7

INTERNATIONAL EXCHANGE IN DANCE ANNUAL OF CONTEMPORARY DANCE DOUBLE ISSUE 3.50 1963 • 1964

• • WW

* Copyright 1963 by Impulse Publications, Inc. l^yyKA' \s

Inde x

S. I. Hayakawa THE UNACKNOWLEDGED LEGISLATORS 5

Rhoda Kellogg THE BIOLOGY OF ESTHETICS 9

Adele Wenig "IMPORTS AND EXPORTS" —1700-1940 16

Walter Sorell SOL THE MAGNIFICENT 29

Arthur Todd DANCE AS UNITED STATES CULTURAL AMBASSADOR 33

Walter Sorell A FAREWELL AND WELCOME 44

RECENT "EXPORTS" 46 as told to Rhoda Slanger Jean Erdman Meg Gordeau Paul Taylor as told to Joanna Gewertz Merce Cunningham Ann Halprin Jerry Mander THE UNKNOWN GUEST 56 Isadora Bennett SECOND THOUGHTS 63 Letter from Thomas R. Skelton STAGING ETHNIC DANCE 64 Thomas R. Skelton BALLET FOLKLORICO 71

Antonio Truyol NOTES FROM THE ARGENTINE 73

Ester Timbancaya DANCE IN THE PHILIPPINES^ 76

Joanna Gewertz THE BACCHAE 80

Ann Hutchinson NOTATION — A Means of International Communication 82 in Movement and Dance QLA

Margaret Erlanger DANCE JOURNEYS 84

SPONSORSHIP AND SUPPORT 88 t>

Editor: Marian Van Tuyl

Editorial Board: Doris Dennison, Eleanor Lauer, Dorothy Harroun, Ann Glashagel, Joanna Gewertz; Elizabeth Harris Greenbie, Rhoda Kellogg, David Lauer, Bernice Peterson, Judy Foster, Adele Wenig, Rhoda Slanger, Ann Halprin, Dorrill Shadwell, Rebecca Fuller.

Production Supervision: Lilly Weil Jaffe

ACKNOWLEDGMENTS:

Cover design by David Lauer

Photographs by courtesy of:

San Francisco Chronicle 15 Harvard Theatre Collection 18, 19, 22, 23 Dance Collection: New York Public Library 21, 25, 26 Hurok Attractions, New York 29, 30, 31 Studio Roger Bedard, Quebec 31 Fay Foto Service, Inc., Boston 32 U.S. Information Service, Press Section, Photo Laboratory, Saigon, Vietnam 33 U.S. Information Service 34 John Lindquist, Boston 35 Peter Brunswick, El Al News Service, New York 36 El Al Airlines 37 Bob Larkin, New York 38 Martha Swope, New York 39 Bahechar Abdelkebir, Morocco 40 Hurok Concerts, Inc., New York 41 Asia Society Performing Arts Program 56, 58, 60, 61 Ballet Folkl6rico, Mexico, D.F. 71, 72 Annenarie Heinrich, Buenos Aires 73, 74, 75 Philippines Travel Information Office, San Francisco 77

Unless otherwise noted, photographs, charts and drawings are included by courtesy of the authors.

Published by Impulse Publications, Inc., 160 Palo Alto Avenue, San Francisco 14, California. $3.50 per copy (mail orders, add 20C postage and handling; California orders also add 14? state tax per copy), checks payable to Impulse Publications, Inc. No part of the material herein may be reproduced without the consent of Impulse Publications, Inc., with the exception of short quotations used for reviews. Pref ace

