study. Foundations should formulations with reference to the advice and leadershipof Ruth Murray, the groupmade the following for all children: necessity and the characteristicsof movement-dance experience In fact, it could be Movement is the core ofall art experiences forthe child. said to be the core of alllearning. child growth and development, With today's knowledgeabout theories of learning, the necessity in all educationto nourish creativity,and the crucial role which principles movement should play inthe developing life of thechild, certain guiding These should relate directlyto programs of movementand can be enumerated. school dance for the child from theearliest period, both inand out of the formal situation, situation, throughpre-adolescence and adolescence.In an out-of-school motivated and clearlytalented, a more disciplined where the child is highly replace procedure than is outlined here maybe indicated.It should not, however, the process of discoveryand creativeness inherentin the following guidelines.

Childhood amd Pre-Adolescence

The atmosphere shouldbe permissive. The child should discoverfor himself the potentialsof his body movement. do not involve a "right" or His adventures in movementshould be the kind which "wrong" result. Movement tasks should beprovided which draw upon thechild's imagination and inventiveness , such as thosebased upon movement itself,obstacles to movement, visual, imagery, imaginary ordramatic situations, sensoryexperiences auditory, tactile. Gradually, however., Initially, the movementexpression. should beindividual. work together the child may beinvolved with a partner ortwo or three more, who to bring about acombined sequential movementform. There should be occasional useof simple folk forms sothat the child experiences with others, of integratingwith a group, oflearning to the discipline of working in unison with others, follow a teacher-imposed sequence,of the necessity of moving of enjoying a group movementexperience. movement-dance and music, art, There should be closeinterrelationships between and drama in the classrooms.One may initiate another for example, a learned shape song may be theaccompaniment for the makingof a dance; a movement free-form design in clay; astory or poem may berecreated in may initiate a naturally under the movement. Such experiences mayrelate to each other more learning. direction of a classroom teacherwho guides the child inall aspects of his 87

Parenthetically, it is very important that the teacher have movementexperience, himself, doing the kinds of things he would expect thechildren to do, but, at no point is there imposition of any dance "image" by the teacher.It is of utmost importance that the child finds his own way.

Adolescence

As the child moves on into adolescence, he feels the needof and is ready for the development of technical skills and the solving of problemsin composition under the expert direction of a teacher of dance, who willbring more specialized instruction to the movement experience. In addition, some communities may find it desirable tohave a school of performing arts, such as the High School of Performing Arts in NewYork City or the State supported North Carolina School of the Arts.

DANCE IN EDUCATION

PRE -SCHOOL

ELEMENTARY SCHOOL

For all children: basic dance with total curriculum

HIGH SCHOOL HIGH SCHOOL OF ARTS

dance curriculum Idance

COLLEGE AND UNIVERSITY

4.--, dance curriculum

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CONTINUING EDUCATION

1 The Placeof Men inDance men, good maledancers, involved in dance? What about the place of menin dance? How can we get more contexts, for the participantsknew that the full These questions wereconsidered seriously in various development of dance requirestalented men, as well as women. cultural attitude and certaintaboos about male dancershave prevented many The group recognized that our factor of even greatersignificance young men fromentering the field of dance.However, it was felt that a security for male dancers.The "problem of men indance" will not be solved is the lack of economic that will allow dancer can be assured of a careeraccompanied by financial support until the talented male people. him to take his place in thecommunity along with otherartists and professional bring about changes? Recognizing the problem is afirst step, but how does onetake action that will unanimous agreement thatthe conference groupshould take a strong stand What can we do? There was profession for men, andshould affirming the place of menin dance and therespectability of dance as a providing some kind ofsubsidy for them. urge individualsand institutions to exploreall possible ways of talented young men toopportunities for a careerin Financial support could rangefrom scholarships for community. a professionaldance company subsidizedby the university and the dance departments, William Bales: It is importantto have maleteachers on the staff of to get good maleteachers. and the university shouldforego academic requirements there has been so muchresistance to men, that wecannot Nik Krevitsky: I feel that education will mean that assume that anygeneral statement ormanifesto about dance in man will thentake his place in dance. the barrier Joseph Gifford: Becauseof the increasing popularityof dance as a whole, dancing is beginning tocrumble. But we have along way to go. against boys and men to bring men into We in education will haveto make wiseconcerted continuing effort dance. question not only of changingeconomic conditionsand making Ruth Murray: It is a of the male positions available, butalso a question ofchanging the cultural image dancer that is held by oursociety. dance has been William Bales: The pointabout economics is alegitimate one, because economics, maledancers have not the least remunerativeprofession. Because of the survived. make some kind of astatement that makes ourposition Eugene Loring: We must of dance, and that clear. For example,"We believe that manhas a place in the art It is not enough to dance is a reputable profession."We must spell this out. simply imply our attitude. Ruth Murray: We should saywhat we believe. Eugene Lorinz: Affirmit. wanting the situation tochange isn't going tomake it happen. Nik Krevitsky: Just dance, want it Creating the conditionsthat make it natural,make men gravitate to more thananything else, is thething that is important. financial problem is themain one for maledancers.I think that we John Martin: The kind of subsidy provide will not developdance in this countryuntil we have some subsidy, but we have toto have subsidy. some security.I don't mean government Martha Hill:What can we do aboutit?

1 89

John Martin: Most of the problems can be solved onlyby money. Alvin Ailey:I agree with you. Dance companies have to have men, sothey just pay them, like athletes. They simply give them scholarships,plus allowance. Jack Morrison: Physicists do the same thing. Alvin Ailey: Well, why can't we do that? Thomas Watson: Then, let's make one of therecommendations from this conference point up the necessity to subsidize young dancersand establish scholarships for men in our schools. John Martin: I think that you must have subsidizedcompanies where men can go into dance as a career and be sure that they can live decentlylike other men in the community. I would like to see professional companies sponsoredby universities, so that you can attract the talented boys for a career as dancers.If you want men, you have to have a job for them. You must get them while they are young,perhaps at the age of ten at least while their bodies are still shapable and theirminds too.I don't think that parents will object to their sons going into dancewhen it is a career. Joseph Gifford: It seems to me that our effort shouldbe aimed at both the administrators, who are almost all men, and the boys, themselves.In the long run, the way to get boys interested inthe dance profession is first of all to see to it that movement is introduced into the schoolduring the kindergarten and first years, and that the child grows up with movement naturallyand enjoyably part of his daily living. The administrator must be shown andconvinced not only that dance as a profession for men is asworthy as any other, but also that the inclusionof movement in the school curriculum has greatpotential for the development of the healthy man, emotionally and physically. In giving master class-demonstrations (basicallyimprovisational in approach) on the teaching of movement and dance to high school boysand college men in this country and in England over the past decade, I have seen overand over again how the students respond first with surprised interest and then withhigh enthusiasm as they discover physical-emotional resources they were hardly awareof before. The men physical education teachers watching these demonstrationshave had all kinds of positive reactions, but repeatedly ask the same question: "Howdoes one go on from this one class? Where can one learn this approach?" With this in mind, I am formulating a six-week teacher traininginstitute on the teaching of movement for high school boys. The plan would be toinvite approximately twenty-five high school physical education teachers and graduatestudents from various parts of the country to attend the institute to learn basicapproaches and methods, both improvisational and tetthnical, of teaching movement and dance to highschool boys. Various administrators would be invited to observe the institute.Boys of high school age could be used for demonstrationclasses.This would afford a practice teaching situation for the institute members. Psychologicaland physical testing would be made before and after the course, and a documentaryfilm could be made providing a record and demonstrationof the methods used and progress gainedduring the six weeks. 90

Theoretical Considerations

The ultimate goal of the dance experienceis to You say, "That's it - that's the beginning." bring the student into direct contact with the crea- Through the spontaneous experience, things tive and aesthetic aspects of his art.How is this may come together in a new way.You recog- to be achieved? The conference participants were nize that moment and make somethingof it. in agreement that the dance studentshould have the opportunity for choreographic experience , butthere INNER IMPULSE FOR MOVEMENT was no consensus as to howthis experience should discovery of felt that the The importance of the young dancer's be made available. Some participants inner impulse for movement creative experience should start earlyand parallel his own source was discussed by MaryWhitehouse during her the technical study. Some felt thatthe need for dancer demonstration. She believes that the spontaneous choreography in the preparation of the ballet of bringing to- for the modern dancer, but movement response can be a means was not as great as gether sensation and feeling so that they servethe others disagreed, and expressed theopinion that creative art process. there is real need for ballet dancers tohave more creative opportunities. An artist's stature, his originalityand his uniqueness,depends on his capacity to experi- IMPROVISATION ence his world.This world has two faces: the outer one, full of objects and events;) and The question of improvisation and itsrelation to the inner one, potentially just as rich,but far choreography was considered.Participants felt cul- study of less known to most people. Because our that improvisation is a vital part of the outward stated:1 ture concentrates so exclusively on the dance. The work group on FORM orientation, I have been at some pains to ex- plore movement as an inner experience. Improvisation can be a useful techniquefor it is an act of finding live connections outof which alive in two forms and The inner world of the body comes the individual makes meaningful sensation and feeling. Sensation has back ways discovers a new reality. It is a way to get condition and the form to to do with the exact feel of body to the physical reality and allow functioning; feeling has to do with the exact come from within us. sensing of the expressive component ,the emo- tional overtone. If these two are connected only Joan Woodbury, , in herlecture-demonstration , dis - and the idea through outer imitation, learned technique , and cussed the importance of spontaneity stereotyped meaning, the imagination which that improvisation is concerned with"process" provides and forms material has no depth. rather than product: The difference between high competenceand genuine expressive meaning isimagination. Through improvisation one can discover some - In my work with dancers , I try to get atthe commit- thing about himself and his personal individual experiencing of movement sensation from what he ment that may be quite different and feeling meaning, so that the rawmaterial experiences in technique class. out of which dance grows isdiscovered in the body, not preconceived in the head. Art is concerned with making senseout of im- unrelated moments. Sometimes, through FORM provisation, you hit upon a momentof move- ment that has a "wholeness"and feels right. The work group on FORM stressed the needfor "ordering" one's experience. They believed that 1'See Group Report "Form," p. 143. form can grow out of and become an extension of the 91 spontaneous process of improvisation.In other verbalization and answering only its own de- words,the artist's work takes shape out of felt mands. To say that the choreographic process experience: is organic and that it evolves from the initial energy of that first feeling is not to say that Man is a forming organism. He forms by or- the choreographer becomes a passive subject dering his experience and is thus continuously taken over by his own work. It seems that way formed by his experience. His sense of form at times,particularly when a piece of chore- is innate; it exists because there is form in all ography is growing rapidly and with apparent life experience, and man is a constant partici- ease. Perhaps it is because that primal aware- pant in this forming and in forms. Consider ness known as feeling has gathered great the experience of a child's tantrum. It begins momentum and has temporarily outdistanced with a feeling genuine and unshaped. It pro- conscious recognition of the action involved. ceeds of its own self-feeding energy,,acquiring Forming is an act; it is not passive.It depends texture and shape en route.It finds its peak ultimately on the will of the form-er, who be- and comes to rest. Another such example is comes sensitive to certain potential relation- the experience of grief. It is ignited, it builds, ships, heightens some material:,decreases it takes over the griever, it spends,it ends. or eliminates what seems to be irrelevant until Of course, the shape of the pattern will vary he has satisfied his completion-seeking self. from mourner to mourner. Tracing the his- When the work fails to develop in this organic tory of an idea from inception through de- way, , it will often seem contrived because it has velopmentwill reveal a similar architecture been mechanically manipulated, has somehow of process. moved away from the initial matrix, has be- come a victim of empty formalism. The completion of forming, occurring through a structuring process ,reveals forms which ARTISTIC GROWTH have in the process taken on particular shapes. These are accessible to the perceiver only From time to time, throughout the conference, the through performance, past or present. When discussion of a specific topic was interrupted in order to talk about the problems of teaching. Par- these shapes are art shapes,they are non-dis- cursive in nature. They are projections of felt ticipants were concerned not only about the lack of life. Although they sometimes pre processed opportunity for dance, expecially among children, through logical ordering (more or less con- but also about the quality of teaching that exists in many situations. scious) they must be feeling-based to erist as true extensions of the sentient experience. One work group gave serious attention to the ques- Dance forms are particularly clear examples tion of artistic growth, what it means, and what we of felt life because of their non-verbal nature should do to facilite. it.The following is an ex- and because both the feeling and its resultant cerpt from its statement: 2 form reside in the same location: the human body. The choreographic process could be de- In dance,artistic growth consists of the devel- scribed, then, as "auto-symbolizing process , oping awareness and mastery of movement and occurring through the transforming of fantasy an understanding of it as an expressive medium images into metaphor images."1 The develop- of human communication. Since, for each in- ment of a piece of choreography is , therefore, dividual, artistic growth is a part of his total seen to be an evolving pattern of relationships, development and may proceed quite differently growing organically, and assuming configura- for different persons under different conditions, tion, texture, and quality.It begins with that any attempt to make a definitive statement as initial matrix of feeling which remains the to the exact nature of artistic growth would living center or spine of the growing work. In seem to be almost impossible.However, dance this initial matrix never evolves into countless teachers are convinced that each of a discursive or verbal form.It retain3 its them, and many of their students, have ex- perienced artistic growth, that it is a recog- autonomous,non-verbal nature, needing no nizable phenomenon, and that it is vital to an effective education in dance. 1. Harold Rugg, IMAGINATION (New York: Harper &Row, 1963) p. 305. 2. See Group Report "Artistic Growth,"p. 145. 92 level of development, and canmake him Aesthetic growth for everyindividualan ideal aware of hisachievement. in a healthy society can be nurturedin an atmosphere in which thatindividual is free to An ample opportunityfor self-direction. encouraged to move (aloneand with move and An atmosphere free fromthose negative at- others) so that humancommunication can take interruption, The role of soci- titudes or taboos which lead to place on the level of dance. distortion, or destruction ofthat artistic the peer in ety the parent, the teacher, tendency which is innate in everyindividual. producing the aesthetic, sentientdance person is that of providingopportunity for the devel- Instructional methods whichrelate to the opment of the individualmovement potential. varying kinds and rates ofartistic growth in its per- This requires an atmosphere secure among differentindividuals. mission of uniqueness,comfortable in its re- wholesome in its cognition of non-conformity, As the participants wereintent upon what shouldbe encouragement of physicalfreedom, and gen- done to improve the learningsituation, we were erous in its provisionof aesthetic experience. reminded by Nik Krevitsky tobe cautious about suggesting that we (aseducators) can make the Thus, conditions favorableto artistic growth artist, because: in dance are: dato indicates that artists and acknowledg- The research done to Space and time to dance, they aren't born in is an important activity aren't made and that ment that movement other words, the artistmakes himself. If the for all people. individual has the makingsof an artist, he'll An environment whichprovides a variety of develop his potential againstall odds. What sensory stimuli towhich the person may education can do is assisthim in becoming an respond. educated man, so thatwhile he is an artist, A continuing contactand identificationwith his life is enhanced inother ways. I think that nature. we areconcemed with art, but, aseducators, concerned with dance for everyone. A teacher who isable to recognize those we are more moments when a studenthas reached anew

QUESTIONS FACING THETEACHER foster the creative spirit, theimaginative re- How do we teach techniqueeffectively, and how do we discovery, at the same time weachieve the discipline?Technical excellence is certainly sponse and failing with other goals? Howdo you one of our goalsfor the dancer, but howdo we achieve it without keep the two aspects ofdevelopment in balance? It is our Alwin Nikolais: I think thatthey are fundamentally oneand the same thing. failure when they don't cometogether. the time This morning I spoke aboutsensitivity toward the shapeof the physical event, and space in which it occurs ,and the actual emotional contentwhich happens during dancer. the occurrence. If adancer fails in these aspects, tothat extent he fails as a shouldn't Therefore, the teaching oftechnique, according to thedefinition I proposed, but, rather, the teaching ofmotion, which includesthe be the teaching of movement, of sensation, the sense of theitinerary. To my mind, thisshould always be a part technical training. And whenit isn't, you are back tomovement the bare outline which makes the hack dancer, asdistinguished from the artist. certain things which humanbodies can do naturally run, Jean Erdman: There are the toe, fall, turn, and so on. Butif that body is going tobe asked to do a pirouette on the gymnastic or hold its leg upin the air for twenty counts, orturn so many times, 93 things that are expanded fromnatural movement, don't those requirecertain periods of practice and doing over and overagain in order to teach the body tostrengthen the muscles so that the body can gointo it naturally? Alwin Nikolais: But I stillthink you can have a creative pointof view, even in terms of stretches. What's the ideaof an extension a stretch? If youextend the leg without thought in mind, then youjust have a leg sticking outthere, v -lich is meaningless. Jean Erdman: Yes, I agree with you. Alwin Nikolais: This challenge shouldalways be part of the technicaldevelopment, and then maybe we won't havetechnique for technique's sake. Jean Erdman: But then, when youthink of the learning process,there has to be a period of time when you prat,qcethese things, doesn't there?Even though you think of it as a whole. Alwin Nikolais: Yes. But the personmust have stamina ofmind as well as of body. William Bales: We have to considerthe two aspects, the physicaland the expressive. We should not separate them in ourteaching, but constantly workwith the expression of movement as well as the mechanicalaspects. Martha Hill: You do technique sothat you can expressyourself through movement or throw through some great repertoirein dance. Technique is tobe done so that you can "Lift." it away, rise above it,because, when you reallydance, you don't say to the leg, The leg lifts itself and is a partof the whole expressivenessof whatever you are doing. I think of technique, no matterwhat level, as a means not anend. Alma Hawkins: We have beentalking about approaches that arerelated to two quite different concepts of learning.In one approach, techniquewould be taught in an isolated fashion. In anether approach,the technique, or studyof movement or motion, it is is constantly related toits creative use, so that itbecomes an act of discovery seen in a relationship,and is an immediatelymeaningful experience. Marian Van Thyl: In a recentlecture-demonstration, MerceCunningham brought out should the point that every time youdo a, piece of technique or gointo a classroom it be a discovery, as if doing itfor the first time. The moment youfind yourself as a student or a dancer just goingthrough the motions, then thething is valueless. that I think of technique as atempering process you aretempering your, instrument so Stradivarius violin, and you canplay what you want to play.It is not it becomes like a vocabulary. You are a matter of whatI call the "add-a-pearl"system, or building of a working more as a sculptor. But some of the youngdancers-who are in the forefront of theavant-garde movement think of technique in a different way.Most of these young peoplehave studied ballet or modern dance, but when they are makingdances they feel that everyday movementis more interesting thanlearned technique. From this pointof view, the housewife pushing a broom may be moreexpressive. Alwin Nikolais: Their protest. Ajustified one from the point of viewof technique, because it has becomemeaningless to the student. Jean Erdman: There is another pointhere, related to the sociodynamicchanges and the fact that every generation has tofind a new visiGn. They think of thegeneration before as sentimental, but there always hasto be sometning new comingforth from the expression of an art. The young dancers always feel they areat the beginning going back to the source. They are discovering a way of creating avital, live, meaningfulrelationship. They will strip away every single alreadyselected image in order to allowthe living 4 thing to come forth. Therefore, thenatural movement does have a validityfor them because they really do create a newrelationship. Now, you can say that actors were doing that with Stanislavsky long ago,but the young dancers are justdiscovering this in terms of movement images. Whenthis thing comes out authentically,when it is honest among them, it has great beautr.But when it is dishonest, which it veryoften It is the same sort of self-indulgence is, then it is horrible to watch it is ghastly. that followed Isadora. The edges of theart are certainly opening out and wedon't have to make a fight about it. Jack Morrison: We have to recognizewhat the sciences and humanities talk.1,out the growing edge, or cutting edgeof knowledge. The scientist knows thatthe important thing in his life is to imagine and thendevelop the significant, the critical experiment that results in the new solution of aproblem. In the arts, I think that wehave been remiss in not recognizing the relationshipof technique to the artisticend-product. This has been happening, but it hashappened in a sort of helter-skelterfashion, instead of as a genuine and recognized part of ourteaching. Robert Lindgren: But there is a point inteaching technique where you have tospend a lot of time learning the technique. Youcan't just say that you can experimentall along the line. You have to do certain things.You can learn a releve and apasse and say that's the beginning of k: pirouette,but unless you go into a studioand practice pirouettes by the hour, it just is not going toarrive. So there is a point indevelopment. when precise and directed teaching isneeded day after day. Then you canexperiment; people can brr.nch out into whatever ;heythink is another way uf doing something. Anyone who wants to be a first-ratebhllet dancer has to go through thiskind of training period. Jean Erdman: We have been making adifference between the kind of thingthat Bob was describing,which is the necessity to practice the samemovement over and over, and the other kind of exploring andbuilding of awareness and sensitivitywhich does not dictate the outer shape or thespecific combination of rhythm andshapes. These seem to be two differentprojects, but actually they cometogether in the fact that the expression in the art of theballet, which is the result of thishighly distilled creative moving in a certain way, is just asmystical as the one which is usingnatural movement but coming at it in another way.You see, I am trying to say that itis possible, even for this new generation, to seethe positive in the perfectformed art, the traditional, if they are led to it,and they don't necessarily look at it assomething that is nothing but a crust of somethingthat somebody else felt. Andthat has to do with the way it is taught, that is all. William Bales: But every dancerhas to return to the studioand repeat a movement over and over again inorder to master it.I always remember MarthaGraham saying, "How many leaps did Nijinsky takebefore he made the one that startledthe world? He took thousands and thousandsand thousands."

AESTHETIC EXPERIENCE

What do we mean by the aestheticexperience? During the discussion variousindividuals spoke from their own convictions.