IMPULSE 1963-64, a double issue, is concerned are two assumptions. The first, presented by S. I. with international, intercultural communication. Hayakawa, who begins his essay with a quotation In the spring of 1962 when we started planning this from Shelly, "Poets are the unacknowledged legis­ issue, we went to Gertrude Macy, the Director of lators of the world," is translated by us to include the International Cultural Exchange Services of dancers and, particularly, choreographers. Time The American National Theatre and Academy, with and again, this non -verbal for m of communication — the suggestion that IMPULSE present the story dance—transcends national, cultural and language of ANTA sending American dancers and dance barriers to establish immediate person-to-person companies abroad under the auspices of the United contact in many parts of the world. An officer in the States State Department's Cultural Exchange Pro­ United States Information Service reports that dance gram from 1954 to the present time. Miss Macy is second only to jazz in importance and acceptance agreed that it was an important aspect of dance in the State Department Intercultural Program. history to be presented to our subscribers, and suggested that Arthur Todd would be an excellent The second assumption is based upon the work of person to undertake this assignment, which he has Rhoda Kellogg presented in her article, "The done in his article, "Dance as United States Cultural Biology of Esthetics," a result of 20 years work Ambassador." in child art, in which she shows conclusively that early drawings of children all over the world are This issue of IMPULSE did not "grow like Topsy," similar. Only later, when the individual culture into but, rather, itwas a "Sorcerer's Apprentice" situ­ which the child is born influences the child, do we ation. Such a wealth of material became available find the distinctive cultural differences which are that it was decided to publish a double issue. Since apparent in art production. People must be taught each article serves a particular purpose in the to be different. whole, it was impossible to divide it into two vol­ umes. It is difficult to make a cut-off point with Although such an extensive study of movement and so many exciting and controversial developments dance has not yet been undertaken, it would appear taking place. So, perhaps more than ever before, that there is a similar substratum of movement we must reiterate that we date our material, and common to all human beings no matter into what exhort our readers to realize that statements made geographical location they are born. Communi­ reflect opinions, attitudes, and available facts cation in dance, a non-verbal art, is therefore presented by qualified persons in dance and related possible in spite of cultural differences. For the fields. sophisticated individual in any of the arts these very differences account for excitement and pleasure in Essays range from theoretical considerations to his experience as audience. The mathematician historical surveys and "current events"; from Sylvester made the formulation that it is important reference listings for students of dance history to "to see the differences in the similarities and the practical suggestions for individuals desiring in­ similarities in the differences." Walter Sorell, in formation concerning possibilities for study abroad; his essay, "A Farewell and Welcome," indicates from reports of avant-garde dance theatre in some of these contrasts. They are implicit in the Europe to study and teaching under Fulbright sub­ various "Notes from Abroad." sidy. We include "Imports" as well as "Exports" in IMPULSE this year, so that our "Notes from One important factor in the whole subject of in­ Abroad" are an integral and important section of ternational, intercultural exchange, which is not the book. explicitly dealt with in this issue of IMPULSE, is the question of the deterioration of art under culture Underlying the varied constituent parts of this issue contact. We can bemoan the loss of the "pure

630508 forms " and set up museums to preserve them. This, performing company true to the culture it repre­ of course, is most difficult in dance, somewhat less sents. The article "Dance in the Philippines" by so in music. But the contacts must come. Barbara Ester Timbancaya, shows varied cultural strands Morgan, sensitive and perceptive photographer and and influences, historically and in the contemporary painter, has said that the world is now a "Waring sense. Ann Hutchinson sees Labanotation as a Blendor." Change is the only certainty, and we may means of international communication. Indeed, it as well accept it —indeed, even welcome it. Rather adds another dimension, in that, potentially at least, than weakening the forms of art, these contacts will dance can become one of the "time-binding" arts, eventually lead to a "hybrid vigor." Throughout the at last. Dances can be passed on from one genera­ history of art, as the forms become attenuated new tion to the next in "written" form, as wellas across life was instilled into them by "going back to the soil" language barriers at any given time. and infusing folk materials into the "fine arts." An example of such change is in the evolution of the Dancers are, as a rule, so dedicated to dancing Sarabande coming to Spain from the West Indies that economic considerations take a very second as a lascivious solo dance for women which was place. This attitude is a source of fascination to banned by the Church, to become, in time, the "hard-headed" businessmen. The question which solemn and sometimes almost reverant section of must be answered now is how the costs of the ex­ the Pre-Classic Suite. change program should be met—how much private subsidy and how much government support? This Rabindrinath Tagore, speaking about dance, said, is a controversial subject which is given considera­ "We must never shut it within the bounds of stagnant tion in this issue, both by direct discussion and ideal, nor define it as either Indian or oriental or by implication. occidental, for such finality only robs it of life's privilege, which is freedom." Intercultural con­ By now it is apparent that this year IMPULSE is tacts are evident inthe performances of the Ballet concerned with a wide range of the complicated Folklo'rico of Mexico, where Anna Sokolow, Jose factors in the lively area of international, inter­ Limon, Tom Skelton and other artists from the cultural exchange in dance. IMPULSE 1963-64 is United States have worked. Tom Skelton, in his prepared and published as a source book in dance essay, "Staging Ethnic Dance," displays a cultural at this date. MVT sensitivity, and describes methods for building a