Manuel Barkan: The case that we aretrying to make is that the arts arespecial in life aesthetic experience is something veryspecial.It is not just ordinary experience. 95

The arts create magic. When youdance, it is not ordinary life, but something special made out of life.The artist transforms something outof life into something that has a particular form andmeaning. William Bales:I think that it is more. Thetotal individual is involved. Alwin Nikolais:It is an essential within oursocial life or scheme. Alma Hawkins: It furnishes a living partthat isn't furnished by otherfacets of living, and without it a part of humannessis missing. Manuel Barkan: For years we tried tojustify art education on the basis of mental health, child development, andall sorts of things.In recent years, we are coming to the realization that the reasonfor education in art is art itself.Art is experience, an experience of something specialwhich doesn't happen every day.It doesn't happen unless you make it happen. Virginia Freeman Weil: We can thinkof art as magic or as a celebration. Alwin Nikolais: I don't like the idea ofcelebration. Art is a communication ofand participation in a kind of human experience that ispossible in no other activity. Nancy Smith: I think it assistsindividuals in assessing their place in thescheme of things. A celebration is akind of participation that assiststhem. Alwin Nikolais: Celebration implies aseparating event instead of acontinuous aspect time, of living.It suggests the idea of a museum,"a going to" only at a particular rather than an enrichment of thewhole living process. Nancy Smith: This continuum is soimportant; otherwise art is going to seem like an accessory or a museumexperience. William Bales: There is somethingabout the felt experience that iscentral. Through art the felt experienceof living is given meaning. Thechild expresses and gives meaning to the felt experiencethrough his dancing, his scribbling withcolor, or making of sotmds.I think that art is concerned withthe felt experience that aspect of living that is separated fromthe conscious and rational aspects. Martha Hill: I like what Niksaid about the continuing aspectand no special point.I she watched a dancer 1 remember a friend who said shehad a heightened experience as walk down the street."It just lifts me to see Doriswalking around the corner into I Juilliard. She carries her head like a queen."There is that heightened sense of movement which the dancer has.

1 Alma Hawkins: What is the differencebetween expressing through movement and forming? Alwin Nikolais: Well, forming is expressing.Until something has an identity there is no commtmication.Our manner of forming happensthrough movement. Alma Hawkins: Then walking is just as muchforming as the making of a dance? Alwin Nikolais: Yes. Otherwise you couldn't even saythe word "walk." Manuel Barkan: It is the forming which achievesthe expressing, in whatever medium one happens to use words, movement, or paint on a canvas. Ruth Murray: I am confused by your analogybetween expressing and form. Alwin Nikolais: Well, we can't see anashtray until the thing has takenshape, and even in terms of abstraction, a circle is not anend product until it assumes the structure of a circle. We don't identify anythinguntil it assumes the gestalt thatenables us to sense its presence. Alma Hawkins: But isn't there adifference in expressing through a runthat a child does in the studio and the formingthat makes an integratedwork, even at the nalve level? Alwin Nikolais: The run can be a valid partof an art work, as long as itbecomes part of a stxucture which makes atotality, and is communicated.I think that the difficulty in our verbalization is in thefact that art seems toincorporate within the gestalt such that a huge portionof non-verbal elements that,until we learn the magic of assembling which rests underneath, thatnine-tenths of the iceberg, wedon't assume justly the title of artist. That is a part ofthe form and structure, just aswhen a pianist plays the notes on the piano mechanically,he hasn't the right to becalled an artist, he has not involved the minute details whichneed to be there to make thework an art experience. William Bales: Isn't our concernwith the understanding of anextension of some aspect of experience, when one isinvolved in the art experience? Alwin Nikolais:It is the recall of perceptions. William Bales: And the way they areinvolved at the moment, not just arecall.I wouldn't say the recall is the artexperience it is the extension and whathappens in the recall that goes beyond the common,literal experience, and withoutthat you don't have the art experience. Ruth Murray: I am stillpondering this question of expressionand form. You say this is an ashtray and it is aform, but before it became aform there were certain raw materials. For instance, if someo.just cries out, which wewould say is expression, would you also say that isforming? Alwin Nikolais: Yes, because itis a release of that compositeof energies that identifies itself that way. Ruth Murray: Well, whatmakes an artistic form? Alwin Nikolais: To me, it ismade by a process ofidealization of the event, which means stripping itof all the barnacles, the biases,and the excess stuff. Ruth Murray: Isn't there aconscious purpose in the artisticform? Selma Jeanne Cohen: It is not anartistic purpose; though it maybe a very beautiful ashtray, the beauty of it has nothingto do with its functionalvalue. Alwin Nikolais: If the ashtray was sodesigned that long after we stoppedsmoking cigarettes, it still remained athing of such beauty, it. wouldachieve the status of an art object. Selma Jeanne Cohen: An aestheticobject. Alwin Nikolais: Just as many of thefunctional ceremonial objectsof Africa and the Church are no longerfunctional. Selma Jeanne Cohen: And thedances that were once religious we now look at and enjoy forthemselves. Martha Hill: It all goes back toritual and observing the rulesof form. The Selma Jeanne Cohen: In thetheatre, dance becomes aritual of aesthetic magic. that a element of catharsis, ofillumination is still there the Greeks discovered failed artistically. long time ago.If the catharsis does nottake place, the work has to Alwin Nikolais: Well, I alwaysthink of art as a ritual. Wewant something magical If happen and if we don't do theright thing it won't happen.So the rains don't come. you intend athunderstorm and get a leakyfaucet something's wrong! 97

A Look to Future

ALMA M. HAWKINS

In our discussion we have engaged actively in trying recognition of the value of the performing arts. to understand our different points of viewand the This means that the heart of our art, dancingand base from which each of us is working. Now, per- choreographing, has support.I have heard ad- haps, we can begin to evolve some kind of a common ministrators say, "If we are to have dance in the vision of dance and its potential in education. university, then we should develop it at the highest level. " Whether we like it or not, and I think we do like it, dance departments are coming into being at an Several of us who are sitting around this table have amazing speed. Dance in education is no longer met with academic committees responsible for the limited to activity courses; neither are we limited establishment of a dance department, or the ap- to a dance concentration in the PhysicalEducation proving of new graduate programs. We know well Department. The day of the Dance Department is the kind of questions that they have put to us. "Do here. Dance is recognized as a significant area you have a body of knowledge?""Is there an ade- of human experience and as a discipline as are quate literature in dance to support graduateedu- History, Language, and English.The fact thatcation?" Because of the greater support for the dance departments are being established with sup- arts and the establishment of dance as anadmini- porting budgets suggests that administrators are strative entity, we can answer in the affirmative as realizing that Dance is worthy of being considered we continue to develop the creative aspectsof dance, a discipline and having aplace in the structure of as well as the research andscholarly studies re- higher education. lated to dance. And, I think that we cannot ignore the trend in higher education toward greater em- Higher education , in our society, , has three primary phasis on graduate study. tasks. One task is to preserve our presentknow- ledge about human experience; the second is to pass No longer is higher education limiting its work to this knowledge on to new generations; and thethird the ivory tower. Today, there is a new senseof is to push back the boundaries and expandexisting serving the community in a functional way.This knowledge. If we are to justify our place inhigher new relationship is mostvividly illustrated by what education, we, too, must assume these responsi- has happened in the sciences. Research funds have bilities and make a significant contribution. been poured into the university so that experts may solve problems and thereby serve society. As a We are setting up "models" that will serve aspat- result, we have an input of funds and an outgoing of terns or guides for the next twenty-five years.We knowledge such as we have never had before.I dare not limit our thinking to our immediate con- think that the reaching out and serving the commu- cern for today and tomorrow.Our great challenge nity, which we have seen in the sciences ,suggests at this time is to think in terms oflong-range goals thepossibility of a parallel development for the and to establish dance departments thatwill have performing arts. the kind of framework that will allow us totake our place within the universities of the future. Our dance programs, with an emphasis onthe per- forming aspects, could provide one source forthe The present trend indicates thatadministrative development of talent. The university could provide units for the arts , such as the College ofFine Arts , a kind of home with the securitythat does not always are expected to assume tworoles. One has to do exist in the professional world. I do not meanthat with the performing aspects of the arts ,and the higher education will replace the privatestudio and other is concerned with the scholarlypursuits re- the dance company in the development of the young lated to the arts.In the past, higher education artist. But it is certainly possible that newrela- has tended to question the placeof activities, or tionships between colleges and universitiesand the anything that suggested skills.Now, there is a professional world of dance will evolve. We should remember thatall colleges and univer- sities will not build identical programs.Some institutions will concentrate onselective aspects of the dance programs, whileothers will have dance departments that provide a broad programand in- clude advanced study inspecial areas of the disci- pline. Some institutions willfind ways to establish a professionaldance company as an integralpart of the department's program.Each college or university will contribute tothe realization of long- range goals in its ownunique way.

Curriculum Model of a design or plan On the right side of thediagram, you see another We turn now to the formulation to the central pro- that can be used as aguide. Here, we present a path of study that runs parallel sample "model" to use as aspringboard for our gram leading to thebox at the top which represents discussion about the Dance Departmentand the the professional dance company.Some of us have for an avenue of study Dance Major. been thinking about the need that is designed especiallyfor the highly talented the undergraduate young dancer who wantsto concentrate on the per- The center section represents of dance. This curriculum.The student would proceedthrough forming and choreographing aspects junior, and senior years raises many questions. Howshould the require- the freshman, sophomore, following this path of and then would receive abaccalaureate degree. ments differ for the students advance according to He may decide to continue withgraduate work which study? Should they be able to be held to a four- would offer opportunity forspecialized study in a competence, and not necessarily specific area of the discipline.He might choose year sequence? Whatabout the admission require- possible degree for some to concentrate onchoreography, dance history, ments ? Is the M.F.A. a notation, ethnology, dance ineducation (teaching), of these students? What is therelationshipbetween curriculum and the or dance therapy.(Illustrated in rows above senior this highly specialized major After completion of a Master'sDegree, one for the regularundergraduate dance major? year.) consider, some students will wish to pursueadvanced study Obviously, there are many problems to be ready to pioneer at the doctoral level, and to workfor a Ph.D. or a but a few of our institutions may Doctorate of Fine Arts. such a program.

Jean Erdman: I can see howthe dancer is going to beable to move up to the prufessional company, but I don'tunderstand how the dancer canbe involved with the doctoral program. If youstart to practice your artand choreograph, you have to perform, right? with It seems to me that allthose aspects of dance which arenot involved primarily performing and creating can go onlogically and quite rightfully asresearch, but what the art of dance? If you havefaculty with Ph.D.'s and artistswith can you do to assist right? the professional company,who will be the leader?The Ph.D. will be top man, Participants: No, not necessarily. Jean Erdman: I am stilltrying to see the creativeartist with the activeprofessional company functioning with agrand rapport and absolutesupport from the university if he doesn't have a Ph.D.Degree. Alma Hawkins: I think we shouldnot be too concernedabout degrees. Some of the aspects of the faculty will need doctoraldegreer,,in order to work with certain graduate program. 99

DEPARTMENT OF DANCE A PROFESSIONAL COMPANY DOCTORAL PROGRAM Advanced Specialization and Research M.A.

21% 0041 0 C .0 ..... B.A.

SENIOR

JUNIOR

SOPHOMORE

GENERAL COLLEGE Study of Dance and Related Areas SlUDENT ....4,, and OTHER PERFORMANCE FRESHMAN DEPTS. SPECIALIZATION

DANCE MAJOR Jack Morrison: In thinking of this development in thefuture, there should be something commensurate with the Ph.D. in science. The importantthing for science is to produce the scientist. And it is for us to turn out the artist.There should be some kind of degree that indicates quality of achievementand is as prestigious as the Ph.D. in other fields. Martha Hill: Getting back to the areas of specialization, I would like toadd the dance administrator. We need people who can work with organizationssuch as the J. F. Kennedy Center in Washington, the State ArtsCouncils, and the Municipal Arts Centers. Our field will be left behind in these newdevelopments all over the country if we do not have dance people who arefundamentally artists and have artistic judgment as well as a gift for administration. Alwin Nikolais: Can we expalici the specialization toinclude criticism and design for dance? Alma Hawkins:I suppose that in that section "other areas" weshould provide specialization in any appropriate aspect of dance. Ruth Murray: There may be new areas that wedon't recognize at this time. Selma Jeanne Cohen: I see marvelous possibilities forrelationships between the various areas of study. For instance, the performing companycould call on people from the other division for a company manager, or for a historianif the choreographer wants to work on a historical piece. One question,however, do you see this line for the professional company as following the samechronological development as the other division? Wouldn't it be possible, perhaps even necessary,that this path have a highly accelerated program and that students would start earlier?Certainly, you are not going to ask a dancer to go through four years and aMaster's Degree before he dances with the company. Alma Hawkins: This is the kind of question that institutions willhave to answer. Selma Jeanne Cohen: I don't think that it can be answered in too many ways.I think the Russian and Danish schools provide a very goodexample of how the young student works as an apprentice in small parts at the beginning.If the freshman major is technically accomplished, he certainly ought to be in the company. Alma Hawkins: I suppose that will be determined by the way weplace the emphasis whether it is on talent in dance, or other phases of education. Irving Brown: I don't think that we have to equate emphasiswith difference of approach. It seems to me that it would be possible for us to have adifferent approach to the performer within a program of this magnificent scope without sayingthat the whole program must bow to the performer. Alma Hawkins: This raises the question of differentiation in program.As we have increased numbers of majors we see a greater spread in interestsemerging. Some students wish to start work in their specialization before thegraduate year. The question then is: should all majors be held for the same coreof undergraduate experience or should we have a broad foundation withpossiblity for some differentiation? Participants: Yes, the latter. Margaret Erlanger: There must be enough flexibility in the program sothat students aren't put in compartments. 101

The Undergraduate Dance Major Curriculum

MOVEMENT STUDY - What Kind and How Much? understanding of the choreographic process and must bring an individual, imaginative contri- What kind of dance should the dance major study bution to the choreography. and how much time should he spend in the studio? This movement training is recommended for These questions brought forth many beliefs and choreographers as well as performers. We vigorous discuss ion. This was not surprising s ince recognize that a choreographer must have ad- participants came from different dance backgrounds ditional training in many other aspects of dance. and professional orientations, some being associ- ated with private studios and dance companies, There were differences of opinion about the specific others teaching in colleges and universities. kinds of work that should go on in the studio. Some felt that the dance student should spend four hours The work group on MOVEMENT set forth the fol- a day in studio work; others thought it too much and lowing basic concepts: not possible in the academic setting. Some believed that the studio work should emphasize technique; Each individual should have a broad range of others, movement experiences resulting in greater that improvisation and choreography should be included along with technique. Some were con- awareness of the total movement possibilities vinced that the demands in training for ballet were of the body and progress in the mastery of the not the same and, therefore, a single standard was body. not appropriate. And there were different beliefs Basic human movement is the foundation of all about how learning in movement takes place, and dance.The emphasis placed upon it depends how you nurture the creative process and further upon the stage and level of development and the the development of the choreographer. particular needs of the individual. In the shaping and clarifying of the expressive In spite of the wide range of opinion about the dance qualities of movement with discipline and or- program for the major, , a kind of consensus evoived: der, basic movement becomes basic dance. 1. All darfce majors must have a strong founda- This usually occurs when the individual is able tion in movement, although perhaps some to perceive his involvement.This leads to differentiation in requirements may be appro- technical development and the extension of the priate in the third and fourth years for students expressive range of movement through practice who plan to specialize in the non -physical and direct learning. areas of dance, such as history, notation, and For the dance major, technique, composition, therapy. performing, and the viewing of performances 2.The prospective teacher of dance, as well as are imperative. the performer, must have a continuous expe- The dancer-artist needs the greatest possible rience in movement and choreography through- range of movement vocabulary resulting from out the four-year undergraduate program. a thorough study of existing techniques and 3.All dance majors should have, as a minimum, styles, such as: ballet, modern, jazz, folk, one and one half hours of technique study each ethnic, tap, as well as the differences in style day, and three to four hours work in the studio according to historical periods, schools, and would be desirable.The development of a regions. dancer with a high quality of performance is dependent on intensive study. The dancer-artist is one who can respond to all demands of the choreography, intellectually, 4. More than one approach to technique in addition emotionally, and physically. to improvisation,choreography,,and repertory The dancer-artist must have an insight and work should be included. Even though the em- phasis is on one type, various styles of dance 1. See Group Report "Movement," p. 142. should be studied. Alma Hawkins: How much time should the dance major spend on dancing in the studio? Nancy_Smith: What kind of dance? Would the time include instruction, rehearsal,etc.? Eugene Loring: In the report from the last conference we said, "The greatest possible range of movement vocabulary resulting from a thorough study of existing techniques and styles." We listed ballet, modern, jazz, ethnic, and tap.I think that "existing techniques" is the important statement, because in twenty-five years the existing techniques can change. Jose Lirmin: Aren't we talking about moving the physicality aspect? Can't we go into that before we talk about sty les , because styles presuppose physicality? What is the capacity of the hurdan organism? Eugene Loring: I think that the person has enough physical energy to study techniques four and a half hours a day. He should do no less than three hours as a minimum. Elizabeth Hayes: Well, I feel that three or four and a half hours a day is more than we can do in a university situation.I think that amount is what the professional company should have those people who want to go into performing.I don't think it is what one should have in the core for all majors. Dorothy Madden: Does the four and a half hour time include, perhaps, two periods of one and a half hour classes, plus composing, plus rehearsaltime? Robert Lindgren: No, you mean technical classes , don't you, Gene? Eugene Loring: Actual physical work.I don't even count choreography in there. Alwin Nikolais: But you might include improvisation, which can be physicallyexhausting. Eugene Lorinfi: If the improvisation class were taught from a purely physical standpoint.I mean three hours of physical work. William Bales: I don't think that we can make a mandate for all institutions in America. I think that we can suggest a minimum, that there must be a daily technique classof an hour and a half for everyone in the progr...m,and also suggest additional experiences that are desirable, but every college and university will have to set its own specific standards. Jack Morrison: You can't issue a mandate, but you can issue a challenge. Nancy Smith: Can't you project an ideal minimum base for active movementspread over technique , improvisation, composing,and exclude rehearsal time? William Bales: I would like to see time in the curriculum for rehearsals. Selma Jeanne Cohen: I think that we ought to specify within the minimum that anhour and a half should be a technique class. Alma Hawkins: Do you really think that the university dance major can be required to spend four hours a day in the studio? Marian Van Tuyl: I think that we should discuss the relationship of improvisation to technique and improvisation to choreography.I feel very strongly that, along with the technique, the student should have improvisation and choreography.Woulda't it be possible to have a schedule that would include technique, improvisation and composition? Robert Lindgren: But that's modern dance.In ballet you wouldn't need that much dance composition. We have many other things that go along including repertory, when people who are doing ballets learn composition. Selma Jeanne Cohen: How about developing the ballet choreographer? Whereis it being done today? In what school are they teaching choreography? 103

Eugene Loring: I do think that we have got to provide someplace and the university can do it for the development of creative talent which includeschoreography. That is a weakness in dance today. There aren't enoughpeople who compose for dancing. Robert Lindgren: I don't disagree with the concept of trainingchoreographers. I'm just stating that I believe with a ballet dancer you do not need tospend so much time in teaching people to be choreographers. Patricia Wilde: They learn to be choreographers by learning about art,music, and design. All of that is related to being a choreographer,and you practice being a choreographer outside of theallotted time for technique. Alwin Nikolais: I was approached by Ballet Theatre lastwinter regarding a project which they were thinking about setting up in their school, inwhich they would ask people to come and help in the creative aspect. They wereconcerned about the creative process. So I don't think that we are provoking itunnecessarily. Alma Hawkins: It is obvious that we have different pointsof view about dance preparation, about the way the dance experience may beorganized, and about how a person develops as a dancer. Weshould not expect to resolve all of our differences, but it is good to be able to hear each other.

CORE OF STUDY FOR THE DANCE MAJOR Should we consider a four-year program designed for the major as afoundation of experience which should be required of all dance majors , or should we have a"core" of experience that is required, and then allow for differentiation according to theindividual's interest and future goals? Marian Van Tuyl: I think that we have to come to someconclusion about the point below which we will not go in movement. William Bales: In the group report on "Movement" it wassuggested that the movement training of the teacher should have the same breadth as that of theartist-dancer, limited only by other requirements of teacher education. Jack Morrison: I think that the Bachelor's Degree requirementsfor the dancers and the dance teachers ought to be the same. II(1_yi Madden: For instance, how much movement should berequired of the student who wants to become a historian? Martha Hill: You might find someone with a physicaldisability who would like to become an intellectual worker in the field of dance. Thatcould be an exception. Elizabeth Hues: Should the person going into dance therapybe expected to have advanced or fourth year ballet? William Bales: Could we find the norm, instead oftalking about exceptions? Jean Erdman: The person who is going to be a teacher, aswell as the dancer, should progress to the advanced level ofdancing. Martha Hill: I would like to see a qualitative standard, rather than aquantitative one. The student should continue to dance through all the four years,but should be placed according to his proficiency. Elizabeth Hayes: I agree.I feel that it is essential that they dance every quarter or semester, and be placed according to their levelof competence. In our situation, we structure the technique classes so that each quarter we cover adifferent aspect from a different point of view, which leads to adifferent understanding or concept. People who have been allowed to go ahead into advancedlevels discover that they are working with something that they don't understand. They'vemissed something along the way. We have decided that we will require the entire sequence eventhough they may be taking the beginning level in their senior year. At thesenior level they are willing to go back and look at the beginningwork from the standpoint of understanding principles. Eugene Loring: It seems that the list of specialistscould be divided into two groups: those who are concerned with transmittingphysical knowledge, and those who work in other areas.In every case, a choreographer or a teacherwould need four years of moving experience. Perhaps the ethnologist would notneed four years.Let's say the others would need two or more years. Selma Jeanne Cohen: Perhaps, in addition to saying thatthe teacher must have a certain amount of training in movement, you would also wantto specify some performing experience. Jean Erdman: They go together.I would go along with Nik that techniqueand choreography are one study two kinds of one study in dance. Alma Hawkins: Our conclusion, then, is that theundergraduate requirements in movement should have a flexibility that wouldallow a differentiation for certain students,but the major who is interested in specializing as aperformer-choreographer or as a teacher should have the"core" experience through the four years. Doesthis summarize our thinking? Group: Yes. Agreed.

BALLET AND MODERN DANCE in the DanceMajor Curriculum Participants were in agreement that thedance major curriculum shouldprovide study in modern dance forms in their and ballet.It was recognized that most institutionstend to emphasize only one of these This practice may be unavoidable at thepresent time when it is difficult tofind qualified programs. best faculty in either field.The question of when to introduce thesecondary form, and how to achieve integration within the curriculum, was notanswered and we need to explorevarious approaches. There (ballet or was some feeling thatthe student should have a foundationexperience in the primary emphasis modern dance) before the other form wasintroduced.

The incorporation of modern danceand ballet in the preparation of themajor in no way suggcdis any desire to blend the two styles.On the contrary, there was strongfeeling that each form mus be presented in its best tradition sothat students experience the uniquenessof ballet and of modern dance. from the Each should be taught by teacherswho are specialists in theirfield. The student's enrichment varied study will depend on highquality teaching that assists him inunderstanding the purpose of the class content, and in achieving,through these experiences ,a new level ofemotional plasticity that pervades his dancing.

Jean Erdman: Very often, the thought isthat, if one is going into balletand hopes to be a ballerina or dance in a ballet company, onemust devote oneself to that technique training absolutely, and the whole pointof view that it involves , because, as you say, Pat, unless you have the technique youcan't become an artist in theballet art.I was interested to see that modern dance techniqueis included in the Harkness School.Is the technique given to the beginningstudents, or only to the advancedstudents ? Patricia Wilde: I have only advancedstudents, sothey all have modern dance. But I believe that at eight or nine years, when theystart, they should have two yearsof ballet.Following the two years of good background, youcould give them some character dance for freedom of movement,and a feeling for style. Then youcould start with modern dance and continuefor two or three years, and during thelast year include some ethnic dance. Jean Erdman: Then you don't feel thatseeing movement from another viewpoint,and organizing movement slightly differently inthe body, destroys the growingdancer working in the ballet style? 1u5

Patricia Wilde: No. On the contrary, it broadens their viewpoint. Eugene Loring:I would like to ask, Pat, how they choose people for the Company; what are they required to know? Patricia Wilde: Well, finally, we see them not only in ballet, but in modern technique as well. Eugene Loring: Do they audition people in two types of technique? Patricia Wilde: Yes. Alvin Ailey: The dancer must be able to meet demands of different choreographers. This means that technical training must include different approaches and styles. The modern dancer must study ballet also.I think we are moving toward integration, and I do not think that the university can ignore that anymore. You are a "dancer." You must integrate different forms modern and ballet and ethnic. They have to coexist if you are going to produce fine dancers. This applies to teacher educators as well as performers. (From earlier discussion) William Bales:I want to make a comment about the prejudice that exists with some ballet dancers, and also some teachers, against modern dance.I feel, now that ballet companies are presenting modern choreography, it will help to dispel the provincialism and encourage ballet dancers to expose themselves to another technique. Once it luppens in the profession, the dancer will have no choice. Eugene Loring:I don't think we should be too complacent about that blending of the techniques.I think that there still is a great deal of prejudice, one side to the other.I have found, in recent work tha. I have done with ballet companies, some dancers were willing to do something outside the ballet idiom, but they had no equipment. But, by and large, there was still that very stand-offishness and closed mind the moment that movement was not in the ballet idiom. We must not be too complacent. Jean Erdman: The art of ballet is an art which hab a mode of expressionof its own, and it is a totally different art from that of the barefoot dancer. It should becelebrated that way. The fact that there are two arts of the dance it's marvelous.It's better than if there should be only one. Look at Japan and the way they preserve various arts that have been created atvarious periods in their cultural history. No one thinks of confusing the Noh Play andKabuki, or of asking them to amalgamate. The problem in our country is that because we all love to move, and because we are a mixed people and have mixed all kinds ofcultures, it seems perfectly natural to mix everything. But in dance we run up against the problem of prejudice an innate resistance.It is a pyscho-physical resistance.If you orient yourself and build your world and your relationship to your world around a certain Kind of physical organization, then it has deep meaning for you, and it is your life and the way you express yourself. The subtleties and the particular way offeeling about time and space and energy, which are created by the ballet dancerwho is trained in ballet technique, are totally different from those which are created by the person growing up in the barefoot dance technique. Naturally, you can't just take your body and reorganize it physically, just like that.So, maybe people shouldn't be expected to do that, providing we want to hold these dances as two unique arts. Martha Hill:I certainly don't want to see all dance put in one pot so that we all come out with one flavor. We should maintain the tradition of the classicballet, and we should maintain all traditions.I think the difference lies in the individual. One person will want to hew to the pure classical,and another will want to hew to the pure )6

modern.I don't think that we will have a grown-up art in dance education until wehave the whole of it. Jean Erdman: The dichotomy is only the first half of my story.First you admire the fact that there are two arts. Then, if you want a dancer to be abk to function in either one, you must teach in such a way that the detailsthat make ballet unique are not ironed away in favor of a common denominator. The way to make a dancer able to function in either of these quite different ways is to make sure that the young dancer is taught so that each thing has a clarity and is related not only to the physical organization, but to the emotional and mental attitude of the life which it implies. So, in order to get a dancer to evolve into an artist who is plastic, he has to be plastic in his emotional apparatus.It can be done, if each teacher respects the uniqueness of the other, and at the same time explains to the student how he must adjust himself, how he goes from one to the other, and how to see the beauty in each. William Bales: Jean, aren'e you saying that, for our purposes in education (we say that we approve of a variety of styles and techniques), we should find the teacher who is best equipped to teach each particular style? The competent teacher will know the essence of that style and will not betray it.The thing for us to remember, now that we think it is valid to teach a variety of techniques, is that we can't get one teacher who teaches a little bit of ballet, a little modern, a little Spanish, and so on.This would do violence to the thing that we have been talking about. Selma Jeanne Cohen: I was so pleased with what Jean was saying.I think that this emotional plasticity in the dancer is so important.I think that we must go beyond the physical training of dancers and help them understand why they are moving in the way they are.I find myself watching classes, often with people who have not had a lot of training, and in class they learn exercises, then the exercises are built into sequences , and I never hear one word or one hint as to why they arebeing taught this way. Why? Why should you move in this way and not in anotherway? Alwin Nikolais: I think that this business of generalization is rather dangerous. It seems to me that we have been talking in terms of a way, and it might be better to think in terms of many ways. We know that colleges and universities tend to specialize in certain areas such as psychology or mathematics .Couldn't we think in terms of some colleges and universities being better equipped in certains areas of dance because of the person or group of persons on the faculty? This would be much healthier than to expect every college and university in the country to teach everything ballet, modern, tap, ethnic, etc.

RELATED ARTS Should dance majors be required to have experience in the related arts such as music, theatre, and visual arts? Margaret Erlanger: Music, I think, is a terriMy importont area. Manyof our students are lacking in music. There should be a course for dance majors,especially in theory, taught by someone who understandsthe needs of dancers. Betty Walberg: I think there is one area in music which we have notexplored enough in our schools. A dancer can know how to look at a score, hear it, analyseit, but that doesn't necessarily mean that he knows how to use it.There is a gap.I think that it would be exciting to have a lab, perhaps at the junior year,where a musician worked with certain dance majors, not just on an improvisational level, but where they worked together spontaneously composing and choreographing. Forexample, you may do three minutes of materialand you improvise, and the next day you start writing it, and the next day you perfect it, or edit it.So the dancer has the experiett2e of working with the musiean while he is writing. 107

Margaret Erlanger: You are suggesting that the musician and students in a choreography class work together. Betty Walberg: I am tall-ing about not necessarily making a dance that you are going to show even in a workshop, but the actual work experience nf doing it musician- dancer relationship. And I think sight-singing is a valuable learning experience. Through such a course the dancer could learn to read music and to relate to others through singing harmony and counterpoint.In a sense, I would prefer a sight-singing course to a percussion course, because I think it involves moreunderstanding about music. Martha Hill: We had an experimental project last year in which musicians from the music department teamed up with choreographers in the dance department. They worked together under faculty supervision. Some quite interesting results came out of the project. We presented the finished works in the concert hall to an audience. The musicians had their works heard, the instrumentalists played these works, and the dancers could perform their works.It was most successful. Betty Walberg: But it should happen more often. One should have a good music program in the dance department in which you could do a project every week in some class.It doesn't have to be a finished dance just the actual working together, understanding the language and discovering form together. Marian Van Tuyl: I think that both approaches can be used. All dance departments may not have musicians who are competent in working this way,but most music departments have musichuis who want to have their work heard.It seems to me that it would be fruitful for them to .work together and it would relate the dance department to the other arts in the college. Alma Hawkins: Should the dance major have additional n.usic requirements, or should he be limited to those provided by the musician in the dance department? William Bales: We found that an experience in music not related to dance, which might include such things as ear training, scales, learning to play an instrument, canenhance the dancer's ability to understand the elements of music with which he has to work. Alma Hawkins: Should this be required, or merely made available? William Bales: We make it required, because we feel it is an essential. Betty Walberg: I think that there has to be a strong emphasis on thedance musician in the dance department, and then separate training in the musicdepartment. They should experience some classes in the music department because it is anotherfield and location of learning. Alma Hawkins: Now, let's consider the question of theatre or drama for the major. Jack Morrison: I wish we wouldn't say theatre, but, instead, would talk in terms of space three dimensional space.I think that every dance department should have a design technician with dance, who is working with students every day, just Es you have a musician. He is responsible for thinking about space in relation to the choreographer's needs. William Bales: I think that we need two technicians working with dance one to do costume design and one to do light and stage design. And, in addition, weneed something in actmg techniques. Eugene Loring:I think that a dancer must be nade aware of qualities, characteriza- tion, and so on. We require three quarters in the drama department. Elizabeth Hayes: I think the amount required depends on what the person intends to do. I think the professional should have it, but I'm not sure that everyone should, atleast to that extent. Thomas Watson: I was asked to this conference, in part, because I represent a very practical theatrical area the technical side and, specifically, stage lighting for dance. Could many of you light your own dance programs from scratch, frem the light plot on to the operation of the switchboard in performance, if you had to do it? There is no reason why all of you should not be able to do these things.In the theatre, we provide the educational base so the student can act, design, dance, and even write the play, if he is so motivated. You need to do that indance as well, and there are many people who will help you. In terms of your own production, the more experience you have, the better idea you have of time, money, and energy involved. Learn the technical vocabulary so that you can talk to the stage manager, and so on. Take the classes at theuniversity. Your concern, first of all with technique, and then choreography, etc. ,is marvelous, but it can become insular and self-centered. We are all working toward the same goal the arts whether dance, theatre, or painting, and I think it is terribly important that we all stay on top of what is going on in all the arts. Alma Hawkins: We have suggested two kinds of experiences.First, that all dance majors should have the opportunity to work in a functional way with people who are specially trained in theatre the technical aspects, costume design, stage design; and, secondly, that it is desirable for majors to study acting in the theatic department. Now, should the dance major be required to have experiences in the visual arts, or courses offered by the art department? José Lim On: We are always speaking about line and design. Dancers need to know about line, style, and design. They need to know about periods; for example, what is meant by baroque.I think this kind of knowledge related to design, sets, and costumes is indispensable. Jack Morrison: I agree thoroughly, but I do think that the student Aould be able to elect certain courses from a selected list.If they do it under compu:sion, they are going to reject it.They have to discover the need, somehow. Eugene Log: May I say that I agree with Betty. You have to correlate the experience with dance. Students do not automatically relate to the study of art or music. One must constantly point out how it will make them 'oetter dancers or choreographers. Alma Hawkins: Gene, do you think that the visual arts should be taught inthe dance department and have a functional relationship to dance? Eugene Loring: At least, art shuuld be taught by someone who knows aboutdance and how to relate it to dance. William Bales:I think it is presumptuous of our department to ask another department to apply its art to our needs. That is wrong education for the individual, because he must learn to respect visual arts as art, and music as Tr.iisic.Then he can integrate the experience, and we as teachers can assist in bringing about a synthesis of the various arts. Alma Hawkins: Since there are so many highly desirable experiences for the student who has a limited amount of time, may ". riot be best to think in terms of a selective grouping of courses, all of which wou aluable, and then, as Bill said, allow the student to select? If they take the cou because they are motivated, they will pursue the work with enthusiasm and make their own associations to dance. Helen ,Alkire: That's right. They should have the freedom to make their own connection. Jack Morrison: I think that this matter of breadth and depth study is a basic curricular 109

problem. We need courses that willdo three or four things at one time.We need to know how we can bring areastogether.It is possible to have courses thatwould be technically very solid and, at the sametime, meaningful to the dancer.We need research in this area. Irving Brown: I am worriedbecause we keep talking about courses.The matter of giving the dancer or any ofthese performers these basicskills we want them to have is dependent on stimulatingtheir motivation.Is there any reason why weshould not think in terms of new methodsof teaching and of making resourcesavailable to students when they encounter aspecific need? For example, whenthe choreographer needs to understand the functionof lighting, he could get someacquaintance with lighting techniques through cannedinstruction. William Bales: I think that there isanother problem. We aretaking dance out of the gymnasium and putting it into thetheatre.In this transition from the gymto the theatre, there is not enoughknowledge, generally, of the necessitiesof theatre. We are trying, Ibelieve, to establish principles that areneeded in order to place the art of movement in the theatre.This includes taking the craftsthat are involved, and developing adequate skills. We need toestablish principles that willguide us. Irving Brown: I am not resistingwinciples, I am resisting conventional answers.Let's keep it open. electives, Marian Van Tuyl:I think that if a student takessomething from a group of for example, a course in Historyof American Music from themusic department, he brings back an awareness of anexperience and contributesthrough his choreography or through his pointof view to the dance communityof which he is a part. Ruth Murray: If we allow thisselectivity, he will bring back intothe community of dancers experiences that would notbe possible if we held to rigidrequirements. Elizabeth Hayes: It seems to methat a great deal depeads uponthe situation in each institution and the outstandingpeople who are teaching coursesrelated to our needs. I think that it is hopeless to try tocategorize a procedure. Ma ian Van Tuyl: I still thinkthat we must face the fact that we aredealing with the human body as an instrument,and the basic question is how wutake care of that concern, before we startclusters.I feel that when we try to get so manyauxiliary experiences, we squeeze the timefor the dance experience.

PLAN OF STUDY FOR THEINDIVIDUAL choreography should to become capable ofdancing, which we have The study of movement and movement be supported by other areasof experience which been talking about for a day or so, understanding oT. dance and so on.The other is to understanddance. would enrich the student's whole business we for artistic achievementand human This is apart, again, of the as a medium concerned with. expression and contribute tohis intellectual growth are presently and personal development. Then, in attempting to understanddance there can be three aspects oneMust be aware of all Irving Brown made a conciseformulation of the the time: education: purposes of dance The dance instrument:the body elements Starting7ith the assumption that oneteaches and their manipulation,rhythm, and so on. dance because it is an importanthuman activity university as an The dance environment the occasion for and should be fostered in the dance and the elements thatsurround it: effective path to understandingthe nature of there are a stage lighting, scenery,dancer-audience human beings (and one's self), relationship, etc. couple of purposes in teachingdance.One is i 110

The dance function in terms of the society: eventually to advanced study at the doctoral level, man's needs, habits, entertainment, sub- the matter of flexibility and individual patterns of stitute for violence, rituals, celebration, study will become increasingly clear. courtship, etc. Taking these three aspects, one tends to a- The following outlinel suggests areas of concen- chieve understanding of dance through three tration that may be valuable in relation to specific possible studies: professional goals: The study of the variety of dance forms and 1. Dancer dance functions throughout man's history. a) Understanding the techniques and theo- ries of great dance artists and of differ- The study of other human activities of ent cultures similar make-up, elements and/or function, b) Experience with a vaiiety of styles and attempting to achieve perspective on dance repertory works performed under varied through seeing how its elements or functions circumstances work in other forms (theatre, plastic and c) Singing and acting graphic arts, writing, etc.). 2. Choreographer The study of dance in relation to man's a) The above experiences listed for the other activities that have different concerns dancer with different elements. b) Experience in the craft of composition Lastly,, we areconcerned with pedagogical c) Techniques required for films, televis- teclmiques by which one achieves these ends. ion, arena stage, and musical theatre 3. Teacher This kind of understanding can best be achieved a) Child and adolescent development through individually designed programs of study b) Psychology of learning with courses selected from the related arts, lit- c) Principles of teaching dance to various erature,languages, sciences, philosophy, and age groups psychology.The effectiveness of this program d) Administration planning would depend,in part, on the wise guidance of an advisor. One of the valuable functions of such 4. Dance Therapist an advisor would be to bring the student in contact a) Behavioral sciences with "great" teachers on the faculty. b) Experience working with emotionally handicapped individuals Another important consideration related to cur- c) Experience working with the physically riculum requirements and individual student pro- handicapped grams is flexibility, allowing time for courses or 5. Film Maker experiences that prepare for specialized study at a) Still photography, motion pictize, and the graduate level.The conference participants television production agreed that the primary purpose of the under- bl Experience in filinipg graduate major curriculum is to provide a broad 6. Dance Notator foundation in the art, and that specialization be- a) Advanced notation longs at the graduate level, but they believed that b) Experience in notating dance warks within this overall plan the student should have the opportunity for early contact (at the senior and, 7. Critic and/or Historian perhaps, the junior years) with areas of study that a) History and literature prepare him for his chosen field of specialization. b) History of criticism The desirability of some flexibility is apparent as c) Historical method and bibliography the student becomes aware of his professional goal d) Experience in journalistic and historical and he wants to do more study in that field, and, writing also, certain foundation courses are needed, from 8. Musician and Composer for Dance a purely practical standpoint, to support graduate a) Music history specializations. b) Ethnomusicology c) Improvisation on various instruments As graduate programs in dance are firmly estab- d) Experience in compcsing for dance lished with a five or six year sequence leading 1.See Group Report "Intellectual Growth," p. 147. 111

9. Ethnologist student in preparing for his new role as teacher. a) Anthropology, folklore, and mythology This eperience may or may not take the form of b) Ethnomusicology courses . But, regardless of organizational pattern , c) Ethnic dance this aspect of his experience should be concerned 10. Theatre Technician for Dance with helping him to understand his role as one who a) Staging design facilitates the learning of other6.Through such b) Lighting design experience, dance becomes illuminated in a new c) Costume history way, with the emphasis on "reaching out" rather d) Costume design than "taking in. "The student learns the impor- e) Stage management tance of the teacher's sense of commitment and f) Technical experience in above areas respons ibility . Many students express an interest in teaching when GENERAL COLLEGE REQUIREMENTS they enter college. Dance educators should recog- After extended discussion of the various areas of nize the interest and assist the student in relating study that should be included in the dance major to experiences that till help him in developing experience, the question of college requirements leadership skills.Instead of asking the student 1.3 and their relationship to the major program was wait until his senior or graduate years for teacher explored. We recognized that the major purpose preparation courses,he could be guided toward of college requirments in most institutions is to related experiences such as observation, assisting ensure breadth m general education. The confer- in dance classes,leadership in community projects ence partic p....nts were in full agreement about the and summer camps. need for broad experience, but they did have doubts about the number, as well as the nature, of present In addition to the academic preparation for teaching, course requirements. some kind of apprentice experience is highly de- sirable.Through an apprenticeship the student Since the uniqueness of the needs of students and works closely with a master teacher and is able to programs in the arts is a prime factor in the es- observe, explore, and test his own ideas, as well tablishment of a separate administrative unit for as to develop skills in a "real" situation, and thus grow in competence as a teacher. the arts,frequently identified ars the College of Fine Arts, it would seem reasonable to assume that the Teacher preparation programs must not be con- pattern of requirements for students in the arts cerned exclusively with the college teacher. Prep- might be different from requirements for other aration of the dance teacher in elementary and sectors of the institution. secondary schools must be included in the com- prehensive teacher education plan. The participants felt that we should not accept with- out question the traditional pattern of requirements The trend in higher education toward a recognition held by the College of Letters and Science. Some of dance as one of the arts, and the development of members felt that the college requirements in undergraduate and graduate dance major curricula general education should be decreased, and that suggests that the elementary and secondary schools the depirtment of dance and other departments in have a new kind of obligation.The student who the College of Fine Arts should be given opportunity plans to enter a college major in dance, just as the to explore and establish new approaches. student in science or the humanities, will be ex- pected to have a foundation in his chosen field of THE PROSPECTIVE TEACHER study.Unless the student has this foundation, Throughout the conference there were expressions the dance curriculum in higher education cannot of concern about teaching and teacher preparation. achieve its real potential. One of the requirements for a high quality dance program is the artist-teacher. Though the confer- In order to escape from the vicious circle of danc- ence group did not work out a detailed curricular ers coming into the dance major program poorly plan for teacher education, it did set forth certain prepared because of lack of opportunity in the early beliefs and guidelines. grades, it is up to the university to provide imagi- native, responsible dance and movement education Teacher preparation should include some kind of for the teachers going into elementary and second- an organized learning experience which assists the ary schools. 112

The Professional Company in the University

The model for the dance department, as projected is to be a professional company, should it be di- in the twenty-five year dream, includes the possi- rected by a permanent artist choreographer?Is bility of a special concentration within the major the company to be composed of "imported" dancers , for the talented student who is interested in per- or talented students from the institution? Does the formance and choreography.This could lead to artist work with a broad range of dance majors , participation with the professional company which with those in the performing program, or with the would be an integral part of the dance department. company members only? Such a professional company would provide a "live" model of dance as an active performing art.The The conference participants did not arrive at an- association with artists and mature performers swers to these questions , but they did agree that would enrich the education of all dance majors , colleges and universities should provide for the and the company could provide an avenue of pro- highest possible level of artistic development, that fessional training a kind of apprenticeship for the artist can play a vital role in student education, selected students. and that talented young dancers should have exten- sive opportunity for performance experience in a Sin.ce this is a new development in higher education , professional environment. we will need to explore and have experiencewith various possibilities.Some institutions may find In order for a student to concentrate in performing it desirable to have an artist and his company in and choreographing, it will be necessary to provide residence, while others may envision the company for some flexibility in the dance major require- as an outlet for their gifted students,and find it ments. It was felt that the core experiences should preferable to use several professional choreogra- be the same for all dance majors , but that the pro- p!. es with an artistic director as permanent leader. gram should allow the student to enter the concen- tration at different points in the four-year sequence Obviously, this kind of specialization for students and to progress through the program according to and the establishment of a professional company his own rate of development.For example, it could not and should not be undertaken by an insti- should be possible for a sophomore to dance with tution unless it can be carried out with distinction. the company if he has sufficient competence, but Some colleges and universities with well developed all students should meet the same basic require- major curricula may be ready to pioneer in this ments of the major program.To establish two direction. .3eparate patterns would setup a dangerous dichot- omy.Adjustments should be made in terms of In cases where the professional artist is included in individual differences,needs, and readiness. A college and university programs, each institution prime consideration at all times should be to relate must clarify the exact role he is expected toplay. the student to experiences appropriate to his level How will the artist contribute to artistic growthof of development. students and enrich the dance program?If there