NOTE: Each year IMPULSE has been published as a source book of ideas, attitudes, and facts presented by qualified individuals invited to contribute to this Annual of Contemporary Dance. In this issue we have continued this policy. IMPULSE cannot hope to be an encyclopedia. We are aware that we do not list all the dance companies or individual dancers that have gone abroad in recent years. The ANTA listing is complete in itself. "Recent Exports" presents only a few individuals describing personal experiences. "Exports and Imports" 1700-1940 is an attempt to present as complete apicture as possible of international exchange in that span of years. History is constantly being rewritten, and scholarship and research have a never-ending and intriguing task. The Unacknowledged Legislators S.I. HAYAKAWA

"Poets," said Shelley, "are the unacknowledged The symbols of the scientist have their special uses, legislators of the world." This remark has often for theoretical clarification, for system building, been shrugged off as atypical romantic overstate­ for practical application, but what of the symbols ment. But I believe that the student of art and design of daily living — the verbal and visual symbols in musttake it seriously. ErnstCassirer, in his book terms of which we negotiate our day-to-day prob­ AN ESSAY ON MAN, has written, "No longer in a lems? We sort out, organize, and think about the merely physical universe, man lives in a symbolic data of our daily experience with two sets of tools: universe. Language, myth, art, and religion are verbal symbols and visual symbols. With our ver­ parts of this universe. . . No longer can man con­ bal symbols we describe the world, ask questions front reality immediately; he cannot see it, as it of ourselves and others, make decisions with the were, face to face. . . . He has so enveloped him­ answers. With our visual symbols, by which I self in linguistic forms, in artistic images, in musi­ mean the images, the image-clusters, the visual cal symbols or religious rites that he cannot see or stereotypes inside our heads, we also sort out and know anything except by the interposition of this organize and think about the data of our daily ex­ artificial medium." perience, and create with them our pictures of the world. Or, to put it in the terms of the semanticist, Alfred Korzybski, human beings live in a "semantic envi­ With these systems of symbols inside our heads, ronment," which is the creation of their symbol we look out upon the world around us, and we find, systems, so that even the individual who believes or persuade ourselves that we find, correspon­ himself to be in direct contact with reality, and dences between the pictures inside our heads and therefore free of doctrines and assumptions, thinks the world outside. Believing these correspondences in terms of the symbols with which he has been to be real, we feel at home in what we regard as a taught to organize his perceptions: namely, the known world. visual or verbal symbols, or images, which are the currency with which communication is nego­ But are our symbolic tools adequate? If the sym­ tiated in his culture. bols, the abstractions, the words, the phrases, the visual images, the interpretative stereotypes that The symbol, as Susanne Langer says, is the basic we have inherited from our cultural environment instrument of thought. And those who create new are adequate, we are indeed adjusted to reality. symbols, whether as scientists, poets, novelists, But what if they are not? Like other instruments, dramatists, artists, or sculptors, are those who, languages select, and in selecting what they select, by giving us new instruments to think with, give us they omit what they do not select. The thermome­ new areas to explore in our thinking. And poets ter, which speaks one kind of language, knows no­ and artists are indeed the unacknowledged legis­ thing of weight. If temperature matters and weight lators of the world if, by giving us new symbols, does not, what the thermometer says is adequate. they give allofus, including members of Congress, But if weight or color or odor or factors other than new areas of insight and sensitivity —a sensitivity temperature matter, then the language of the ther­ ultimately expressed, perhaps fifty, perhaps ahun- mometer is not adequate. Every language, every dred years later, in new legislation and new social system of symbols, leaves work undone for other institutions. languages to do.