Jean Erdman: Then, with a professional company, it wouldbe possible to picture a situation where all majors would go to school in one place, andthose who are particularly taler ted and learn faster cou;d move ahead in techniqueand choreography classes. They would all be involved for the same number of hours ,but would work at the level appropriate to their development. People who will eventuallyend up in the professional company may be dancing wAh the company in theirthird year,,but they would continue to work with other majors at the third year levelin areas related to aesthetic understandings and growth as human beings. Elizabeth Hayes: It seems to methat the major difference is not insubject matter, but, rather, in emphasis. Thatis, more time will be spent incertain areas according to certain pursuits. Irving Brown: I understand that the youngdancer can be ready to dance at age seventeen. Suppose a studentwho enters as a major has had agood physical preparation and is ready to dance. There mustbe a sharp difference between theeducation for the physically trainedseventeen-year-old who is ready to dance,and the entering freshman who is partially trained, ornot trained at all. Martha Hill:It's a big problem. Jean Erdman: It is a bigproblem. The only reason that thewell trained seventeen-year-old would comewould be because of the theatre inthe university and the professional company inresidence. Irving Brown: ...except forthe intellectual possibilities. Jean Erdian: I know, if that personof seventeen is ready to go onstage as a professional dancer, he would go,unless he had intellectual curiosity.Then he i would find a university that had atheatre and opportunities forperformance. So he comes and is ready. Heis selected to work with theprofessional company and would take technique with the companyclass or the most advanced class. Hewould not do technique with the freshmanclass but he would take the "humanizing"part of the curriculum with the freshmen. He maybe terribly innocent about somethings, while other freshmen may be quitesophisticated in these areas. The onlyproblem is scheduling. Alwin Nikolais: In talking about theprofessional company and the highquality of professionalism, the first thing is toconsider how to keep such a groupintact, so t that the quality can be stabilized. Elizabeth Hayes: I think that the bigproblem is how to finance it. Irving Brown: We need to considerthe relationship of the aims ofthe professional artist, his career and artisticgoals, to the purposes of theuniversity with its educational and cultural program. Alwin Nikolais: And then there is thequestion, particularly in the periodof early development, where the interchangebetween professional companiesmight be advantageous because of repertoireavailable. built Virginia Freeman Weil:What about the shape of thecompany? Is it a single unit around one artist, or a repertorycompany that usesworks of different artists? Alwin Nikolais: The shape may varybecause of the quality of thepersonnel. Irving Brown: Yon may, for example, notchoose, as the head of theprofessional company, a person whohas strength in choreographyof any kind. The head might have competence in managementand administration of a disciplined companythat can respond to thework of guest artists. Alwin Nikolais: A director who cankeep the work at a high level. Martha Hill: A Diaghilev. Robert Lindgren: I think there aretwo separate divisions: onehas responsibility for management, and thei)ther is related to the artisticwork, with a director who would discuss and choosechoreographers and productions. Shirley Wimmer: What about therelation of the company to theuniversity and students? Will the companybe fed constantly by theuniversity, or will there be outside people used as dancers? Martha Hill:If we think of the professional company representingexcellence, I expect that it will achieve the excellence in various ways.In one case you may have an established company come in for a short orlong period.In other cases the director in the department would be the producer and determine what is done. Elizabeth Hayes: On the other hand, if you are going to just make a home for professional companies, then the talented students you were talking about will not have a place or, at best, it will be a secondary place.Perhaps, to have a ready- made company is not what the university should be working toward, but,instead, it should give its talented students the opportunity for professionalexperience under the guidance of an experienced artistic director. Martha Hill: This depends on the demands ofeach piece of choreography. If you hold to the standard of excellence,it will be solved in different ways. Elizabeth Hayes: I think that you can alwayssupplement your talented students with professional people, but if the emphasis is onthe professional company, then the staidents are only used to fill in. William Bales: I don't agree with Betty,because the growth and maturing of a full-fledged artist is a continuing and long-termthing, and one of the functions of the professional company is to provide atransition into the professional world for the promising student, so that he doesn't leave schooland suddenly find himself trying to compete for a place in leading companies. Thebest possible experience would be to work with professionals in a company, a kind ofapprentice relationship, so that there is a gradual transition for the student. Thisshould be a growing experience for the student an opportunity for continuationof education at the highest level. Alvin Ailey: You need to give students who aregoing to become professional some kind of extended professional experience with avariety of choreographers from different parts of the country.They need performing experience, andperforming experience with professionals.I think the repertory way is the waymodern dance must go. We have passed the periodwhere the dancer is the star of the company,the choreographer, and the costume designer. Youhave to train dancers with a variety of choreographers, in order to keep theirworks alive. (From an earlier discussion.) Alwin Nikolais: Aren't we thinking too strictly,perhaps? I think the professional company will take all sortsof shapes. For example, a university not yethaving reached that higher echelon might find it stimulating tohave a total professional company there, whereas theuniversity that is functioning in that higher echelon might find it desirable to bring a company infor a period of Ume as a transitional experience. The visiting company might bring principaldancers who would later be replaced by student professionals. Martha Hill:I was just thinking of the.old days at BenningtonCollege, when the Bennington School of Dance had to closebecause of the Second World War. During that time, for example, we had Martha Grahamwith her company in residence at Bennington College for a six-week period at theend of the school year. That's the time that Martha created some of her newworks for the next season. Our students sat in, saw rehearsals, and had a marvelousexperience seeing a work in progress.

Aren't we identifying two philosophical pointsof view which a department might wish to consider? One suggests that the institutionbring in and give a home to a professional company and make it possible for it to function.In this situation, the students would observe the very best in dance.The other point of view suggests that the company should grow out of and somehowbe integrally related to the department's function. 115

Nancy Smith: There are already existing patterns in the other arts: for example, the theatre group at Sarasota, which is a part of the Florida State University.It exists as a definite company, has its own staff, and resides in Sarasota. During the third tri-mester (spring), our selected students move down to Sarasota, and are there during the company's performance season. Elizabeth Hayes: The wrong kind of financing can be disastrous. As we move in this direction, we should be clear about what we want, and make sure that there are definite written aggreements with financing bodies. This is necessary in order that you have freedom to operate in the way that you feel is right, educationally. William Bales:I want to go back to the comment about havmg a professional company on the campus of a university, but not as an integral part of the curriculum. This would be similar to the way a string quartet is in residence.It might be desirable to have such a company in some institutions, particularly if they teach part-time in the regular program, providing the professional experience for students. Robert Lindgren: There is a possibility that we could start a reverse trend. The people from major ballet companies or modern dance companies could come to the school and see the talent in performance. They may discover people whom they eventually want to take into their company, and, instead of the raw student having to audition and go through the company's school, he could make the transition as an experienced dancer. There is another point in regard to scholarships offered by professional companies to the dancer who seems to have potential.Instead of the fifteen or sixteen-year-old girl's parents taking a loan or a mortgage to send the child to New York for the whole learning process, it would be possible for the young dancer to learn in his own community. The professional company set-up would encourage them to stay a little longer.In other words, let them grow a little before they finally go to New York. Such a company would be a marvelous proving ground. Alma Hawkins: And couldn't it help to spread the arts across the country, instead of having a major concentration in one or two places ? This might contribute to a fresh look at the art. Robert Lindgren: Another point this word "professional" means two different things to me. Are we thinking of "quality" professional or "finamially" professional? Do you think of paying these people, which, in turn, involves unions and so on, or, would it be like our school, where all the performances are free and the money for productions comes out of our budget? Therefore, we have no box-office.In other words, do you have to make money or don't you? Alma Hawkins: I guess that we have been considering the quality and haven't talked about the economics. William Bales: When we get to it it won't be theoretical, but very factual. I jying,_Brown: The professional curnpany may cause a sharp reduction in performance and production opportunities for students.There may be a tendency for the educational program to retreat to the classroom because its former function of providing produc- tions for the community has been taken away. Alma Hawkins: Or we would still have concerts, but at a different level and perhaps a new time, such cs four o'clock. Virginia Freeman Weil: What about noontime concerts? The idea that performances must come at the end of the day has changed. 16

Martha Hill:If there were enough universitieswhich could build professional companies,it could change the whole complexionof the audience for dance in the United States. The companies could tour in areaswhere it is now very difficult to get major touring companies becauseof expense. William Bales: In connection with problemsencountered with the professional company, I am reminded of the reportof the Theatre Group in which theysuggested that the field be realistic about the saturationpoint and how many professionals they wanted to turn out, and also that one shouldlook very carefully at the number of professional schools and companies that shouldbe organized, where they should be placed, and how many top professionals to Ulmout. They recommended that extremely high standards for professional achievementbe set up. I think that most of us have no idea of thatlevel and what it takes to achieve it.If we try to set up too manyprofessional companies, we may be introuble. There aren't that many good teachers andgood choreographers. Alwin Nikolais:I have a slightly ill-at-ease feeling about one aspectof this proposed pattern, and that has to do with the idea of creativityitself.It seems to me that creativity is the basic substance upon which everythingelse rests. The central factor isn't technique, or even the talented dancer, it is thecreative fact itself.Choreography is a weak link in what we have been discussing,and yet choreography is affected by the creative drive and impulse, as are the other experiencessuch as history, notation, criticism. Alma Hawkins: I have always believed that thefoundation of our program should be concerned with releasing and developing the creativeability of the individual. All the other experiences should support this aim. Alwin Nikolais: I think so. There seems to be anacademic development which aims to include the professional artist to a greater degree,but we still exist primarily in New York, in a life that is quite different.I have this other feeling that the collegeand university hope to be the begin-all and end-allof aesthetic life, and, therefore, we will have no need for the kind of loft operation that we engagein now. Alma Hawkins: I did not intend to give that impression. Alwin Nikolais: I am just concerned. For instance, we aregetting many invitations to come and be in residence. This seriouslyaffects our own continuity of work. Someone says, "Will you come for seven weeks ?"That is fine for the seven weeks, but what about the other forty-odd? It affects a wayof life. But the colleges and universities are getting money, so the artists have toconform more or less to their standards and their budgets. Alma Hawkins: I don't believe that any institution thinks that what develops in that environment will ever replace or do away with the highly talented artistin the community. Jose LimOn: I don't think the university is trying to pre-empt the activity or the function of what we call the creative artist, who, unfortunately, isin a loft in :Teve York City. Perhaps a possible solution would be toinvite the entire company to be in residence for seven weeks, not just detach youand emasculate your company. I think that perhaps it is time that wehave a decentralization, or at least atemporary or seasonaldecentralization, away from the horrors of theloft. Irving Brown: The first function of theuniversity is to further the art as a per- forming art. One of the research functions,then, is to investigate the frontiers of the art with your company and with yourtalent. A part of the function of the professional company is to present newworks. i 117

Jean Erdman: I have the feeling that if the dance departments in thc universities really want to involve artists creatively, then the whole department has to revolve around that peak.If the artist is the center with a professional company, then the -:eshman and the other students always have this level of work before them.If the artist really were the center of the department, then it would be clear why all the other activities exist. Alma Hawkins: I would hope that, in addition to the potential for students to observe and relate to the artist and company, there would be functional means of relating the artists to areas of study for all majors. Alwin Nikolais: No scheme has come up, as yet, which really is practical economically, psychologically, and emotionally.I think that the problem is, partly,,how does the artistic temperament fit into the "cookie mold. " Jean Erdman: Obviously, we are not thinking in terms of twenty-five years, we are thinking of now.If a dancer who has evolved a company and a repertoire, like Nik, can't bring his whole company and all the things he works with, how canhe come? He can't even for a short time because he is separated from what he has built. So what you actually need are new artists who would not have roots already put down in a loft in New York City. Alma Hawkins: And eventually some young artists would emerge through the university program and then feed back into it. Jean Erdman: Yes, exactly. Then the only concern is related toclimate for the development of the creative artist. Sometimes you can't work in the most beautiful set-up. Irving Brown: Are we confusing the problem of making the transition fromthe present state of affairs to a possible state of affairs with the problem of a possible state of affairs being a negating and limiting factor? It would seem to me that such a university structure would employ a resident artistic director whowould be in charge of the company and the school of performers. Alwin Nikolais: You are also faced with the fact that you don't necessarily want to be identified with one individual over such a long period of time. So there has to be some interchange going on. William Bales: Perhaps our job is to find and encourage the promising young artists. Nik is one of the artists who could come around on tours and make another kind of contribution. Alwin Nikolais: Actually, I've avoided an academic and grading system because we didn't want to be hamstrung. Marian Van Tuyl: Exactly, but if we had our ideal situation you would be an independent and non-academic entity under the university umbrella, with money provided. Robert Lindgren: Is this set-up we are talking about two different things: a resident choreographer and a resident company? What about the student structure? And are we saying a company? Is this a modern dance company with a modern dance choreographer, or a ballet company with a ballet choreographer, or what? We have been speaking of Nik. Would you have him come with his whole company, or would you have him come in to train your students in the university? William Bales: It would depend on the institution and what it wished to do. 119

PATTERNS OF STUDY RepertoryReconstruction and Performance Production and Direction The graduate program, in contrast to theunder- Theatre and Design graduate program. should be characterized by a Notation high degree of flexibility.The student, with the History advice and approval of his graduate advisor,should Aesthetics be able to design a program of study that is uniquely Criticism suited to his needs and talents.He should keep Writing close contact with the moving and creative aspects Ethnology of dance, even though the specific focus ofhis study Biological Sciences may be in areas other thanperformance and chore- Teaching ography.Courses from other disciplines which Therapy support and enrich his program ofstudy and re- Film and Television search should be utilized.' Research Techniques The discipline of dance embraces a body of know- ledge comprising: T HESIS REQUIREMENTS The student should complete, as apart of the The psychological, physiological, andkinesio- major piece of logical principles of human movement. Master's Degree requirements, a independent work. This work, an integralpart of Movement basic to expression and communi- his program of study, may take oneof four forms: cation; choreography; history and philosophy A thesis basedon experimental, historical, or of dance. other research methods; The art of sound as related to dance; principles A major choreographic work presented in of theatre as related to dance; and concert. Dance ethnology, i.e. social, ritual, and art The creative performance of a major rolein a forms in various cultatres.2 repertory work; or Based on the core knowledges of the discipline of A comprehensive project related to theindi- dance, the following areas of study and research vidual's focus of study. should be available to graduate students: The exact nature of the thesis or creative project Movement will need to be determined by eachinstitution in Choreography relation to its graduate policies andcurricular Music offerings. Alma Hawkins: We have two aspects of thegraduate program to keep in mind: the areas of study, and thethesis plan. For example, a student mightbe very interested in performing, but might do hisindependent project (thesis) in one of the other areas open to him. William Bales: Or he might do performing ashis thesis. Margaret Erlanger: Or in lieu of a thesis a concert. Marian Van Tuyl: Some institutions have twotypes of theses, one of which can be a concert. Nancy Smith: What about the student whois interested in performance, not choreography? Ruth Murray: In other words, he woulddo a concert performance without having any responsibility for the choreography.

1. "Programs of Study in Dance Report," from the proceedings of the AAHPERConference on Graduate Education, Washington, D.C. , January 1967, wasused in the discussion on graduate curricula. 2. Ibid.,p.2. 119

PATTERNS OF STUDY RepertoryReconstruction and Performance Production and Direction The graduate program, in contrast to theunder- Theatre and Design graduate program. should be characterized by a Notation high degree of flexibility.The student, with the History advice and approval of his graduate advisor, ,should Aesthetics be able to design a program of study that isuniquely Criticism suited to his needs and talents.He should keep Writing close contact with the moving and creative aspects Ethnology of dance, even though the specific focus of hisstudy Biological Sciences may be in areas other thanperformance and chore- Teaching ography.Courses from other disciplines which Therapy support and enrich his program ofstudy and re- Film and Television search should be utilized.' Research Techniques The discipline of dance embraces a body ofknow- ledge comprising: THESIS REQUIREMENTS kinesio- The student should complete ,as a part of the The psychological, physiological, and piece of logical principles of human movement. Master's Degree requirements, a major independent work. This work, an integralpart of Movement basic to expression and communi- his program of study, may take oneof four forms: cation; choreography; history andphilosophy A thesis based on experimental, historical, or of dance. other research methods; principles The art of sound as related to dance; A major choreographic work presented in of theatre as related to dance; and concert. Dance ethnology, i. e. social, ritual, and art The creative performance of a major rolein a forms in various cultmres.2 repertory work; or Based on the core knowledges of the discipline of A comprehensive project related to the indi- dance, the following areas of study and research vidual's focus of study. should be available to graduate students: The exact nature of the thesis or creativeproject institution in Movement will need to be determined by each Choreography relation to its graduate policies andcurricular Music offerings. Alma Hawkins: We have two aspects of thegraduate program to keep in mind: the areas of study, and the thesisplan. For example, a student mightbe very interested in performing, but might do hisindependent project (thesis) in one of the other areas open to him. William Bales: Or he might do performing ashis thesis. Margaret Erlanger: Or in lieu of a thesis a concert. Marian Van Tuyl: Some institutions havetwo types of theses, one of which can be a concert. Nancy Smith: What about the student whois interested in performance, not choreography? Ruth Murray: In other words, he woulddo a concert performance without having any responsibility for the choreography.

1. "Programs of Study in Dance Report," from the proceedings of the AAHPERConference on Graduate Education, Washington, D.C. , January 1967, wasused in the discussion on graduate curricula. 2. Ibid.,p.2. 20 Alma Hawkins: Then that would meanthat student A could do thechoreography, make the dances, and student B, who is afine performer, could assume amajor role and perform throughout the concert. Nancy Smith: If student B were doing hismaster's work in performing, it would be repertory. He would be investigating,learning, and performing. William Bales: Not every graduate studentis able to choreograph a master'sconcert. Then there are students who canchoreograph, but cannot succeed asperformers. ao, Alma Hawkins: Perhaps we should thinkabout the different patterns for theses. Usually, we have experimental or researchoriented theses which could include the choreographic and performance theses.Then there is the comprehensivethesis, which is an independent project thatcontributes to application of knowledgeand learning for the individual. Are we saying thatthe student who is an excellent performer can meet the "original criteria" asexpected of the experimental thesis? Nancy Smith: I think that this istricky. But perhaps we can say that,if our expectation and demand goes beyondtechnical facility to perform just anywork.It should be a selected piece of repertory,and the performer's success woulddepend on what he does with the role how he transforms the workthrough his performance. I know that musicians areallowed to present a selected pieceof musical literature, but the performance must gobeyond a mere technical presentation. William Bales: I think that drama is evencloser to dance. The actor does not write hisplay he is the performer. Virginia Freeman Weil: Nordoes the director on the master'slevel have to write the play or be in it.His creative work comes throughhis direction. Nancy Smith: We spoke of thecomprehensive, non-thesis program.I don't know exactly where I stand, but I know Ihave serious reservationsabout it. Alma Hawkins: What is yourreservation? Nancy Smith: I guess I feel thatit doesn't necessarilyadvance the body of knowledge maybe it extends the individualdoing it, but I'm not sure it is an original endeavor, nor that itadvances the body of knowledge the two criteria which the other theses require. Ruth Murray: You are saying,Nancy, that even though a universitydoes not require a thesis, the dance departmentshould? Some institutions substitutecredits for the thesis; of course, what thenhappens is that most studentsfollow the non-thesis plan. Helen Alkire: But you are in aposition to recommend andguide. We had a student under this plan who made quite astudy of notation systems.It could have been a thesis, but she chose to do it as aproject. But it did extend thebody of knowledge. Nancy Smith: It sounds to melike a thesis. Ruth Murray: Or original study. Selma Jeanne Cohen: As Iunderstand it, the doctoraldissertation is expected to make an original contributionto knowledge, but that is notexpected of the master's thesis. I should think that the master'swould serve the individualand not necessarily original contribute to the field.But institutions would hopethat the master's thesi6 is work that helps the individual to movein a way that would make itpossible for him to do something at thedoctoral level that would havereal effect on the field. Alma Hawkins: Perhaps all we can sayat this time is that wefeel that some kind of an individual project ordepth study should be a partof the graduate education.

i 121

CERTIFICATION OF TEACHERS FOR SECONDARY SCHOOLS Universities, colleges, and state credential boards The small school system presents a different prob- should give consideration to the need for new lem and will require teachers who can teach more certification standards for dance teachers in the than one subject. Obviously, many communities secondary schools. Since the desirable standard cannot appoint a special teacher in dance or any of for teacher preparation includes the dance major the arts.But the demands or limitations of these or equivalent experience , it would seemreasonable schools should not set the pattern for schools where to assume that state certification requirements teacher specialization is possible. should reflect similar standards. The need to review state credential practices and At the present time, credential standards in most to establish new standards that ensure adequate states require the teacher of dance to have a major preparation of teachers of dance is a critical one. in Physical Education. This practice, though his- New criteria related to the dance major preparation torically understandable, does not ensure adequate should replace present criteria. However, in this preparation of dance teachers for today's schools. period of transition, we should not assume that all Because of the changing pattern of education, many dance major curricula would or should automatic- secondary schools in urban and suburban areas are ally meet credential requirements. seeking teachers who are specialists in dance. In order for the secondary school to establish dance The conference participants felt that the standard as one of the arts along with music, art,and for teachers of dance in the private schools should theatre, and to offer the student opportunity for be the same as for public schools. Even though the serious study of dance, including choreography and private schools do not require a state credential, production, it is essential that the dance teacher it seems desirable that the teacher of dance in any have special competence gained through the dance secondary school have a dance major or equivalent major or equivalent experience. experience.

Drawing by Jose Limen Faculty

In the near future, departments of dance in some of It was agreed that the musician must be oneof the the major institutions will have increasednumbers highly competent people working with the dance pro- of people, perhaps ten to thirty, on their faculties. gram , should work closely withthe dance teachers, This size faculty seems large when we think of the and contribute to the class experience. Nolonger one-teacher dance programs that we have known should we use the title'Jcompanist" for the tal- for so many years.But if the department is to ented musician who tehes classes, composes offer a comprehensive undergraduate program, for choreography, and directs music for concerts. and depth study in special areas at the graduate Academic appointments should be made whenthe level, it will be essential for the dance department, mus ician's profess ionalpreparation and role in the as for all other departments on campus,to have department is comparable to that of dancefaculty. faculty who have special preparation in various fields. For example, it will not be possible tooffer Participants agreed that faculty appointments should high quality education in areas such as choreog- be made on the basis of competence.Academic raphy, history, notation, ethnology, andtherapy degrees are an important factor in the preparation without specialists in each field. of faculty for some aspects of teaching, butdegrees should not be the only criteria forselection.It The conference participants felt that thedance de- should be possible to make academicappointments partment should have a group of permanentfaculty on the basis of professionaland creative achieve- who could give stability to the ongoing program. ments, as well as academicpreparation. Both This core group could be supplementedby full and kinds of preparation are needed in thedepartment part-time faculty who have special competencein that is concerned with creative andscholarly particular fields. achievements.

Jack Morrison: There are a coupleof patterns that we might think about. Forinstance, there is the adjunct professor ofmedicine who carries on a private prat:dee and also works in a hospital, doing researchand teaching. Another is the research associate who doesn't teach at all. He comes intothe institution on a research project, which may be his own or onefor the institution. He may work for sixmonths, a year, or ten years, depending on the project. Martha Hill: We will have to be concernedwith conserving the energy of our artist- teachers who will teach and direct choreography.How much can the artist teach and still have energy for creative work? This is areal problem. Jean Erdman: You can't teach full-timeand do it. Robert Lindgren: Do you have teaching assistants, orstudent fellowships? For instance, on our faculty we have people whoteach every day, but when these people are choreographing a work,they are relieved of their regular teaching assignment. An assistant will take over the classes until thework is finished and the regular faculty resumes teaching. In addition, we have one swing salary that isused for visiting artists who come for various periods of time. Irving Brown: It might be worthwhile for us to saythat, whenever possible, advanced and qualified students become assistants toresident performers or guest faculty.It seems to me that this wouldbe a part of their learning experienceand one of the principal reasons to have a producing companyrelated to the academic structure. 123

Jack Morrison: About thenrofessional relationships, Ithink that we should say that the professionals are aregular part of the faculty. Alma Hawkins: And, inaddition, would you say that weshould have a core faculty could give that is stable not a shifting population?Wouldn't we need a faculty who continuity to the program,work as specialists at thegraduate level, and assume responsibility for on-going servicessuch as advising? Jack Morrison: Without a stable core,the students just go crazy.But if there is a good stable core, the visiting personcan bring somethingexciting and fresh. William Bales: With the visitingartists,do we look for degrees? Participants: No. William Bales: With the corefaculty, do we look for degrees? Participants: No. Martha Hill: Competency isthe primary concern. Irving Brown: Couldn't we saythat in some of the fieldscompetency is indicated by degrees, but in other fields thedegree is not the criterion forcompetency? some whose Alma Hawkins: Yes.It seems to me that we needboth kinds of faculty competence is achieved throughartistic development andwork in the professional world, and others whose competence comesthrough intellectual pursuits.I guess that we are trying to saythat the professional artisthas a place in our world, with or and that in some areas without a degree, that competencyis our primary concern, competency will come or may comethrough a degree program. William Bales: I think that thesize of classes is germaine tothe question of number of faculty. This is particularlytrue for classes such ascomposition, which are tutorial in nature. You have tobe able to work with theindividual, so the size of the faculty in relation to the sizeof our student bodyinfluences our efficiency. Robert Lindgren: In our state, thenumber of teachers goes upin direct ratio to the students number of students who cometo the school. Wefigure something like twelve to one teacher. Margaret Erlanger: This matterof size of faculty is sorelevant to our situation. Our relevant to present system ofdetermining F. T. E. ratio(Full Time Equivalent) is not what we are doing indance. We are being deniedincrease in number of faculty standard, we do not haveenough students to justify an because, according to the do. We talk increase. The criteria seemto have nothing todo with the work that we about time for choreographyand all the other things wehave been discussing nothing is done aboutincreasing faculty. in the process of developing a new Alma Hawkins: We 'mowthat many of us, who are department, find it necessary to carryheavier loads than facultyin other departments. Frowever, one of our goalsshould be to build an adequatefaculty as fast as possible, loads are proportionate tofaculty in other departments.This is important so that our and also have in order that we havetime for creative work,be fresh for teaching, criteria for promotion. time for other individualachievements that are used as E. ratio for the Jack Morrison: We haveto state our needs, forinstance, the F. school of medicine is not the same asthe ratio used for thedeparanent of history, and it shouldn't be. Alma Hawkins: What about theposition of the musician inthe dance department? full-time musicians who assumeresponsibility for a Today, many departments have of variety of work includingcomposing and directingmusic for concerts. In spite institutions still employ the fact that we must havehighly qualified musicians , many commensurate with their them as non-academic staffand pay salaries that are not 24 professional preparation. Shouldn't wetry to establish a moreappropriate basis for appointment either a professional or anacademic classification? Participants: Yes. have suggested William Bales:I am very concernedabout musicians for dance. We that we need a crash program totrain teachers.I think we need a crash program to train musicians for dance. field is Martha Hill:I think that it is not a matterof training. The big problem in our to make an interesting situationfor the musician, by having himteach music courses for dancers, or maybe eventeach in the music departmentand share his time with the dance department. Too frequently,the musician feels that he useshis art to serve another art, and he feels like asecond-class citizen. Alma Hawkins: Then are we sayingthat we should strive to relatemusicians to the dance department in someacademic fashion, either by havingthem teach music courses or by workingwith the dance classes in somefunctional way, such as Betty Walberg talked about? Participants: Yes.

Drawing by Jose Linuin 125

1 Standards

admitted with the understanding thatdepignated ADMISSION TO THE DANCE MAJOR deficiencies will be overcome.Institutions may New methods of determining the capacityof the require usessment of the student's competencein prospective dance student for success in university dance (technique and composition) as well ashis work need to be established. Artistic competence knowledge of the field. and intellectual achievement should beconsidered. Both of these measurements need to bebrought into TRANSFER STUDENTS balance, so that the talented young person will not Each institution should establishstandards at ap- be refused admission because of poorachievement propriate levels of proficiency for theBachelor's in certain academic requirements. and Master's Degrees. Institutions may find it desirable to make exceptions Students who transfer to graduate programsin for a small percentage of applicants whoshow dance from other fields of study should berequired special talent but are deficient in certain areas. to meet the standards held by theinstitution for Experience suggests that some students who have undergraduate dance majors in movement and cho- been deeply involved in dance have not beenmoti- reography, as well as abroad range ofunderstand- vated in other areas of study. The student's past ing in the field of dance. Provision shouldbe made record does not always provide an accurateindex for deficiencies to be made up throughproficiency of future academic work in a differentlearning examinations or regular course work.Since the environment which allows him to advance inhis undergraduate work provides the foundationfor special field. depth study at the graduate level, it is important that the department require competenceequivalent ADMISSION TO GRADUATE STUDY to the undergraduate work. Wheresuch standards A student must have an undergraduate majorin are not maintained, thevalue of the Master's De- dance, or equivalent competence, inorder to be gree is vitiated, and personsholding that degree admitted to graduate study. A desirablecandidate, would not necessarily be as qualified asthose who has met most of the requirements, maybe holding the Bachelor's Degree.

Robert Lindgren: Because of the collegestudent's level of maturity and growth, you can immediately tell somethingabout him physically, which you cannotdo with the student in the elementary school. Forinstance, a child who was thin and well proportioned at adolescence suddenly changescompletely and becomes heavy or disproportionate. There is no use taking a girl, today, who is"turned in," relatively stiff, and with poor insteps, and saying, "You can be a goodballet dancer with hard work." There are too many people who are "turnedout," who are loose limbed, whohave good insteps. On the other hand, you can't say thatthey won't be able to perform ordo something on the theatrical stage, but you couldn't encouragethose people to be classical ballet dancers. Today, you can't cover up or fool anyone.You can't get by with those heavy legs or strange proportions. Elizabeth Hayes: For what kind ofprofession? You might have someone with fatlegs who would make a fine choreographer ordance therapist. We have all kinds of needs. For what you are speaking about, it is true,but there are many other areaswhere perfect body pror )rtions may not be so necessary. 126 Alwin Nikolais: Thinking from apsychological point of view, there are soma kids who are avidly interested in contemporarydance.I think the qualifications are different. William Bales: You have to say competencefor what.If it's competence for the professional ballet field, that is one thing.For this top level of professional performer, then, we have a way oflooking at the body instrument, butthere is another point that I wouldn't like tolose. Students go to universities to get aneducation. Every siodent who takes literature is notgoing to be a writer, a poet, or adramatist. Some of our majors at Benningtonwill not be performers, but wefeel that they can get an education through dance.It is legitimate to accept them asmajors in dance. Education is a very broad spectrum ofexperience. Martha Hill:I am concerned about what Icall physicality.I don't know how you get at it. You know, the personwho moves with some joy in hismuscles, some live- liness or vitality. Sometimes wefind students who move nicely but theyhave no physicality. Jose Lima: They move, but they can't move you. William Bales: But you may take a personlike that in the liberal arts department and not take them in asprofessionals. Jose Lima: I think the word is magic. Doeshe or she have magic? That is exactly what it is. Marian Van Tuyl: Magic, but I thinkthe physicality Martha speaksof is what causes the magic. Jose Lima: Yes, it is built out of the muscles,but the result is enchantment. Eugene Loring: I think that when youbegin to set a physical standard you are on very bad ground.It would mean that you would neverhave some important dancers who had big legs, or a short neck, or toobig a nose, or arms that were toolong.I could name a thousand peoplelike that. Jose LimOn: It goes back to magic long nose, short legs, long arms, but magic. Eugene Loring: It is very dangerous to cutout people who do not fit into thecookie cutter, and who have something veryimportant to give to dance something verystrong. William Bales: I agree with you onehundred percent. But there is a kinesthetic understanding that the dancer for the toplevel should have. Selma Jeanne Cohen: I wonderif we are not saying that the standardphysical requirements are one thing that welook for, and we can list someothers, but we are going to take other factors intoconsideration. So the applicant who hasshort legs might have something else that compe'gates.

Eugene Loring: There is a little Ja;.,-... se girl whose legsreally are too short for her body, and they are too heavy, butwhen she dances she is justtransformed the whole figure is something else.Also, I don't think you canalways tell at the beginning. Sometimes, people develop. I've seenwhole physiques change. Jean Erdman: It seems to me if we namejust one more requirement, wehave all we that, need as a collection the other one being therhythmic sense. You can see whether they have had any training,good training or bad training, as soon asyou see a person move, you seewhether he has a real senseof rhythm or not. Patricia Wilde: I am wonderingwhat kind of a basis you havetechnically, as far al: taking them in. They can't bebeginners, as you all agree. Can youset some kind of standard either in modern orballet, so that they really have somebasis in a technique?

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Elizabeth Hayes: Doesn't that go back tothe kind of a school it is?It seems to me that the level oftechnical qualifications must be geared tothe school. Alwin Nikolais: Are we really so povertystricken as a profession that we can't afford to take a broader chance?I think that, from the point of viewof education, if you deny anyone whohas the desire, despite theknock-knees, to test himself and make this . the decisions himself, it is wrong.I think that we can be much more generous on point and perhaps still get araised standard. Jack Morrison: I think that there is ourtrouble. We don't have strong elementary and secondary work, like otherfields, and we must have. We ought to statethat there must be growth at the elementaryand secondary school levels .We cannot take on the responsibility of introducing everybody todance; they should have had that earlier. On the other hand, since dance isn'tdeveloped, we have to take a littlewider look at those who do want to start later. Wehave to maintain a flexibility, but thenhave a certain cut-off point. Selma Jeanne Cohen: Nik mentionedearlier the idea of schools thatspecialize.I think that this is a possibility. Youshould be able to say in certain cases,"We are not the right school for you, but there isschool X or school Y that would beright for you." Alwin Nikolais: It would seem to methat it is impossible for us to set up aformula to supplant the intelligenceof the person handling the selection.I would say that it would be rather difficult for us to presentteachers across the country with a sortof dogmatic outline. William Bales: It is impossible.We are not setting up adogma, we are only making suggestions to the top level suggestions to look at theinstrument for some physicality, some kind of body magic,and talent. And that's going tobe difficult for everyone looking everyone sees itdifferently. Elizabeth Hayes: This is why Ithink that the system of having aprobationary period works very well.If in two years' time a studentdoesn't show some promise in the development of magicthrough the experience of freeinghimself, or in the rhythm training that is necessaryfor the dancer, and the kind ofbody that makes him able to perform, then we encouragehim to go in some other direction.Either he can find some other area in the totalfiold of dance, or perhaps he mayfind that another profession would be advisable. Robert Lindgren: But that is selectiviiy.You are saying that either they are good enough to continue orthey are not. Elizabeth Hayes: Yes, but not right atthe beginning. Jean Erdman: Do you take everybody? Elizabeth Hayes: Yes, as freshmen. Martha Hill: What is the purpose oftlie curriculum, Betty? Elizabeth Hayes: It has various purposes.Teacher training, performance, choreography, or it might be basicpreparation for therapy. There are many areas that they can gointo. We can't pigeonhole people in onekind of mold, because there are so many differentneeds. Jack Morrison: What we arereally trying to get at is not a screening&vice, but critezia for selection the criteria that we feel are necessary.We have suggested body build, physicality, magic,performing ability, and rhythm. Dorothy Madden: Another one is stayingwith it. Robert Lindgren: I would say dancepersonalitythe drive and energy that gives you the personality to be adancer. 28 Jack Morrison: Commitment. Maria.n Van Tuyl: But the commitmentdoe-n't necessarily show the firstday. Alma Hawkins: Let me try tosummarize the main pointhof our discussion. We are saying that we might be in realdanger in education if we don'tgive people a chance, physical build, but there are that we can't always pmdictwhat a person can do by his certain basic capabilities that areimportant if the student is to progressin various paths. As we work withstudents we need to assesstheir potential development, and, if they do not seem to meetthe criteria set by the institution, wetalk with them dance, and advise appropriatedirections. They may qualifyfor some other area of be even though theydo not meet criteria forperformance, or they may need to advised out of the major. Alwin Nikolais: I think theprobationary idea is what weshould work toward. Elizabeth Ham: I think a lotof the elimination of thosewho do not qualify would come about in anatural way.If you are teachingprofessional people, you certainly aren't going to teach the same waythat you teach a class forthe general public. certain level, the people whocan't keep up are going to If you teach according to a must eliminate themselves. I don'tthink that you becomesoft-hearted and feel that you is a class for this purpose, come down totheir level.I think you have to say, "This and if you can't keep upyou'll have to find your levelin some other class." Jean Erdman: Could we saythat even at the beginninglevels, a class must progress should at a certain rate? Eventhe students in the classesfor the liberal arts students standard by the end of thefirst year. We shouldn'thave meet a certain technical matter people who are unable todo technique at all go onand do something else. No in what the school is set up todo, you can't let people go onto a teaching program particular dance, or a dance therapy program oranything, if they can't manage a level of training.

GRADE POINT REQUIREMENTSFOR ADMISSION TO GRADUATESTUDY Margaret Erlanger: Pd liketo talk about the gradepoint average required for admission. There are anumber of people highlyqualified in terms of their choreographic and performanceability, as well as generalknowledge, who do not usually require a grade- meet the "B" requirement.Scholarships and fellowships point average of "A" or atleast "B." In our institutionit is now possible for the creative performingartist-student to be considered with agrade point average between "C" and "B" if he candemonstrate competence inchoreography or perform- ance.I think that "B" is too highfor the performing arts. Elizabeth Hayes: Can't youhave students on a probationarybasis, until they prove their ability tomaintain the "B" average? Margaret Erlanger: Yes, butthe graduate assistantshiprequires a "B" average. This eliminates people whoshould be considered. penalty William Bales: The objectionI have about the probationidea is that it places a I think the dance competenceshould on achievementin performing andchoreography. be equated in some way. Nancy Smith: Could we saythat the competentstudent who does not meet the grade point averagecould be accepted onprobation? William Bales: That wouldstill penalize the studentfor achievement in choreography and performance. Elizabeth Hayes: But thosethings are being gradedalso.

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Ruth Murra :This may be different inthe future.If we are thinking in terms that, let's say, fifty percent of thework on the undergraduatelevel is done in dance so that the student con bring tohis graduate study anexcellent reputation as a performer the or a choreographer,#hen he will have theadvantages of a high grade point in dance area. He will be able toachieve the "B" average. Helen Alkire: I don't think that weshould accept a student at thegraduate level in dance and make him a second-classcitizen.If we accept him on aprobationary basis or as a specialstudent, that is exactly what we aredoing. As we think about the twenty-five years ahead, this is the momentto convince administratorsthat students coming in as dancers andchoreographers have to be recognizedfor that achievement. I don't know how we will do it,but I think that is what we mustdo now. Virginia Freeman Weil: Inthe future, no one willbe in the graduate program without the equivalent of theundergraduate dance major. Inthe meantime we have to make someexceptions. William Bales: Then, do we admit an"A" student with a chemistry background into graduate study in&no)? Alma Hawkins: If he makes updeficiencies. Martha Hill: Equivalence of theundergraduate major. Alms Hawkins: Our experiencesuggests that it is feasible,sometimes, to make an have allowed a person to go exc option, butgenerally we have found that, when we ahead without the equivalentexperience, they lack theinsight and understanding we want in the dance at thegraduate level. Now we feelstrongly that students should I think be held to our standards andexceptions should be screened verycarefully. that we must have flexibilitythat takes care of the exceptionalstudent, but at the same time we must protect ourstandards and the quality of ourwork.

Dance DepartmentMinimumStandrds

felt that it was impor- r.ds to a certain area ofspecialization. Diversity The conference participants will give r :ength to the total tant that professionaland educational leaders in among our institutions standards of quality that effort in dance. But undergirdingall of the differ- dance give consideration to certain standard of quality. should be used as a guidein the establishment of ences should exist a curricula. They recognizedthat new dance major establish a new all major programs willnot be the same. In fact, Before an institution attempts to because of the unique- dance major, it should considerits ability to pro- curricula will vary markedly curriculum, a competent ness of eachsituation. For example, onewould vide a comprehensive major in a small liberal arts faculty, appropriate facilities, and asupporting not expect the dance standards can college to be the same asthe program in a large budget.Unless certain minimum would assume that thegrad- be met, the institution maybe most effective by university. Also, one for general uate program in eachinstitution would be built concentrating on the dance program and faculty strengths college students.Those institutions with existing around the special resources minimum stan- available. Some universitieswith large faculties dance majors which do not meet variety of specializations , dards should be encouraged tobring about appro- will be able to offer a their programs. while other institutions willdecide to give empha- priate changes that would improve 30 The following statements reflect the point of view FACILITIES AND EQUIPMENT held by conference participants and identify stand- Adequate space for classes and rehearsals ards which they believed should be considered as minimum criteria for a dance major. should be available. Two large studios with resilient floors and FACULTY outdoor windows should be provided. The dance faculty should include two full-time Studiosshould be equipped with mirrors, , teachers,plus adequate faculty resources in barres,piano, percussion instrumentsrecord areas such as music, theatre,production, player, and tape recorder. kinesiology,,and other theoretical foundations . Dance major students should have access to a These additional resources may be available well equipped theatre that can be used as a through joint departmental appointments or class laboratory and as a performance center. part-time specialists. Adequate storage space for costumes ,sets, All studio classes should have a competent and equipment should be adjacent to teaching musician working with the dance teacher. spaces . A musical director should be available forall Appropriate dressing and shower facilities productions. should be provided for students and faculty. The dance faculty should have abroad ex- perience in dance which includes technique, BUDGET AND SUPPORTING FUNDS choreography,and theoretical foundations. The dance major curriculum must be supported by This preparation requires a dance major back- an adequate budget that willmake possible the ground or equivalent study. appointment of competent faculty, and the imple- The dance teachers should be qualifiedto teach mentation of a high quality program. advanced technique and choreography. Faculty should have an understanding ofseveral dance brms,but the emphasis should be on art dance. The student-faculty ratio should be compar- able to the institution's standard forother ma- jors such as visual arts and theatre.A ratio of 15 students per faculty would seem tobe a desirable standard for dance.