The creation of symbols — the basic tools with As many of you know far better than I through your which to think and feel — is then the fundamental studies at these institutions, at the center of the task of the artist and, as Robert Oppenheimer has modern movement in art has been the systematic suggested, of the genuinely creative theoretical attempt to overthrow the static, object-mindedness scientist. These are the people who give us our of older traditions in art in favor of a dynamic, re- tools to think with. lation-mindedness. There was, of course, a reason Dr. Hayakawa is professor of Language Arts at San Francisco State College, author, lecturer, and editor of ETC. , A Review of General Semantics, a quarterly concerned with the role of language and symbols in human behavior. This address, given at the joint convocation of Chouinard Art Institute and the Los Angeles Conservatory of Music on June 17, 1962, is reprinted by permission of the author. for the emergence into importance of time-and- itself is a relationship between the observer and the relation-mindedness for the twentieth century observed, so that ultimately we are able to know painter. Vision is a means of orienting ourselves nothing but that relationship. in space. In an age of trains, automobiles, and airplanes, in an age in which the mere task of Modern art and music, then, like all modern getting across our city streets alive requires to thought, is an attempt to overthrow age-old habits of an unprecedented degree the ability to interpret thought, or semantic patterns — the attempt to over­ space-time relationships of moving objects, the throw object-mindedness in favor of relation- old vision became totally inadequate. Modern mindedness, to substitute the dynamic for the static artists, since as long ago as the Italian futurists, in the basic images with which we create our pic­ have been compelled by technological necessity to tures of the world. think in space-time relationships of a new kind. The artist, if he is to train our vision and convey Vision and language are the two most important adequately the feel of modern visual experience, means we have of apprehending reality. How we had to create images in which time is a factor. talk and how we see determine, more than any­ thing else, how successful we are in coping with our Another important facet of the modern movement in environment. The cultural crisis of our times, as art had been the explicit recognition of the symbolic one almost gets tired of hearing, is the result of character of art. Rejecting the Aristotelian defin­ trying to continue into our new world the habits of ition of art as imitation, modern art has tried in a thought inherited from earlier stages of our culture. variety of ways to replace the notion of a painting The change from the old to the new requires, in a as representation with the idea of a painting as a sense, learning to see all over again. Because, as symbol. And the new ways of symbolizing, and the Gyorgy Kepes has written, "Vision is not only ori­ new assumptions underlying these new ways, have entation in physical spheres, but also orientation in been the subject for the last few decades of heated human spheres.... In each age of human history debate — but by now the point is clearly established man was compelled to search for a temporary equi­ that it is no longer the job of the painter to produce librium in his conflicts with nature and in his re­ likenesses, but to produce symbols — even if we lation with other men, and thus created, through an have difficulty often in figuring out just what is being organization of visual imagery, a symbolic order of symbolized! his psychological and intellectual experiences. . . . Today, the dynamics of social events, and the new These and other tendencies in modern art have been vistas of a mobile, physical world, have compelled part of a semantic revolution that has been going on us to exchange a static iconography for a dynamic in our times — a revolution in our assumptions about one." the nature of our knowings. Inthe old orientation, in the semantics of fixed, known "objects," sum­ T. E. Hulme, in his essay on modern art, describes marized inthe conviction that pigs is pigs, adjust­ the function of art for primitive people: "They live in ments to life were made, at higher levels of ab­ a world whose lack of order and seeming arbitrari­ straction, on the basis of fixed definitions and ness must inspire them with a certain fear. ... In categories: men are men, women are women; art this state of mind results in a desire to create a government is government, business is business; certain abstract geometrical shape, which, being Europe is Europe, America is America, etc. durable and permanent shall be a refuge from the flux and impermanence of outside nature. The need Suddenly, however, the entire system of static eval­ which art satisfies here is not delight in the forms uations, under the impact of the rapid development of nature. . . but the exact contrary. In the re­ of scientific knowledge and technology in the past 150 production of natural objects there is an attempt to years, has been rendered obsolete. With increasing purify them of their characteristically living qual­ rapidity in our own times, we have seen the old cate­ ities in order to make them necessary and im­ gories crumble, so that objects and entities as such movable." no longer mean very much; today all fields of knowl­ edge are concerned with relations. As Eddington In other words, inthe so-called primitive art, West has said with respect to "the physical" sciences, African or American Indian or the art of the South "The relativity theory of physics reduces every­ Seas, the attempt is to come to terms with a hostile thing to relations; that is to say, it is structure, nature by imposing upon natural forms an intellectu­ not material, that counts." We have been taught by al, geometrical order. In this way, these arts modern science that the so-called objective world serve as equipment for living in an environment filled with unknown terrors. Art, said Hulme, The task of creating these images and symbols, "cannot be understood by itself, but must be taken then, is the urgent task of the artist and designer to­ as one element in a general process of adjustment day . The great difficulty of this task lies in the fact between man and the outside world. The character that symbols adapted from the visible world of hills of that relation determines the character of the art." and houses and trees and flowers and faces can rare­ ly, if ever, serve