MAJOR CURRICULUM The dance major courses should comprise ap- proximately 50% of the student's total course work, including studio experience and non- studio classes such as dance historyand kinesiology.. Requirements outside the dance department should ensure a breadth of study. The standard for courses and qualityof work should be such that students will beable to meet admission requirementsfor graduate study in other institutions. Thestudent who has completed an undergraduatedance major should not be confronted with thesituation where his work is not acceptable inanother institution. Research of new know- Dance as a human experience has along and vital Certain questions arose. What kind history, but the concept of dance as adiscipline in ledge is needed in dance? In what areasdo we seek higher education is of recent origin.The amount new information inorder to expand existing know- of research produced to date in thediscipline of ledge, to improve the teaching-learningprocess, development in the art dance has been meager. The literaturerepresent- and to further the aesthetic ing the body of knowledge in dance appearslimited of dance? when compared to the literaturein other fields. In order for dance to mature as afield of study, a The following list summarizes areasof study that comprehensive literature,including film, tape, were suggestedby the conference participants. notation scores, and writtenworks must be made The listing represents a firststep, namely, the dance.It was available. identification of research needs in the hope of participants thatthese suggestions, Graduate study and the education ofcompetent which grew out of considerablediscussion, would specialists in various areas ofdance, as well as act as a stimulus forfuture work. The next step, the aesthetic growth in the art, aredependent, in of course, calls for thetranslation of suggested projects. This task part, on the creative workand research that are ideas into specific research produced in the field. Since research indance is a can be undertakenby individuals and institutions. pressing need, the conferenceparticipants felt strongly that dance departments,graduate pro- SUGGESTED AREAS OF RESEARCH grams, dance educators ,and artists should assume responsibility for increasing awarenessabout the Basic Research areas in dance thatneed study, and for establishing 1. Factors affecting communication sensory research projects. awareness ,perception, abstraction, expres- sion, projection disciplines, make The arts , in contrast to other 2.Consideration of new concepts of space-time use of two types oforiginal work: creative work and research. Each type is concerned with"bringing 3.The role of the senses in theteaching-learning forth something new," and is guidedby recognized process. Sensory responseand sensory per- criteria. While there are similaritiesin process ception related to technique and creativework of the two methods, there are alsosignificant dif- 4.Discovery of a valid means of testingrhythmic ferences."Creative work" refers to an aesthetic acuity achievement that is qualitative in nature,while Technological resources to serve thedancers' "research" implies the acquisitionof new infor- 5. mation through the use ofappropriate research needs methods, such as the historical, theexperimental, and the field study. Both types oforiginal work History are essential to thedevelopment of dance as an art 6. Development of a film archive whichwill pro- and as a discipline in higher education. tect the dance heritage of the pastand of the present. Gathering of materials;making films Since dance leaders ,teachers,and performing of contemporary dance;cataloguing film re- artists are more familiar withthe process used sources in choreography than withtraditional research 7.Taped oral history records preservingsignifi- methods,there is need for immediate in-service, cant information about artists, danceleaders, short-term courses of institutesdirected toward and unique dance developments atcertain the problems of design, gathering data,and evalu- periods ating data, which would assist theinexperienced researcher to take hold of this essential areaof 8. Field study recording dance of primitivecul- Use film, tape, work. tures while it still exists. notation, and the resources ofanthropology 22. Instructional media ascontributors to creative relating dance to the culture learning 9.Recording of American dance as a part of our 23. Programmed learning indance culture American Indian, early fold forms 24. Development of graphic notationillustrative found in different sections of the country,and materials social dance forms both current andhistorical 25. Notation as an adjunctive techniquein teaching, 10. Historical studies of attitudestowards dance compared with other methods. 11. Historical studies contributing toexpansion 26. Experimental studies inmethods of teaching of dance literature, including contemporary dance history. Consider the useof methods period as well as the past and materials in various approaches.For 12. Studies of attitude changes aboutdance in dance example: education. a) Dance history correlated withhistory of other arts Choreography b) History class taught in thelaboratory 13. Tape and film as a means ofgetting at the and classroom where studentslearn nature of the creative process.Work with dances and discuss them in relation to artists, using sound and film recordingsfor the culture of the period,including poli- well as "getting inside of the process a kindof sen- tical and religious thought, as sory travelogue" the other arts c) Non-chronological approaches tohistory 14. Current trends in choreography which do not necessarily progressfrom 15. Computer choreor aphy primitive to contemporary, butmight progress through theseperiods several 16. Choreography for differentmedia: film, TV, various thrust and times in the process of tracing and different stage spaces, such as aspects of the study, such asstyle. arena stages 27. Ethnic dance as means of enlargingdancer's Theatre understanding of his art 17. Lyric theatre form (wheremovement is cen- 28. Work done in other countries onmovement and tral) and the integration of lightand design with dance education for children movement 29. Electronic research to find if individual 18. Technical aspects oftheatre related to dance movement habit patterns can becomputed in consideration of new lighting instruments , new order to round out an individual's movement ways of using lights ,and programmed lighting experience 30. Determine if choreographicform can be com- Teaching-Learning puted (for facilitating learning) 19. Comparative study of resultsobtained from two methods of teaching technique: oneapproach T:_a_py, movement prin- based on the understanding of 31. Theoretical basis for the useof movement as ciples,the other approach usingteacher di- rected, demonstration, and drillmethods of an adjunctive therapy teaching 32. Movement characteristicsof the malfunctioning personality and of the normallyfunctioning 20. Determination of the mosteffective and eco- nomical method for developing rangeof move- personality ment (flexibility) in dancers Notation 21. TV as a tool for learning: 33. Comparative study of notationsystems through the a) Self-appraisal of technique 34. Electronic recording ofnotation use of monitors b) Video tape as a means ofself-observa- tion of technique andchoreography 133

Terminoloa 4.Studies in the field of economics of dance ter- 35. Development of a vocabulary of common NOTE: minology A great part of the research anddevelopment Philosophy proposals listed here qualify for financial support 36. Aesthetics of dance under programs established at the Office of Educa- tion, the National Endowment for theArts, the of the 37. Nature of the critical function as a part National Endowment for the Humanities,State and study of aesthetics local Arts Councils , and a number of otherFederal, State,and local agencies . During the past few years Socioloa the Office of Education, and, lately, theNational 38. Movement characteristics ofsub-cultures in Foundation on the Arts and the Humanities,have urban societies related to acting anddance offered for the asking one or another kindof direc- tory of Federal aid to the arts and toeducation in Additional Suggestions for Consideration the arts. To obtain guides to their activities,in- Washington, 1.Educating the dance audience quiries should be addressed to these D.C. agencies. In addition, the Office ofEducation New ways of extending the university intothe 2. operates a storage and retrieval systemfor reports community of educational research. A subscriptionfee will 3.Survey of the field to gather informationabout: bring monthly indexes of the system'singestions. dance The program ERIC (EDUCATIONALRESOURCES a) Existing dance programs and micro- teachers in the high schools INFORMATION CENTER) will then provide b) Status of dance in elementaryand sec- card or 3/4 size process copies of research docu- ondary schools ments at modest prices. For information on ERIC c) Administrative location of dancetoday and other educational projects write to the U.S. in higher education (physicaleducation, Office of Education, Washington, D.C. 20202. dance department, or related to other arts)

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Shirley Wimmer I 1 Summary Last Session

As the conference drew to a close it waspossible to make some formulationswhich reflect the hopes , concerns, and beliefs of this groupof dedicated and distinguishedindividuals. The total conference time, seventeen days in two phases separatedby six months, allowed a gestationperiod for the ideas presented and discussed in the first meeting to growand form a base for the later curricularplanning session.

The conference interchange emphasized theneed for a strong working relationshipbetween persons in both the prcfessional world and in theacademic world who are concerned withdance in our society. Putting the blueprint on paper is only onestep. It will come to reality onlythrough personal commitment and individual action to assist indeveloping the art of dance to its greatestpotential.

Platform for Dance in Higher Education The creative experience is always atthe core of the total dance major or areaof dance study. All dance majors should have a continuingcontact with the studio for directparticipation in dance. All dance majors should have the opportunityfor some differentiation and somespecialization in keeping with their personalcommitments and future goals. The highly gifted person should havethe opportunity to develop histalents to the fullest. There is a place for professionaldance companies within the academicstructure. Graduate programs should be developed toprovide advanced specializationand research in various aspects of the field. Different degree patterns may be appropriatein the education of the dancemajor.

COMMENTS From someone's remark that the conferencemeant a great deal to him, thedialogue shifted spontaneously to further personal responses tothe conference. "I have come out of my insular bailiwickand feel that for the first time I have been a part of something that wasmoving into a common center and a commongoal." "It is fascinating to be with people involvedwith dance, because there is such acommitment work. " and dedication.I feel charged as an individualand strengthened to continue with my "This conference has broadened me and alsohas given me a sense of humility with the awareness of how much needs to bedone. " "It has made me think about my own situationand to evaluate it in terms of the general thinking around the country. " "The atmosphere has been very permissive.I felt I could say anything I pleased." "And I did. " "For the professionals and the educators toexchange thoughts has led to anunderstanding of each other. " "We have become more aware of thescale of our problem of how much has to be done and we know it must be done so soon, sofast, so hard, so often, and so everywhere." "Almost magically our time together hasbrought our different orientations, regional problems , points of view into a common concernwhich should give us faith that we can work together for thedevelopment of dance. " 135

Appendix A Short-Term Projects

Many problems confronting dance education need atten- Grants made available by the Office of Education. tion now.In the long view, the undergraduate and Some projects may qualify for Title III funds. graduate major programs have the responsibility for When The need for in -service education is now. the improvement of dance education in our schools. Courses should be initiated by leaders in dance as soon But, in the meantime, short term courses and work- as possible. shops could be an effective means of bringing about immediate changes and improving the present level of ProgramThe course should be planned as a move- teaching and planning. ment-dance oriented experience.The purpose would be to acquaint classroom teachers with ways to present Perhaps one of the primary needs in the field is a semi- and guide the movement experiences of children. An- nar to study research methods. Assuggested earlier, other approach could be through an integrated learning many people in dance are not knowledgeablein the area experience in the arts. Such a plan would 'Milne lead- of research design and procedures for collecting and ership from music, drama, art, and movement. This evaluating data. latter approach has been used successfully with ele- mentary teachers in Detroit, Michigan. The projects listed below illustrate the kinds of courses or workshops that could make a valuable contribution IN-SERVICE EDUCATION IN SECONDARY SCH00113 to in-service education in dance. Short courses,seminars , and institutes for dance teachers. MOVEMENT AND DANCE FOR THE ELEMENTARY isr_ninnThe emphasis in the re-education program CLASSROOM TEACHER should be for physical education teachers and others A short course should be offered in the various areas who have had limited experience in dance. The focus of the United States. should be on beginning work. If it is not made clear that the focus is on beginning dance (not intermediate The course, which may take the form of a Length or advanced) the less experienced teachers maybe seminar or institute, should be two or three weeks in hesitant about participating because they feel inhibited length. This short period of time will be more attractive and fearful. to teachers than the usual six-week summer session. However, the course should be long enough so that There could be value in workshops for more advanced teachers have time to experience movementand break work, but the imperative need at first would seem to be down their own inhibitions. They must feel securein for improvement of the foundation level of teaching. the work if they are to give effective leadership. PurposeThe purpose would be to acquaint teachers CreditCredit should be available for those who wish with the materials of dance and approaches to teaching, to have it, and for those teachers who arerequired to and thus to improve the quality of dance in the second- work for promotion. ary schools. The major goal should be to reachthese teachers and assist them in becoming better teachers. SponsorshipThis short-term course might be sched- uled as: ProgramPerhaps the active participation in move- A regular departmental curricular offering. ment should be optional.Teachers could gain a great deal through observation of teaching and performance An extension workshop or institute. that is expertly done. In some instances , there may be A cooperative institute sponsored by thecity board value in using a demonstration group in order to make of education and the university. clear certain materials , principles , and approaches to SupportThe budget may be provided in various ways , teaching. according to the planning in the local institution.For WhereIn-service education should happen in all parte example,the course could be funded through: of the country.Leaders and institutions in cities , The institution's usual procedure of chargingfees states , and regional areas should take steps to provide for institutes and summer programs. offerings thst are appropriate to the situation. Full or partial support of the city or stateboard Some re -education programs of short -term duration of education. could be presented in certain institutions or cities in such a way that they draw teachers from all over the Such a class could be valuable for the young,inexperi- country. For example, if such a course wereoffered enced composer and also for the experienced composer in New York City, teachers could combine a "junket" who is looking for new ideas. to New York with a study program. This kind of exploration couldlead to the development of a sound film that could be very useful inclasses for A MODEL DANCE PROGRAM IN THE COMMUNITY composers. A sample of the "best" in dance education,starting in SponsorshipThis kind of workshop or course should the elementary school and continuing throughjunior and be offered in the music department of the university senior high school. with the cooperative support of the dancedepartment. Such an experience should be available tomusicians ValueA model program in the communitycould provide a sample of what is possible, asweii 25 dem- who wish to work with dance or theatre. onstrate high quality teaching and apreview of a se- model would serve SCIENTIFIC FOUNDATION FOR MOVEMENT quentially planned curriculum. The REIA.TED TO THE DANCER as a resource for otherschools and as a vital influence in upgrading teaching. A proposed seminar. Models should be established inseveral communities, Purpose 1 as well as urban centers. 1. Understanding of basic and newscientific in- formation that is applicable to dancersand MUSIC FOR DANCE their mechanical problems. A three-week workshop orinstitute. 2. Awareness of principles thatwould contribute 1 to better teaching and developmentof dancers. FocusPlaying for dance technique andcomposing for choreography. 3.Knowledge about body use and developmentthat would prevent injuries. MethodUse of dance film and tape as a meansof re- lating music to dance. Method Presentation of informationaccompanied by 1. Make a film of dance technique.Use film with laboratory demonstration. a class of musicians. SUMMER COURSE FOR MEN Using tape for recording, htve themplay to the film. A six-week institute. of such Have them look at the film andlisten to tape. A class for men taught by a man. The purpose a course would be tostimulate interest in dance among Use film and tape as basisfor discussion men. The emphasis would be ondance as a masculine and learning. activity with provisions made for classes for younger 2. Make a film of shortdance compositions. Use boyb as well as college age students. film with class of composers. TEACHING METHODS film of dance com- Have them improvise to A comparative study of methods used fordeveloping positions. movement skills and performance. Tape the music. Look and listen to play-back tapeand film. LECTURE -DEMONSTRATIONS Discussion of work. A conference to organize, advise, and construct a var- iety of lecture-demonstrations of dance, and todis- 3.Film a dance work already set tomusic. seminate them. See what different musicians compose. See effect upon choreographyof different RELATIONSHIP OF MUSIC TO DANCE music compositions. A conference to improve the relationshipof music with the film, the class, the concert,the lecture-demon- ValueThe hearing and seeing at the same timewould stration. contribute to awareness and learning on the partof the musician. The use of film and tapecould shorten the THEATRE TECHNICIANS FOR DANCE teaching-learning period. The presenceof music and dancer and technicians dance on tape and film would provide a"real" situation A short training course in which needs in the as a basis fordiscucsion which would be more effective explore the specific nature of the dancer's than verbal discussion aboutcomposing. theatre. 137

DANCE WRITING AND CRITICISM LISTING OF DANCE FILMS A workshop or seminar concerned with aesthetic edu- Compile an annotated list of foreign and domestic films cation and the preparation of the audience for the dancer of dance with information about sources and how they and choreographer. Such a seminar could help to es- may be obtained. tablish a working relationship between leaders and artists with writers and critics who are associated with MANAGEMENT AND PUBLIC RELATIONS papers and magazines. A conference on management and public relationsfor dance. FILM SEMINAR A four-week summer seminar to encourage those people Note: having particular interest in the special problemsof Many of these projects are as eligible for government dance film making. See Appendix B, page 141. or foundation support as thoselisted in the Chapter on RESEARCH. See page 133.

Left to right: Eugene Loring, Carl Wolz, Martha Hill, LucyVenable, Joseph Gifford, Esther Pease 138 Appendix B Work-Group Reports

To provide a setting for the Work Group Reports,excerpts from the invitationto the conference are included.

"The conference is planned as a working conference. The generalpattern of the opening days will include a presentation bi a consultant, a discussion periodfor the total group, and one or two work sessions for small groups.In our general meetings we will have anopportunity to pursue ideas presented by a consultant, and toexplore other ideas or problems that come from the work groups or individuals.

"The task of the small work group will be to pursue itsspecific area and to produce a state- ment at the close of the conference.Each participant will be related to oneof five groups as outlined. The descriptive phrases areintended as suggestions which should notrestrict the natural devel4ment of the group.Please indicate your choice of work groups."

I. FIANCE AS A FOUR-DIMENSIONAL ART The broad context of dance including music,theatre crafts, production; theatre and stage as a working laboratory; aesthetic climate;the professional company; position of dance in education.

II. MOVEMENT Movement considered from various approachesincluding motivation and inner experiencing (non-mechanical), the learningexperience, search for movement, discovery of movement pntential; movement style,varietes of style; movement principles for the efficient instrument, forperformaace.

M. FORM The architecture of a work, choreographic process,innate sense of form; form as an object, shape of content;organic structuring, changingforms; perception of environment, and of dance.

N. ARTISTIC GROWTH Various aspects of and influences on growthincluding aesthetic awareness, taste, education of feelings, imaginative responses;the artistic encounter, creative environment, 'daring to risk' and 'rightto fail,' psychological safetyand freedom; perceptual and creative growth,developmental nature of growth; interplayof the arta.

V. INTELLECTUAL GROWTH The legacy of dance, body ofknowledge, critical viewing of dance,recording of dance, music related to dance;contact with the 'best' in dance,environment that supports growth; liberalizingexperiences through non-dance,humanities, arts, social sciences , science.

On the basis of their choices theparticipants formed the work groups which metfor approximately thirty hours during Phase I of the conferencebrainstorming their way through thedesignated assignments. Even though excerpts from the Group Reportshave been incorporated into the body ofthis publication, it is appropriate that they be presented in their originalform.It should be recognized thatthese reports represent a tremendous however, there were serious amount of work-in-progressarriving at a kind of consensus. In some cases, disagreements, as well as problemsarising from attempts to clarifyvocabulary.It was a situation in which and write an indi- any one of the groupmembers had sufficient experienceand conviction to attack the subject vidual report. Hammering out a group reportwas comparable tohaving five or six choreographers for one graceful acceptance of the group effort. dance. So, of course, there were"minority reports," but, in the end, a 139

Chairman, Charlotte Irey Margaret Erlanger Martha Hill Dorothy Madden Allegra Snyder Betty Walberg Thomas Watson DanceA Four-DimensionalArt

EXPLORING AND EXPANDING THE CLIMATEAND ENVIRONMENT FOR DANCE

Favorable elements in the climate of dance:

Dissolving taboos concerning the body. Freedom in contemporary dress. Freedom in physical activity, especiallyin popular dancing. Wider acceptance of the active andapplied forms of the arts ineducation. Increase in good dance education. Increase in private and governmental supportof the arts , local, State, andFederal. We live in a verbal world and in anelectronic age which contemporary man can accept ashis natural environment. Acceptance may create afavorable elemert.

Unfavorable elements in the climate ofdance:

We live in a verbal world and in anelectronic age which contemporary man hasaccepted as his n.t- ural environment.This acceptance creates an unfavorable element. Economic insecurity in the fieldof dance, and, therefore, thechoice and continuation of dance as a precariousprofession. Some of the current unimaginativetreatments of dance through the mass medium television.

I.THE ThEATRE AND STAGEAS A WORKING LABORATORY The following is a constructionfor expanding the environmentof dance:

A. The bringing together ofthe theatre experience: 1. For working 2. For observing

B. Experience in thisaesthetic environment: 1. Exploration of allstyles of dance (ethnic, ballet, modern,jazz) 2. The building of an awarenessof sources_ such as ethnic forms 3. Experimentation withlight, sound, space, props , costumes ,visual and tactile stimuli 140 On salary C. The staff for the WorkingLaboratory: On scholarship 1. Director-administrator 5. Secretarial help 2. Artistic director 6. Designer 3. Music director a) Technician 4. Teaching staff b) Stage manager a) Dance c) Crew b) Music 7. Costume designer c) Theatre Arts a) Wardrobe mistress d) Art b) Seamstress e) Film 8. Business manager f) Notator a) Public relationsdirector g) Physical therapist b) Tour manager h) Apprentices to the variousareas of 9. Visiting and residentartists from America dance, music, theatre, art,and film: and other countries*

* Why is the artist in theuniversity? performing artist and a) Students need and wantcloser relationship with the opportunity of being in worksby an experiencedchoreographer so that through constant performance they growin their art. b) The artist is there to teachrepertory class and to doproductions on whateverlevel is appropriate. enough. Others can c) Students will have thebenefit of performing if expert serve as productionapprentices. d) Students will learn: The wholeness of danceand not to divide the craftfrom the art Commitment The paradox of freedomand discipline That a work has to try forexcellence and cannot behurried What does the performing artist meanto the university? a) He contributes afirst hand view of his art. b) He expands the audience. What does the residency mean tothe artist? a) Freedom and time to composent;w works and torework old ones. b) Opportunity for performancesnot only in the universitybut also concerts and demonstrations in the communityand environs with consequentprestige and financial support. and tape recorder) D. Laboratory with properand resilient floorsthrough- 7. Choreographers' studio out. A plant for teachingand research is a neces- study by experts. The 8. Meditation room sity and demands extensive 9. Lecture and projection rooms following are only guidelines: 10. Library and reference room(books, music, 1. Stage records, tapes, and films) 2. Rehearsal spacesomewhat larger than the 11. Recording studio stage (sound insulated) 12. Observation balcony(to facilitate uninter- 3. Small experimentalworking laboratory rupted rehearsals) 4. Green room 13. Storage space (easilyaccessible to stage, 5. Rehearsal studios(with windows, sound experimental laboratory, andrehearsal insulated) areas) for: a) Props a) Ethnic b) Musical instruments b) Ballet c) Lighting equipment c) Modern d) Costumes 6. Practice studios(piano, built-in phonograph, 141

14. Construction rooms for: aesthetic, particularly in relation to space, time, a) Music (making tapes , recording) and movement. b) Sets The second two weeks would be devoted to actual c) Costumes filming and working in the cutting room. The aim (1) Designing and sewing would not be tech.. cai competence, which should (2) Dyeing remain with trained film personnel, but the gaining (3) Washing, drying, cleaning of a working teel of the two parts of filming. 15. Office-conference room 16. Toilet and shower facilities The end result would be that through such an ex- 17. Restroom (remote from toilet and showers) perience the dance-film director would emerge. 18. Therapy room 19. Snack bar B.Economics of Documentary Films It is necessary to investigate union regulationsin E. Equipment: relation to the making of doLumentary films of 1. Lighting equipment performances by dance professionals in a pro- 2. Sound system fessional setting. 3. Provision for musicians, including properly designed music stands Up to now we have been unable to meet the grow- 4. Pianos (one with damper arrangement to ing demand for a filmed literature of dance, since facilitate working without disturbing others) fees for dancers, musicians, and film personnel raise the cost of making this type of film far above Other instruments such as: films a) Harpsichord the expectation in monetary returns. These are educationally rather thancommercially based. b) Percussion instruments library, 6. Music literature, records, tapes, dance They are materials for the classroom, research center, and adult education program,and notation scores, and films in no way take the place of live performance. 7. Video tape equipment 8. Movie projector and screen C.Annotated List of Films II. PROJECTS FOR EXPLORING AND EXPANDING An annotated list of foreign and domestic sourcesof THE CLIMATE OF DANCE films should be compiled, together with information as to how they may be obtained. A. Summer Film Seminar D. Conferences While the need for more filmed material on the dance 1. To organize and construct a variety oflec- has been stressed, it has also been demonstrated ture-demonstrations of dance and to dissem- that the filming of dance must satisfy needs unique inate them to the area of dance and therefore requires a special 2. To improve the relationship of musicwith point of view in the making of such films. A pre- the film, the class , the concert, the lecture- cedent has been set in the fields of medicini and demonstration science where a large body of films , special to their 3. On training theatre technicians anddesigners particular needs, has been created.The dance for dance film-maker requires at beet a thorough knowledge 4. On management and public relationsfor dance of both dance and film the eye of the trained dancer - choreographer implemented by a basic E. Additional Projects knowledge of the potentials, dichotomies and limi- 1. To gain support for the placement of young tations of film in specific relation to the particular trained musicians in schools to compose for needs of dance. Since this kind of specialist is now dance. rare, as are the educational facilities tofoster the skill,it is proposed that a four - week summer 2. To gain support for cultural exchange at seminar be set up to encourage those people in the home with a selection of choreographers , with dance area who show some particular interest or or without companies ,willing to spend a year concern for the special problems ofdance film- in a geographic area making.Experts in various universities having 3. To investigate possibility of gainingeconomic adequate film facilities should be present. security for dance artists through union or other means The seminar would be divided into two two-week Recommendation sessions. The first section would emphasize in- tensive analysis of films by viewing, thus building The addition of a Dance Education Specialist for the towards a theoretical understanding of the film U.S. Office of Education. Chairman, William Bales A dancer-artist is one who can respond to all demands Joseph Gifford of the choreography, intellectually, emotionally, and Valerie Hunt physically,,in order to bring "truth" to his performance. Louise Kloepper Eugene Loring The dancer-artist must have an insight and understand- ing of the choreographic process, and must bring an Movement Ruth Murray Lucy Vemble individual, imaginative contribution to the choreography. The dancer-artist needs the greatest possible rangeof I.Human Movement movement vocabulary resulting from a thoroughstudy of existing techniques and styles, such as:ballet, Movement is organized energy.Human movement is modern, jazz, folk, ethnic, tap, as well as the differ- the response of the human organism to its environment. ences in style according to historicalperiods, schools As it responds it becomes aware of the interacting pro- and regions. cesses (internal and external).It is a continuing, dy- namic process involving change and development, first This movement training is recommended forchoreog- through the response, second through the awareness. raphers as well as performers. We recognize that a The process is the core of all movement. It is the heart choreographer must have additional training in many of dance. other aspects of dance.

The physical environment is a fact of reality. The in- We also recognize the importance of the experiencein dividual must interact in this environmental reality with dance that does net have the amount of trainingand in- the sequence of events, which is time. There is a pull volvement required of the artist-dancer, but which can of gravity which is weight. The handling and the under- be a rewarding personal experience. standing of this weight is our force component. The most encompassing element is space.It involves re- V. Teacher training cognizing and defining the differences of human and non- human objects in space with the space reality of one's The movement training of a teacher should be of a own body. The latter is always the point of reference. breadth and scope that follows the direction of the move- ment training of the artist-dancer to a depthlimited H.Basic Movement Experience only by other goals and requirements of the profession of teaching. Each individual should have abroad range of movement experiences resulting in greater awareness of the total movement possibilities of the body, progress in the mastery of the body, , and the development of perceptions and concepts relating to these movement experiences.

Basic human movement is the foundation of all dance. The emphasis placed upon it depends upon the stage and level of development, and the particular needs of the individual.

III.Basic Dance Experience Chairman, Virginia Freeman Weil Helen Alkire In the shaping and clarifying of the expressive qualities Vera Embree of movement with discipline and order, basic movement This usually occurs when the Form Nancy Smith becomes basic dance. Joan Woodbury individual is able to perceive his involvement as a total experience. This leads to technical development and the extension of the expressive range of movement I. through practice and directed learning. Man is a forming organism. He forms by orderinghis experience and is thus continuously formed by his ex- A broad range of experiences is desirable, including perience. His sense of form is innate; it existsbecause technique,improvisation ,compos ition ,performing , there is form in all life experience, and man is a con- and the viewing of performances. stant participant in this forming and in forms .Consider the experience of a child's tantrum.It begins with a IV. Dancer-Artist feeling genuine and unshaped. It proceeds of its own Also called the Ideal Dancer self-feeding energy, acquiring texture and shape en Also called the Professional route.It finds its peak and comes to rest. Another The criterion is the highest standard of excellence such example is the experience of grief.It is ignited, 143 it builds, it takes over the griever, it spends,it ends. will, has made decisions all along the way, although Of course, the shape of the pattern will vary from many of these acts have been born of intuition.3 mourner to mourner. Tracing the history of an idea from inception through development will reveal a As in oil creation, there are phases of what seems to be similar architecture of process. destruction. But the actual energy of the work is not destroyed. It is transformed; that is , it has moved from The completion of forming, occurring through a struc- form into form, until the ultimate shape has been turing process , reveals forms which have in the process achieved. This process involves labor and effOrt, as taken on particular shapes. These are accessible to does all birth.It can be encouraged, induced, but, if the perceiver only through performance , past or present. forced too soon, it can result in a de-forming.The When these shapes are art shapes, they are non-dis- choreographic process is forming from felt life.It is cursive in nature. They are projections of felt life. sentient experience transformed. Although they sometimes are processed through logical ordering (more or less conscious ), they must be II. feeling-based to exist as true extensions of the sentient experience. What, then, does all this mean for the potential daricer- artist and for the artist-teacher? What are the resion- Dance forms are narticularly clear examples of exten- sibilities to the young, questioning, would-be artist sions of felt life because of their non-verbal nature and whose life will be so touched by what the teacher feels , because both the feeling and its resultant form reside in thinks, does,is ? How can the teacher provide an at- the same location the human body. The choreographic mosphere which will foster the creative spirit the process could be described, then, as "an auto-symbol- life force? izing process, occurring through the transforming of fantasy images into metaphor images."1 The develop- Movement is the "stuff" of dance; it is shaped to be a ment of a piece of choreography is , therefore , seen to be projection of a dance idea.It la the actual content, in an evolving pattern of relationships, growing organic- that it is the movement itself that siraks. The dance ally, and assuming configuration, texture, and quality. idea is carried in the movement. It springs from the It begins with that initial matrix of feeling which re- choreographer's intuition, and is given over to the in- mains the living center or spine of the growing work. In tuition of the perceiver. The act of forming has its dance,this initial matrix never evolves into a discursive genesis in the silent space of the individual's inner or verbal form.It retains its autonomous non-verbal world. But, at the 'same time, it bears the imprint of nature, needing no verbalization and answering only to experience that is socially constituted in objects , events , its own demands. To say that the choreographic process conditions, and qualities of his total environment. is organic and that it evolves from the initial energy of that first feeling is not to say that the choreographer Freedom is essential in the act of discovery and image becomes a passive subject taken over by his own work. making.Improvisation can be a useful technique in At times it seems that way, particularly when a piece the forming process , and has validity as a way for the of choreography is growing rapidly and with apparent student to find "live" connections out of which he may ease. Perhaps it is because that primal awareness , discover forms,instead of superimposing them on the known as feeling, has gathered great momentum and movement, and get back to the physical reality of what has temporarily outdistanced conscious recognition of he is doing in time-space, letting the form come from the action involved. Forming is an act; it is not passive. within.This allows the dancer to bring from the sub- It depends ultimately on the will of the form-er, who conscious those elements which are not determined by becomes sensitive to certain potential relationships , the intellect. heightens some materials, decreases or eliminates what seems to be irrelevant until he has satisfied his For the dancer-choreographer, there is the necessity completion-seeking self. When the work fails to devaop for the fullest possible use of our historical legacy in this organic way, , it often will seem contrived because through the etudy of past and current dance repertoire, it has been mechanically manipulated, has somehow through the study of traditional forms in music, dance moved away from the initial matrix, has become a victim and the other arts ,and through the study of new, of empty formalism. emerging forms.

The choreography is the elaborated, articulated exten sion of the choreographer's first sentient experience. It has been termed a "living, autonomous model of con- sciotumess."2The choreographer has exercised his 3. "Style is the principle of decision in a work of a.vt, the 1. Harold Rugg, IMAGINATION (New York: Harper &Row, signature of the artist's will. And as the human will is 1963) p. 305. capable of an Indefinite number of stances, there are an 2. Susan Sontag, AGAINST INTERPRETATION (New York: indefinite number of plssible styles for works of art. Farrar, Straus & Giroux, 1966), p. 31. (Ibid., p.32.) 44

The teacher can seive as facilitator, ascatalyst, in the Suggested research process of discovery. He senseswhen to offer resist- ance in the choreographic process ,when to provide a 1.BlectfoiliC researchto find if individual movement kind of abrasion that will result in creative tonicity. habit patterns can be computed in order to round out an individual's movement experience. The teacher serves as critic by being theobjective eye 2. To determine if choreographic form can be computed which aids the student in dilating his own vision.He (for facilitating learning). the piece tells the student what he (the teacher) perceives 3.To determine if notation can be recorded elec- translate the piece to be , not what it means. He does not tronically. in terms of meaning, for the piece isnon-discursive in nature and autonomously so. The teacher-critic should receive it experientially.In this way, the student- choreographer may learn to carry his own criteria.

TA-1.

There is a need in man to find, hold, and manipulate forms that take him out of the ordinary andprovide for him a kind of transformation and immortality, a visa from present to future. This need finds ample stimu- Chairman, Eleanor Lauer lation in today's new technology.At times, the new Bonnie Bird technological age intimidates and frightens us, but we Greta Brown must learn to utilize and exalt its constructiveinflu- Nik Krevitsky ences, as well as cope with itsdestructive forces. Artistic Growth Jack Morrison The computer age is with us, and often mechanistic Esther Pease power seems a hostile aspect of contemporarylife. We are accustomed to regard the machine asanti- humanistic, but perhaps we will learn to thinkof the The artistic growth of an individual occurs in his pur- and/or new technology,not just as an extensionof human suit of one or more art forms as a participant intelligence, but as an indication that the scopeof audience member. The experience provides the oppor- humanity of what we have considered to behuman tunity for the artistic encounter, out of which artistic ia far more vast than we have everconceived. The growth may proceed. All creation is a mystery, but new humanism mayembrace an enormously increased the creation of art is a uniquely human experience. spectrum of human abilities andsensibilities. We are The use of art is to fulfill man's life.Without it, he already operating on drasticany revisedand enlarged exists and merely exists ,rather than lives in a concepts of spice and time; yesterday'smysteries are "bread-alone" world. today's science.If art enhances reality, as Camus suggests, and if art shapes areprojections of experi- That man must have "morethan bread" to live becomes ence, then the artist willdiscover and develop new increasingly evident on all sides.When he is deprivrA forms, utilize them expressively, ,giving them the of some means of expression,distortions of his poten- luminosity of his expanded imagination,thereby re- tial for health occur, movinghim toward conditions of and encouraged, he un- taining the relevance of his art. illness. When he is unfettered folds,he creates; his products satisfy him, enrich his There are increasing possibilitiesof perception, and world, and society benefits. Dance, as one of the arts , with new percepts, new concepts will emerge.The one provides a profound means through which man can ful- thing today's artist cannot afford is toremain insulated fill himself. From the earliest moments of life, man by preconceptions. Rilke described theartist as some- lives in his body, , he is continuously in action,from to the ex- one who works "toward anextension of the regions of the states of stillness, of no apparent motion, individual senses"; McLuhan calls artists"experts in plosive totality of a great leap. The quality of human does today's artist find health is inextricably bound up with the amount andkind sensory awareness." Not only data of himself in rapidly evolving new worlds,but also he of movement the body can make. The empirical skilled teachers and observers in the field ofdance,and finds that he has increasingly sensitiveantennae with forms. the greatly increased information derivedfrom numer- which to perceive them. New worlds create new that dance, in all its as- Dance today will become today's dance as itdiscovers our scientific studies , indicate yet untapped its new forms. It will become a relevantmanifestation pects as an expressive medium, has an as of the new humanitas as it casts its changing sensory contribution to make to the education of the whole person materials into new expressive shapes. in our society. 145

In dance, artistic growth consists of the developing 2. An environment which provides a variety of sensory awareness and mastery of movement and an understand- stimuli to which the person may respond. ing of it as an expressive medium of human communica- 3. A climate of acceptance of the person by himself Since, for each individual, artistic growth is a tion. and by those around him. part of his total development and may proceed quite differently for different persons under varying condi- 4.A continuing contact and identification with nature. tions, any attempt to make a definitive statement as to 5. A teacher who is able to recognize those moments the exact nature of artistic growth would be almost im- when a student has reached a new level of develop- possible. However, countless teachers are convinced ment and can make him aware of his achievement. that they,,and many of their students, have experienced artistic growth, that it is a recognizable phenomenon, 6. An ample opportunity for self-direction. and that it is vital to an effective education in dance. 7. An atmosphere free from those negative attitudes or taboos which lead to interruption, distortion, or de- Societv1the Teacher, the Student struction of that artistic tendency which is innate in every individual. Aesthetic growth for every individual an ideal in a healthy society can be nurtured in an atmosphere in 8.Instructional methods which relate to the varying which that individual is free to move and encouraged to kinds and rates of artistic growth in different indi- move (alone and with others) so that human communi- viduals. cation may take place on the level of dance. The role of society in producing the aesthetic, sentient, dance- Evidence of Artistic Growth man is that of providing opportunity for thedevelopment of individual movement potential in an atmosphere Each art has unique properties that distinguish it from secure in its permission of uniqueness ,comfortable in all others. Dance exists within the dancing body and its recognition of non-conformity, wholesome in its en- exists only as it is being performed. Components of couragement of physical freedom, and generous in its the kinesthetic aesthetic exist in each of the other arts, provision of aesthetic experiences in all fields, disci- but it is the aesthetic of dance. plines, and environments. There are observable clues to artistic growth which a For teachers , the chief concern is to provide conditions responsive teacher can recognize in a student of any age offering the greatest opportunity for artistic growth, to or any level of ability. They are: be on the alert for its appearance and to recognize it 1.The ability to incorporate increasing complexity into appropriately when it does appear. Though skills and a unified whole. techniques have an important place in the curriculum, 2. The increase in responses to stimuli sensitivity. though information about dance and dancers is mean- ingful and adds a level to the experience, it is only in 3.The heightening of an ability to see, hear, and feel the involvement with art as a direct experience or en- relationships between forms,verbal and non-verbal, counter that full aesthetic growth can occur and the and visual, auditory, and kinesthetic. individual can reach that level of human-ness we refer 4.Evidence of greater confidence as the individual to as the "educated (whole) man." becomes self-actualized motivated from within.

The teacher must be guide , catalyst , perceptive leader Essential Experiences understanding and encouraging. He must provide secu- rity (love) as well as challenge. He must avoid being In the fostering of artistic growth, certain experiences mechanistic, a drill coach, merely a disseminator of should be provided for all students. Application and information. understanding will, of course , vary in accordance with the physical, emotional and intellectual growth of the The student must learn to think and to feel rather than individual, but the concepts seem consistent through- merely to memorize and repeat. He must be free to out.They derive from the fact that man is constantly observe fully with his total responsive mechanism to moving taking in and responding to sensory stimuli, respect the poetic level of expression as meaningful and "forming" from the backlog of experience which he and important and more vital than the mundane, the has had.This process of sensing, responding, and factual, the computerized, and the processed,which forming, has been recognized as part of the creative constitute the present en,phasis in "education." process and is of particular importance in dance edu- cation. Encouragement of Artistic Growth Conditions favorable to artistic growth in dance are: If conditions are favorable for artistic growth, the stu- 1. Space and time to dance, and acknowledgment that dent will use his body as a structural whole. He will movement is an important activity for all people. discover the movement potential of his body and will move in a variety of ways within an exploratoryframe- Past Present Future work. He will understand and apply the principles of There is a continuum of that which is meaningful and movement in relation to body alignment, flexibility, beautiful in dance. Each historical period has contri- strength , endurance , locomotion , elevation ,descent, buted to it.While we cannot directly experience its and revolution. past, since dance by nature is of the instant, many of He will discover his own movement potential through the elements of expressiveness can be reconstructed improvisation and exploratory movement in relation to with the assistance of the other arts and disciplines the concepts of time, space, and force. He will respondsuch as music, painting, philosophy, anthropology. in a variety of ways (through participation, observation, conceptualization and evaluation) to a variety of stimuli. The "truths " of dance which have been revealed through- He will bring order to this storehouse of experiences out successive stages in the past are brought intothe and form something uniquely his own. He will make his light of today to be used and reshaped within a context contribution to his environment and will discover his of the present. Dance mirrors man the dancer atthis creative potential. He will observe, participate in, and moment, in this place. It can never be otherwise,since evaluate his own work in relation to the work of his peers dance lives in the physical body of the man. and the total artistic world. He will understand and apply the principles of form and will create through traditional Even while we realize the deeper significanceof dance as well as experimental processes. and add a segment to that continuum which beganwhen man first danced, we begin toobserve evidences of Within the educational systems in which dance is taught, change. These trends, though vague and not completely opportunity will be provided for the development of kin- intelligible, might provide the key to new directionsof esthetic awareness, increased sensory responsiveness the dance art. We have discovered the dance of the 20th and forming. Differentiation at the various levelsof century. Perhaps, among our present-day artists, but sophistication will be only a matter of emphasis. Inthe more likely within the ranks of the young, arethose who elementary levels, the emphasis will be on the kines- will begin to envision the dance of the next century.The thetic awareness, with some experience in the areasof shape and significance of the evolving danceforms will response and forming. The focal pointwill shift grad- be directly related to the nature of the developmentof ually so that, at more advanced levels, the emphasis the individual within society. It is the responsibilityof will be on forming and performing, based on a rich ex- society, the teacher, the parent, to provide for each perience of movement from a feeling base. person opportunities for the realizationof his dance potential and, thereby, for maximum artistic growth.

CLirman, Selma Jeanne Cohen Elizabeth Hayes Intellectual Growth Marian Van Tuyl Shirley Wimmer Carl Wolz

I. A PROGRAM FOR INTELLECTUALGROWTH ENVISIONED THROUGH A DANCE CURRICULUM

how certain techniques are achieved , A. Intellectual growth can be gained by allstudents trolled how certain movement qualities are attained through general dance class experiences which in- clude the following: 5. Recognition of time, space, and energy as factors that can be manipulated to create 1. A concept of man as a total human organism, and recognition of the need for total body expressive movement awareness 6. Skill in analyzing dance movementand abili- 2. An understanding of kinesthesia as abasis ity to read its notation for dance expression and communication 7. Skill in analyzing rhythm as itrelates to the 3. Knowledge of body structure and its move- dance movement and ...3 the musical structure ment possibilities 8. Awareness of the need for form, and under- 4. Knowledge of how body movement is con- standing of concepts of dance structure 147

B. Intellectual growth for the danceeducated person Most of all, importance should be given to encour- of (as distinguished from thedance major) can be aging study with great teachers, regardless further extended by a humanities coursein dance subject matter areas. and related arts to include introductoryexplorations for the dance into the following areas: E. Intellectual growth can be provided level) to fulfill and interaction of the arts major (particularly at the graduate 1. The interrelation his needs in special areas of competence.(For 2. The functions and purposesof dance in human many people, more than one areaof competence living will be desirable.) development of dance 3. The historical 1. Dancer 4. The concept of art as a creative process a) Understanding the techniquesand theo- 5. Knowledge about theories andpracticee of ries of great dance artistsand of dif- individual artists.Ideally, this classroom ferent cultures approach should be supplemented whenever b) Experience with a varietyof styles and possible by laboratory experiences with repertory works performedunder var- movement to give added meaning to these ied circumstances intellectual explorations. c) Singing and acting