as the iconography of our new How shall the artist of today come to terms with the scientific knowledge. Our basic knowings are no present environment? How shall he find the images longer of things and their properties, but of struc­ which, like the sculpture of the West Africans, will tures — usually inferential structures. In other bring us to terms with the terror and mystery of our words, events at nuclear, atomic, and molecular environment? Although many segments of the gen­ levels, cosmic ray phenomena, and events at the eral public have still not caught up with the modern level of the extremely large, as in astrophysics, movement in artof the early twentieth century, al­ are not visual experiences, but logic and mathe­ ready new problems are being presented by the matical derivations from instrument-readings and world as we know it through science. hypotheses. These inferred structures and events are never directly experienced; they can only be Let me repeat, the task of art is to provide us with visualized (if at all) through the construction of images that enable us to symbolize adequately, and models (such as molecular models) or through therefore think about, the profoundest realities of special kinds of photography (for example, strob­ the times. In medieval times religious images sym­ oscope analysis). bolized the realities of God, the angels, and the saints. In Renaissance times the prevailing image How can one symbolize, with paint or plaster or was that of the human body, symbolizing the ideas stone, such a grim reality as radioactive fall-out? of an age of humanism. Dr. Hans Thirring tells us that, "War fought with radio-isotopes would be noiseless and unbloody, Today the world perceived by the senses is only a yet disastrous for the peoples involved. A kind of part of the total reality we deal with. The new worlds light ash rain would cover densely populated areas and new forces disclosed by science in the past few with an almost invisible layer of dust, the presence decades — by electronics, by astro-physics, by of which could be detected only by Geiger counters microbiology, by photo-elasticity studies, by the and would not be noticeable to the normal human study of nucleo-proteins and their role in genetics, senses. It would neither smell nor sting, nor would by radioactive tracer studies, and by nuclear phys­ it cause any immediate effect.... If not warned ics — these realities are not revealed directly to by radiation detectors, people in a contaminated the senses. They are scientific inferences that area might pursue unsuspecting their everyday ac­ present us with what P. W. Bridgman called an tivities, yet be doomed to die painful deaths within "explanatory crisis." The amount and the variety a few weeks or months." of new knowledge available appear almost too much for our hearts and minds to encompass. Neverthe­ Three or four days ago, the eighteenth (or was it less we must create an order out of our present the nineteenth?) explosion in the current American bewilderment. series of nuclear bomb tests occurred in the Pacific. It was not a big bomb by current standards — it was Creating order which will enable us to come to terms described as being in the "low megaton range," with our new scientific knowledge is a task that con­ which means nevertheless that it was many, many fronts us on more than one level. There is the level times the size of the bombs that destroyed Hiro­ of the philosopher of science, who will seek to dis­ shima and Nagasaki. But imaginatively, most of cover in the new sciences an inner consistency or us have lost any sense of the force and the terror pattern which, when understood and made part of involved in the release of this kind of destructive our intellectual systems, will enable us at least energy. The story of this explosion occupied about verbally to adjust ourselves to the new realities. two and a half column inches on page six of the But the most important level at which our new knowl­ newspaper in which I saw it. We were horrified edge needs to be made part of us is at the level of when more than 100 citizens of Atlanta lost their day-to-day living and thinking and feeling — at the lives in a jet plane accident recently in Paris. But level of evaluations and orientations. Forthistask we accept as routine the explosion of bombs that not we need new images — as Gyorgy Kepes said, "im­ only can, but are intended to, kill populations of ages and symbols which can truly domesticate the 100,000 at once. Such is the callousness of imagi­ newly revealed aspects of nature." nation which most of us have developed. Not long ago the great Spanish artist, Pablo The artist in America, then, remains free to per­ Picasso, was awardeda $10,000 peace prize by the form as artist, rather than to function as propagan­ Soviet government. This same government does dist or apologist for any existing order. He is free, not permit the Russian people to view Picasso's therefore, to create those new symbols, however paintings, which, according to orthodox Soviet disturbing or strange they may appear on first critical standards, are decadent and degenerate. glance, that will help to bring us emotionally to Because Picasso is an avowed Communist, the terms with our own times. The creation of these Soviet government honors his political views. But new symbols will require knowledge — not only it protects the Russian people from his influence knowledge of and insight into the new worlds of as an artist. science, but also knowledge of an expanding concept of humanity as a rapidly changing world brings new In America, however, we honor Picasso the artist. contacts and new nations into our awareness and our Big circulation magazines devote pages to repro­ lives. But most of all the creation of a new sym­ ductions of his paintings. American collectors and bolism will require courage — the courage to con­ museums pay tens of thousands of dollars for his front squarely the deep anxiety, for ourselves and paintings and sculptures, and every introductory for the future of humanity, which is the great dark course in the appreciation of modern art lingers cloud under which we are all destined to live for as over the study of his work. Yet, if an American be­ many years as we can see ahead. gins to echo Picasso's political thinking, he will soon find himself deprived of his security clearance and his job and being queried by the House Un- American Activities Committee. What the Russians admire about Picasso, we censor; what we admire about him, the Russians censor. Nobody wants the whole Picasso.