C. Intellectual growth for the dance major needs tobe 2. Choreotrapher a) The above experiences listeLfor the reinforced in the following basic areas of knowledge. (This section would include a study in increased dancer b) Experience in the craft of composition depth of the areas listed in I-B.) c) Techniques required fot TV,films, 1. Anatomy and kinesiology(preferably com- arena stage, and musicaltheatre bined and directed to the dancer's needs) 2. Application of the aboveknowledges to the 3. Tit:licher study of human movement (Valerie Hunt's a) Child and adolescentdevelopment approach ) b) Psychology of learning c) Principles of teaching danceto various 3. Evaluation of danceimprovisation and com- age groups position d) Administration 4. Rhythmic analysis and advanced practice 4. Dance Therapist 5. Resources in dance accompaniment(Music, electronic a) Behavioral sciences percussion, use and making of emotionally tapes, etc.) b) Experience working with disturbed individuals 6. Advanced dance notation c) Experience working with thephysically 7. Dance history with compositionalapplication handicapped 8. Dance aesthetics and criticism 5. Film Maker and 9. Form and function a thelecture-demonstra- a) Still photography, motion picture, TV production tion with practical application b) Experience in filming 10. Stagecraft, lighting and costumingwith prac- tical application 6. Dance Notator a) Advanced notation D. Intellectual growth for thedance major can be fur- b) Experience in notating danceworks ther extended in the direction ofrelated art fields interest and need. 7. Critic and/or Historian selected on the basis of individual a) History and literature 1. English Composition b) History of criticism 2. Literature c) Historical method andbibliography 3. Foreign languages d) Experience in journalistic andhistorical 4. Practice in visual design(art, architecture) writing 5. History of other arts 6. Anthropology 8. Musician and Composer for Dance 7. History of ideas - variousfields a) Music history 8. Philosophy b) Ethnomusicology J. Psychology c) Improvisation on various instruments 10. Physiology d) Experience in composing for dance 9. Ethnologist III. REQUIREMENTS FORIMPLEMENTING a) Anthropology, folklore, and mythology THE PROGRAM b) Ethnomusicology c) Ethnic dance A.Need for well trained teachers 10. Theatre-Technician for Dance B.Need for materials: a) Staging design b) Lighting design 1. c) Costume history a) Music d) Costume design b) Oral history e) Stage management 2. Scores: f) Technical experience in above areas a) Dance repertory b) Music repertory RELATED FIELDS II. LEVELS OF INSTRUCTION IN 3. Visual Resources: a) Photographs and slides: A. Elementary School (1) Performers andperformances Music, theatre, and dance historyexperienced in (2) Relevant visual artsand environments projects correlated with the totalcurriculum. b) Films: Science of human movement, movementnotation, (1) Records of repertory and critical viewing of danceintegrated with the (2) Imaginative documentaryof repertory dance experience. (3) Filmic dance (4) Demonstration B. High School (5) Biographical andhistorical 1. General High School: Study tocontinue in the manner outlined above 4. Publications: a) Books, all types, for all agelevels 2. High School of Arta: Inrecognition of the talent b) Continuing bibliographies supplements and interest of dance students inthese special- c) Encyclopedia with annual ized high schools , more intensivework in music d) Journals resources and analysis,anatomy and human 5. Live dance, touringcompanies: movement, movement notation,and history of a) As modcals of excellence the arta b) As subjects for criticalevaluation C. College and University C. Need for undertakingprojects: To meet the needs of variedabilities and purposes work to be offered in: 1. To train teachers: a) Immediate: summerinstitutes 1. A continuing contactwith dance for the general b) Future: regular program willprovide student 2. An intensive programfor students educated in 2. To make materialsadequate and accessible the general high schools who nowwish to major a) Regional information centersat colleges in dance and universities, with broadgeographical 3. An intensive programfor students coming from spread the high schools of art (1) Library (2) Research training (3) Distribution (4) Publication b) Work with available material (1) Survey of material (2) Editing of material (3) Cataloguing c) Provision of newmaterial as needed 3. To utilize moderntechnological resources

Note: Chart "Dance in Education" on page87 was designed in this work group. 149

Appendix C Participants

ALVIN AILEY, dancer, choreographer, teacher, director, IRVING M. BROWN is Theatre Education Specialist and Act- had his early dance training with Lester Horton. Mr. Ailey's ing Dance Education Specialist for the Arts and Humanities own company, the American Dance Theatre, has toured the Program of the U.S. Office of Education.He came to the Far East and Europe under the sponsorship of the U.S. Office from Lake Erie College where he was Director of the Department of State. He has choreographed for the Joffrey Theatre Arts Program as well as of the Lake Erie College- Ballet, the Harkness Ballet, and the Metropolitan Opera. Community Theatre.He has been active in theatre, film, HELEN P. ALKIRE, Professor and Director of the Depart- and dance production here and abroad as director, actor, ment of Dance at Ohio State University, is the founder, administrator, teacher, lecturer, and consultant. director, and choreographer of the Ohio State University SELMA JEANNE COHEN,Editor of DANCE PERSPECTIVES , Dance Company and "Choral Dance Theatre" with which she has taught dance hi; tory at the High School of Performing has toured in this country and Europe. She has an extensive Arts, Connecticut College School of Dance, and University background of professional study in dance,has taught at Sweet of California, Riverside.She has published articles in Brier College, Teacher's College of Columbia University, many periodicals, has served on the boards of the American and the Cape Cod Theatre School. She has held offices in the Society for Aesthetics, National Association for Regional Dance Division of AAHPER, and is a board member of the Ballet, and Committee on Research in dance. She is cur- Dance Notation Bureau. rently a member of the Advisory Dance Panel for National WILLIAM BALES, Dean of the Dance Division of the State Council on the Arts, and of the executive committee of the University of New York, College at Purchase, N.Y. , was American Society for Theatre Research.Miss Cohen is formerly chairman of the Dance Department at Bennington author of THE MODERN DANCE: SEVEN STATEMENTS College,and has taught and performed at Connecticut College OF BELIEF. School of Dance. Mr. Bales was a member of the Humphrey- VERA LEWIS EMBREE, teacher-director of Central High Weidman Company and the Dudley-Maslow-Bales Company. School and the Contemporary Dance Group in Detroit, was He is on the Board of Directors of the New Dance Group educated at the Hampton Institute, Virginia. She has writ- Studio and the Advisory Dance Panels of the Cultural Ex- ten, choreographed, and produced for both commercialand change Program, U. S. Department of State, and National educational television, notably the special program, "The Foundation on the Arts and Humanities. Odd Breed." She serves on the Dance Committee of the MANUEL BARKAN is Professor and Chairman, Art Edu- Michigan State Council for the Arts, and is Board Vice- cation Area, School of Art, at Ohio State University. He is President of Metropolitan Educational Cultural Activities also Director, Aesthetic Education Curriculum Program, Association. Central Midwestern Regional Educational Laboratory. JEAN ERDMAN. dancer-choreographer and founder-direc- FRANK BARRON, Associate Research Psychologist, Insti- tor of The Jean Erdman Theater of Dance, was for seven tute of Personality Assessment and Research, University years artist-in-residence with her company at University of California, Berkeley, is currently in Rome, Italy on a of Colorado and for three at the Vancouver International Guggenheim Fellowship.Mr. Barron has taught at Bryn Summer Festival.Touring seasons have included Canada, Mawr College, Wesleyan University, Harvard University, Europe, India. and Japan. Her work for total theater, THE and was a Fellow at the Center for Advanced Study in the COACH WITH THE dLt INSIDES, received the Vernon Rice Behavioral Sciences. He is the author of CREATIVITY AND and Obie Awards in 1963, then for four years toured the PSYCHOLOGICAL HEALTH. world. She is now Head of the Dance Theater at New York University's new School of the Arts. BONNIE BIRD trained at the Cornish School in Seattle and, after working, teaching, and performing with Martha Graham MARGARET ERLANGER, Director of the Dance Division, in New York, she became head of the Dance Department of University of Illinois, studied at the Bennington School of the Cornish School. Upon her return to New York, she di- Dance and the Wigman School.In 1953 she was Fulbright rected the Dance Department of the YMHA and the Merry- Lecturer in Dance at University of Otago, Dunedin, New Go-Rounders, has directed the Dance Educators' Workshop Zealand, and in 1961 she studied Japanese Drama at Waseda at Connecticut College School of Dance , and was Chairman of University, Tokyo.She is Chairman-Elect of the National the National Dance Guild. Under the auspices of the Board Dance Division of AAHPER and author of numerous articles of Education of Hastings-on-Hudson , N. Y. she is conducting on dance. workshops for elementary teachers , "The Use of Expressive JOSEPH GIFFORD, Assistant Professor of Theatre Arts, Movement in the Classroom." School of Fine and Applied Arts, Boston University, is also GRETA BROWN teaches modern dance at Culver CityJunior in charge of dance activity for Boston University at Tangle- High School "to every girl within the physical education wood. He was a member of the Humphrey-Weidman Com- department." She has studied and performed with Gloria pany, faculty member and director of theNew Dance Group Newman, and is currently at work on a Master's thesis, Studio, and director-choreographer of the Joseph Gifford "Negro Dance in America," at the University of California, Dance Theatre. He was delegate to the International Thea- Los A:kgeles. tre Institute Congress in Vienna (1961) and Warsaw (1963),

i Term"

classes and workshops in Headquarters, Europe; Director Performing Arts,Brooklyn ro and has given numerous master Harkness House this country and in Europe.He is a member of the Board Academy of Music; and Executive Director, for Ballet Arts, New York. of Directors of the Dance NotationBureau,and the Executive Committee, National Dance Guild. LOUISE KLOEPPER, Associate Professor andChairman of Wisconsin, studied at the ELIZABETH R. HAYES , Director of ModernDance , Depart- the Dance Division, University of at the Hanya ment of Ballet and Modern Dance ,University of Utah, studied Wigman School , and was teacher and performer University of Wisconsin. Holm School of Dance.She was a fellow at the Bennington with Margaret H'Doubler at the sessions at She is former chairman of theNational Dance Section and School of Dance, and has taught in the summer College, and Univer- the Dance Education Sectionof AAHPER, and the author Bennington at Mills College, Colorado of INTRODUCTION TO THETEACHING OF DANCE and sity of California, Los Angeles. DANCE COMPOSITION AND PRODUCTION. NIK KREVITSKY , painter anddesigner-craftsman , Director in ALMA M. HAWKINS,Chairman of theDevelopmental of Art, Tucson PublicSchools,has a background of study Conference on Dance, is Professor andChairman of the dance. He was associate editorof DANCE OBSERVER,and Dance Department, University ofCalifornia, Los Angeles. is a member of the editorialboard of IMPULSE. In1962 in the Aesthetic Educa- he was U.S. representative tothe UNESCO Institute forEd- She is Dance Substantive Specialist Fifth tion Program sponsored byCentral Midwestern Regional ucation in Hamburg, and in 1964 apanel member of the She is the author ofCREATING International Congress on Aestheticsin Amsterdam. He is Educational Laboratory. Art and THROUGH DANCE and MODERNDANCE IN HIGHER author of BATIK Art and Craft, STITCHERY Art and Craft. EDUCATION. Craft, and APPLIQUE MARTHA HILL, Director of theDance Department , Juilliard JUANA DE LABAN, AssociateProfessor of Dance at the School of Music, has beendirector of the Bennington School University of California, LosAngeles, is lecturer, writer, of Dance, the Bennington Schoolof the Arts, was chairman and researcher on dance. She is amember of the Council of Dance and choreographer,Bennington College, and the of the Society for Ethnomusicology,the Committee on Re- director of Dance, New YorkUniversity.She is also a search in Dance, and memberand former chairmanof the Director of the Connecticut College Schoolof Dance and the American Educational TheatreAssociation. American Dance Festival. She was a member of theMartha Emeritus of Philosophy, awarded the Degree SUSANNE K. LANGER, Professor Graham Company. Miss Hill has been is research scholar at ConnecticutCollege. Dr. Langer is of Doctor of Humane Letters, AdelphiUn:versity, and the A NEW KEY, FEELINGAND Colle;e. the author of PHILOSOPHY IN Doctor of Fine Arts, Mount Holyoke FORM, and PHILOSOPHICALSKETCHES. The first volume VALERIE V. HUNT, Professor ofPhysical Education and of her new work, MIND: AN ESSAYON HUMAN FEELING, Director of the newly established MovementBehavior Lab- has recently been published. oratory, University of California, LosAngeles, iscon- ELEANOR LAUER, Professor andChairman of the Dance sultant in Federal, State, and localagencies on education Oakland, California, has had in the arts and the effects of perceptualmotor limitations Department, Mills College, extensive experience in choreographyand performing. She upon learning.She is author of RECREATIONFOR THE School of the Theatre in HANDICAPPED and co-author of CORRECTIVEPHYSICAL taught at the Actors' Company Chicago, and travelled and taughtin the Far East on a Ford EDUCATION. Foundation grant.She is director of thechildrens' arts CHARLOTTE IREY, Assistant Professor,University of program at Mills College,and has been associated forthe Colorado, and Chairman of the UniversityDance Program, past twoyears with UpwardBound, the Federally sponsored is past chairman of the NationalSectionon Dance AAHPER, anti-poverty education programfor high school students. and was director of the conference onDANCE AS A DISCI- the JOSE LIM6N, dancer,,choreographer, , and teacher, is on PLINE in 1965.She has danced in the summercompanies of Mus ic and the Connecticut has choreographed and faculties of the Juilliard School of Jean Erdman and Pearl Lang, CollegeSchool of Dance. He is directorof his own company performed extensively in Colorado, andrecently was guest which has toured extensively inthis country, Europe, South lecturer at a Modern Dance Workshopat the University of America, and Asia. His wasthe first dance company tobe Alberta, Canada. sent abroad under theInternational Cultural ExchangePro- C. BERNARD JACKSON , musician ,composer, , and resource gram of the U.S. StateDepartment. Mr. Limim received consultant for mental health programs,has been musical an Honorary Doctoratefrom Wesleyan University and the director of the Alvin Ailey DanceCompany, the Al Huang Capezio Dance Award. Dance Company, and of GraduateConcerts at University of ROBERT LINDGREN is Dean of the NorthCarolinaSchool of lectured in the Dance California , Los Angeles , where he has the Arts and a teacher of ballet. Withhis wife, Sonja Tyven, the Los Angeles Department.He is Executive Director of Mr. Lindgren established theLindgren School of Ballet in Inner City Cultural Center.Mr. Jackson has composed Phoenix, Arizona after having performed asfeatured artist music for film, plays, anddance,including scores for FLY in the Ballet Russe de MonteCarlo, New York City Ballet, BLACKBIRD and SCUDORAMA. He receivedthe Obie Award and Ballet Theatre. He hasappeared in Broadway produc- (Best Musical 1961-62) and was a JohnHay Whitney Fellow tions and over 100 televisionshows, and has choreographed in 1963-64. for the North Shore MusicTheater, the Phoenix Musical Theatre, the Phoenix ArtFestival, and the SombreroPlay- Executive Director of the NewJersey BYRON R. KELLEY is house. State Council on the Arts.Previously, he has held positions as Directorof Professional Entertainment,U.S. Army 151

EUGENE LORING is Chairman of Dance and Senior Lecturer ESTHER E. PEASE is Chairman for Dance at the University at University of California, Irvine Campus, and Director of of Michigan and Director of the Theatre Dance Touring the American School of Dance, Los Angeles. As a choreog- Company.She has taught at Whittier College, San Diego rapher his credits include numerous ballets (BILLY THE State College, and Purdue University, and co-authored KID), motion pictures (FUNNY FACE), television shows MODERN DANCE: Building and Teaching Lessons. She is (OMNIBUS), Broadwa:, ahows (SILK STOCKINGS),opera and the author of MODERN DANCE in the William C. Brown Joe Capade productions. Mr. Loring has beena dancer and series on physical education activities, is past chairman of choreographer with the Metropolitan Opera Company,,Ballet the Dance Division of AAHPER, and serves as consultant Caravan, The National Theatre, and The Dance Players. to the Bureau of Research, U. S. Department of Health, Education and Welfare. DOROTHY MADDEN, Chairman of the Department of Dance, University of Maryland, was a member of the Nirenska and NANCY W. SMITH, Associate Professor and Chairman of Butler Dance Theatre Companies.She was a visiting lec- Dance at Florida State University,, wasformerly a member turer at Dartington College of Arts, Totnes,England, I. M. of the dance faculty at Sam Houston State College.She is Marsh College, Liverpool, England, and at the Universities Chairman of the Dance Division of AiLHPER, and has served of Ottawa and Iowa, as well as guest teacher, Ministry of as national editor for the Dance Division as well as editor Education, Paris. She also served as vice-president of the of FOCUS ON 7 ANCE IV: Dance as a Discipline. National Council of Arts in Education1965-67. ALLEGRA FULLER SNYDER has a comprehensive concern for dance, which she feels can best be expressed and imple- PORTIA MANSFIELD, Co-Director of the Perry Mansfield mented through film. She is now on the faculty of University School and Camps, taught dance in many private schools , of California, Los Angeles, and has performed with Ballet made a series of color-sound films on dance, and produced, Society, and choreographed for the Robert Joffrey Ballet. with Louis Horst, six volumes of exercises in basicmove- ment.With Charlotte Perry she organized the Perry- She is dance-film editor of FILM NEWS and a recent con- tributor to DANCE MAGAZINE, DANCE PERSPECTIVES, Mansfield dancers, and toured with them in this country for six years. and IMPULSE.Her documentary film on Phillipine dance, BAYANIHAN, won a Golden Eagle Award. JOHN MARTIN was dance critic for THE NEW YORK TIMES MARIAN VAN TUYL, editor of Impulse Publications since from1927to1962. He served on the faculty of the New School for Social Research and Bennington School of the 1951,former dancer and choreographer, was chairman of Dance. He is now on the faculty of University of California, the Dance Department at Mills College, and also taught at Los Angeles.Mr. Martin is the author of THE MODERN the University of Chicago for ten years. She toured exten- sively with her dance group, and was one of the first fellows DANCE, AMERICA DANCING, INTRODUCTION TO THE in choreography at Bennington School of Dance.Recently, DANCE, THE DANCE, WORLD BOOK OF MODERN she has been a member of the faculty at Connecticut College BALLET, BOOK OF THE DANCE. School of Dance. JACK MORRISON, Dean of the College of Fine Arts and Professor of Theatre, Ohio University, Athens, Ohio, was LUCY VENABLE , Certified Labanotation Teacher and Nota- formerly an associate professor and a director in the tor, , is President of the Dance Notation Bureau.She has Theatre Arts Department, University of California, Los danced with the companies of Jose Limen, Pauline Koner, Angeles.He has served as Theatre and Dance Consultant and Ruth Currier, taught dance at the LimOn studio, dance to the Arts and Humanities Program of the U.S. Office of and Labanotation at Juilliard School, Connecticut College Education, and president of both the American Educational School of Dance, and the YM-YWHA. She was a founder and Theatre Association ane the National Council of the Arts in company director of the Merry-Go-Rounders . Miss Venable Education. has notated PASSACAGLIA and NEGRO SPIRITUALS, and is co-author with Fred Berk of "Dances from Israel" and "Ten RUTH L. MURP.AI,Professor and Coordinator of Dance Folk Dances in Labanotation." Activities and Chairman of the Women's Staff of the Division of Health and Physical Education, Wayne State University,, BETTY WALBERG composes and arranges music for dance Detroithas been cha:rman and advisory member of the for theatre,films,and television. She has been on the facul- Danc-.1 Section of AAHPER and editor of DESIGNS FOR ties of New York University, Connecticut College School of DANCE for the journal of that association.Currently, she Dance, and Juilliard School, and has been associated with serves as chairman of the Dance Committee of the Michigan Martha Graham,Anna Sokolow,,Jose Limcin, and other lead- Council of the Arts.Miss Murray is author of DANCE IN ing figures in the dance. She was piano soloist with Jerome E LE ME NTARY EDUCATION. Robbins' BALLETS: U.S.A. Her credits include WEST SIDE STORY, GYPSY, FIDDLER ON THE ROOF, FuNrz GIRL, ALWIN NIKOLAIS,choreographer and composer,,is Director DR. DOOLITTLE, and a current television special, THE of the Henry Street Playhouse and his own dance company. FRED ASTAIRE SHOW. In addition to regular seasons of dance-theatre in New York City, he has toured the United States, presented commis- THOMAS S. WATSON is Chairman of the Department of sioned works for art festivals in Montreal, New London, Dramatic Arts and Speech, University of Delaware. He has Illinois, and Utah, and has rorked extensively in television. been director of the Theatre of the State University of New He has been the recipient of two Guggenheim Fellowships and York at Buffalo, and instructor in Stagecraft and Lighting at a grant from the National Council on the Arts. His group has Connecticut College School of Dance. He counts among his particiAted in the Spoleto Festival and the program of the skills those of director, designer, theatre consultant, and New York State Arts Council. Mr. Nikolais is President of administrator.. the American Association of Dance Companies. 152 College VIR6TNIA FREE MAN WEIL, Ass istant Professor, ,American SHIRLEY WIMMER , Director of the Dance Program, University, teaches at the National BalletSchool and the of Fine Arts , Ohio University, , Athens , Ohio, wasformerly on Arena Stage in Washington, D.C.She has directed the the faculty at University of California, LosAngeles, chair- Washington Dance Repertory Company since 7 964 , and Alit.7 man of the Dance Department, MillsCollege, and assistant She has had a founding director of the DanceQuartet.Mrs. Weil has director at Connecticut College School of Dance . taught at the University of Illinois , University ofCalifornia, extensive experience in performance andchoreography, and Los Angeles, Sarah Lawrence College, and assistedLouis received a Ford Foundation Fellowship to investigatethe re- Horst at Connecticut College School of Dance.She was a lationship between Folk and Classical styles of dancein India. recipient cf a grant from the National Endowmentfor the She was chairman of "Programs of Study in Dance ,"AAHPER Arts. Conference on Graduate Education, and is Field Readerand Consultant: Arts and Humanities Program, U.S. Officeof MARY WHITEHOUSE is a charter member of theAmerican Education. Dance Therapy Association, and is engased in thedevelop- ment of a movement approach to the iiitegrationof person- CARL WOLZ , Assistant Professor, Universityof Hawaii, ality, based on studies in Analytical Psycholou at C. G.Jung teaches dance and related subjects in the Dramaand Music Institute, Zurich, and in Los Angeles.Her dance training Departments.His field of specialization has been inArt includes study at the Wigman Central Institute,the Jooss History and Asian Studies, and he has a backgroundof study Ballet School, and the Martha Graham School.She is on in ballet, modern dance, and ethnic dance.He has taught the dance faculty of University of California, LosAngeles. Labanotation at the Dance Notation Bureau, JuilliardSchool , University of the New Connecticut College School of Dance, the PATRICIA WILDE is well known as a ballerina with California, Los Angeles, and in Tokyo, and isPresident of ork City Ballet here and in Europe, Russia, and theOrient the Hawaii State Dance Council. where the company toured.She has appeared as guest soloist and choreographer for the New YorkPhilharmonic JOAN J. WOODBURY, Assistant Professorof Dance at the Promenade Concerts. She has taught masterclasses for the University of Utah, is Artistic Director of theUniversity of Ford Foundation, and acted as consultant to theNew York Utah Repertory Dance Theatre.In 1955-56 she received a She has State Council of the Arts.She was director of the School Fulbright Scholarship to study with Mary Wigman. University of of Ballet and Dance of Harkness House whereshe had set been guest lecturer and performer at the of Rhode up choreographers' workshopsand programs of lecture- Wisconsin, Utah State University, University Art Center. demonstrations. Island, University of Arizona, and at the Walker