The fact that we largely forbid the circulation of communist ideas in violation of our declared prin­ ciples of freedom of speech, while regrettable, is understandable in view of the tensions of the Cold War. Both the Soviet Union and the United States, although to different degrees, restrict the freedom of the circulation of ideas thought to be dangerous to their existing regimes.

But when the Soviet government forbids the ex­ hibition of Picasso's pictures, it is going beyond thought-control to what might be called imagina­ tion-control, which is perhaps in the long rim a much more serious matter. Poets and artists are the antenna of a nation, sensing more quickly than pol­ iticians or generals the deepest needs of the people. If art is placed, as it is in the Soviet Union, in the service of the State, the artist can only express what politicians and generals have already perceived and felt — which means that the artist can no longer serve his function as the antenna, the detector of new tendencies, the seer. And this is the reason that so much of Soviet art is soShll and conventional —their paintings are often illustrations rather than art: "Comrade Ivanov receiving Lenin Prize for in­ creasing production in tractor factory. " A careful study of half a million scribblings and drawings made by young The Biology of Esthetics children living in thirty different coun­ RHODA KELLOGG tries, reveals that early pictorial drawing evolves out of scribbling, and procedes according to a developmental sequence scale. Regardless of ethnic, Rhoda Kellogg, director of Golden Gate Nursery Schools in San Francisco, is author of NURSERY SCHOOL GUIDE, WHAT CHILDREN SCRIBBLE AND geographical, and cultural influences, WHY, and other books. Her most recent work is THE ORIGIN OF ART young children the world over, make IN CHILDHOOD, which is in manuscript. identical scribblings and drawings be­ tween the ages of two and five years. Since the lines and forms found in the first scribblings are basic to all graphic art, THE BASIC SCRIBBLES scribblings may be called esthetic forms. The various scribbled forms occur in definite sequence, according to maturation levels, and, therefore, Dot they should be viewed as products of biological Single Vertical Line behavior, rather than of culturally learned behavior. Single Horizontal Line There are two reasons why the esthetic forms found in children's scribblings can be called biological Single Diagonal Line forms. One is that the arm and hand movements Single Circular Line which produce the scribbles are naturally limited to what the child arm and hand can do. Two, the Multiple Vertical Line eye, which conveys to the brain the appearance of these spontaneously made forms, develops simi­ Multiple Horizontal Line larly in young humans. The drawings which children make by combining the observed forms are, there­ Multiple Diagonal Line fore, also similar among the world's children. Multiple Circular Line

Certain differences to be found in drawings of older Roving Open Line children living in various countries are due to cul­ tural influences which are brought to bear, whereby Roving Enclosing Line eye and brain are trained to see various forms ac­ cording to the approved way of interpreting their Zigzag or Waving Line meanings in the particular culture. Single Loop Line

Learning to read a language involves this kind of Multiple Loop Line eye and brain training. As children we are taught not only to read the language of our culture, but we Spiral Line are also taught to "read" pictorial or design mean­ ings into certain combinations of esthetic forms as Multiple Line Overlaid Circle found in works of art. The configurations both of language and of art evolve out of the scribbled forms, Multiple Line Circumference Circle because children scribble all the basic forms which Circular Spread Out humans use in both. (See Illustration 1) It is the particular combinations of scribblings that deter­ Single Crossed Circle mine which are language and which are art. For example, vertical and horizontal lines (scribbles) Illus. 1 can be combined to make the letter H or to make a herent esthetic meaning which even the young child square. is able to see and to enjoy. We know this for a fact because the child, between the ages of two and six Language symbols have arbitrarily set meanings years, spontaneously makes many combinations of which the child must learn from the adult. Art the 20 basic scribbles into forms that have only es­ forms, such as the square or the circle, have in- thetic appeal to him. Later on, the adult tells him Preschool Child Primitive Adult Prehistoric Adult

-$c££^x^ ^ ^ # ^ ^^ « ££# V d u « 1 a § I -M- 3 o ®e BB EB El e®^1 ^- -t" AH L2_- 4-0 + 9-r~P cu/^ * 1 +- a) # o rt- Sfeg>4: turn© ++++- M

CO m- g§: iA

**

0) U c

m 3 • •• o <& Illus. 2 11 that his combinations can have other meanings, and which can be studied objectively. It is important thus the child is guided in art as well as in reading. to know how the child's brain spontaneously organ­ We do not adequately realize that the child's mind izes visual stimuli, so that educational programs, finds it difficult to separate the lines of art from both in language and in art, can take advantage of those of language, and the lines of his own art from maturation levels and not go counter to them. those of adult art. Gestalt psychology has shown that when the many whirling spots of light, as reflected from an object, The scribblings of young children are a valuable fall onto the retina, the brain organizes them into record of how the brain directs the hand to organize the pattern of a closed circle or segments of a circle. lines perse into esthetic patterns. Child art, which This visual-mental "organization is something that I define as the self-taught art of the first six years originates as a physiologic characteristic of the of life, can be called biological art, because it is nervous system."! Child art records give evidence the same among the world's children. Scribbling that the child's mind most easily "sees" or com­ is not meaningless to the child, as is commonly prehends forms which tend to fall naturally into the believed, because it automatically constitutes vital organized circular gestalt. Furthermore, the dis­ visual stimulus to which the eye and brain react torted objects to be found inthe early pictorialism with organized, predictable, pleasurable response. of child art appear to be the result of the brain's When the time comes forthe child to learn to read, preference for organization of lines that fit into a the adults must use pressures and techniques for circular, or a mandala, pattern. Mandala is a setting the child's brain to organizing visual data Sanscrit word meaning magic circle, and it well according to cultural patterns, rather than continu­ describes the dominant esthetic pattern to be found ing on with the biologically preferred patterns. in child art.

The preferences which adults have for certain cul­ It would be no exaggeration to say, that the problem turally approved combinations of lines and forms confronting the child who is learning to make the both in language and in art constitute an acquired pictorial art forms favored by the western world, taste which is superimposed on the biological taste is one of getting away from mandala patterns. of the preschool years. Acquired cultural taste is Learning Islamic art presents no such problems enjoyable only when it becomes familiar. Thus one for children. Primitive art and archaic art exhibit has to develop taste for art of any culture through free use of the biologically determined mandala seeing a great deal of it, be it Oriental, Western, image. (See Illustration 2) In cultures where lan­ Egyptian or Islamic. The taste for biological art is guage and scientific thinking have evolved, biologi­ built-in taste, acquired early in life by the self- cal art has taken second place. directed process of making directional lines of movement in pleasing combinations. Pressures The scribbling activities of young children go from the culture must entice the individual to sub­ through three developmental stages:2 (1) the mak­ stitute a learned taste in art for our biologically ing of free movement-lines; (2) the making of or­ endowed natural taste. Children very often abandon ganized, abstract, structured forms; (3) the making scribbling and drawing about the time they learn to of structured forms which are symbolic of objects read, because they are pressured to learn the cul­ seen in nature, such as humans, animals, houses, tural art forms also, and it is too difficult for them vehicles, vegetation. Pictorial forms made in the to learn both at once. Learning the language forms early stages of development are merely schematic is held tobe more important. Some children rebel formulas for objects. The same formulas are made and stick to their art. by all children, because they have evolved out of the similar visual and mental stimulation of earlier Learning to read involves ability of the eye to see, scribbled forms. Illustration 3 shows how the first and of the brain to register, many configurations of Human (not a "man," because the figure has neither the basic symbols ofalanguage. There is a chrono­ age nor sex characteristics) evolves out of scrib­ logical age at which, presumably, it is easier to bling. Illustration 4 shows similarity of formulas learn to read than at any other age. We do not know as drawn by children living in 25 different countries. just what this age is, because we do not have suf­ ficiently reliable evidence on which to base the set­ 1. Bender, Lauretta. A VISUAL MOTOR GESTALT TEST. ting of a date. Records of child art can be very New York: Orthopsychiatric Association, 1938. useful in this connection, because they are spon­ 2. See author's WHAT CHILDREN SCRIBBLE AND WHY. • taneously made records, and they are documents National Press, Palo Alto, California, 1955. 12 JwWWWW^fr TJ? *~ "^W ^> eyfc®Q+xm©a JSKOSttK/I

Author's sketch showing evolution of children's pictorial drawing out of pre-pictorial scribbling, which takes place be­ tween the ages of two and five years. Read upward, beginning with bottom layer of Scribbles; to Diagrams and Combines; to Aggregates; to Suns; to Sun Faces and Figures, to First Humans with "Hat" and Arms Out of the Head; to Hatless Humans;

Illus. 3

Because it is too difficult to influence children in two-year-olds have been conducted for many years. art until after they reach school age, the formulas These groups have given the data needed to under­ made before age six are largely reflections of stand that scribbling is the foundation of all graphic biological art. These formulas, or schemas, are art. Classes for three-year and four-year-olds similar, not only because the objects drawn look have provided data for the abstract and symbolic somewhat similar throughout the world, but also stages of child art. Work of children five to eight because the symbols have evolved from the univer­ years of age has also been gathered by the writer. 3 sal, similar experience of organized scribblings. The child prefers to draw objects so that they fit These half million drawings and paintings tell the into his familiar abstract forms, rather than change same story: that the biological art done by children forms to look like objects. Cultural art, except under six is excellent, while good cultural art pro­ primitive and archaic art, avoids use of these pic­ duced by children over six is the exception. A group torial symbols. Islamic art forbids their use by of drawings done by ten -year -old Chinese boys adults, though young children in Islam make them. living as refugees in an orphanage in Taipei illus­ Children in a Nepal mountain village, to whom I trates the exception. Their art teacher was a young took the first paper and pencil they had ever seen, man reared in an orphanage in mainland China, who also made them. The images were clear in their was himself artistic. His work showed no taboo on minds from having worked with fingers and sticks combining biological forms with cultural art forms. on smooth spots of the earth's surface. Neither did the work of his pupils, as can be seen in Illustrations 5-7, which show child art motifs be­ It is not possible to learn about the origins of bio­ ing freely used after the age of six. If this work is logical art without having access tothe scribblings remindful of that of Paul KleeorMiro, it is because of two-year-olds. These were never available in these men also dipped freely into their own memo­ adequate quantity until more than 100, 000 of them ries of biological art for "ideas," and added to them were collected at the Golden Gate Nursery Schools cultural ideas with great technical skill. in San Francisco, where, for the first time in his­ tory, educational groups consisting solely of young 3. Rhoda Kellogg CHILD ART COLLECTION. \f~m{ H»Q I I ^

- w-"7^ "^^""-"ds^

iggp tfAa "/~,4l &

life /' l|W.;\

0 . ,W. k ••

«^ fs'

V C^^^A \f Me ^^1

pe&^f j

p^a^

lAF X^JrCV

Biiis!

ftyv

v S^-^---x? r / i&;f ILL ^", •m=jr~a&.

Ssf

feD^S

-

"^i^T"

*' : 4

/$>&> ^•O;

."wliSS

Illus. 4 13

^ 9

5^ le\3 ^r Jr ? <^tfi *£•

~zr-a U

M TV

Each square contains excerpts from drawings of young children in the 24 countries indicated. They show that the child's first drawings of animals, humans, houses and vehicles are schematic formulas having great similarity throughout the world. Left to right Top row: Spain, England, Italy, India, U.S.A. 2nd row: Syria, Egypt, Japan, Germany, Iran 3rd row: Switzerland, Philippines, China, Vietnam, Greece 4th row: Sweden, Isreal, New Zealand, Denmark, Bali 5th row: Thailand, Nepal, Formosa, Hong Kong, Argentina 14

understood. Also, before young children are subjected to organized visual education of the brain centers, via training in reading and art, en­ thusiasts of accelerated education would do well to study carefully the natural language of vision to be found in the records of genuine child art.

Survival of young individuals in dai­ ly life is dependent upon esthetic vision, because that is the brain's natural way of organizing visual data The development of rational thought processes involves some negation of esthetic vision, and can cause men­ tal conflicts and confusions. Pre­ mature weaning of children from biological art may have far reach­ ing ill effects on the personality. Roger Fry, the well-known art critic, claimed that there is a human emotion which can be called the es­ thetic emotion involving response to beauty apart from whatever mean­ ing, other than esthetic, the thing of beauty may have. He said that the substratum of all art is some kind of reminiscence known to all human beings. He would seem to have in­ tuited the existence of child art, which is now documented to show

Illus. 5, 6, 7 Drawings done by 10 year old Chinese boys in Taiwan

Carl Jung claimed that the image of the mandala is an inherited brain engram, and that this symbol, in the entire Eastern World, is used as the one which best represents the Diety, because it is par excellence a symbol of unity and harmony. We now know that this symbol is made by the infant's natural scribbling movements, and therefore can be viewed as a self- taught engram, or, as a symbol which the brain is compelled to register early in life as a result of the body's natural func­ tioning. We also know that, of the many scribble combinations which the child makes, only certain ones seem to be retained in memory and easily reproduced from memory. One could say that those gestalts which have mandala proportions are easiest to remember.

This century has seen a revival of biological art in the abstract art of the Western World. Before its cultural worth is de­ cried by Krushchev or others, its origins need to be better 15

Drawing by a six year old

ACROBAT ON HORSEBACK 1914 - Jacques Lipchitz

Illus. 8 Illus. 9

that our basic esthetic reactions are biological.

Art is a basis for non-verbal communication, and biological art communicates on a level that cuts through all cultural, racial, and time barriers. Diverse cultural art forms are widely appreciated only when they are subordinated tothe esthetic pat­ terns of the biological forms. Illustrations 8 and 9 give examples of the figures being fitted into the circle with fine balanced proportions. Illustration 10 shows the young child's determined effort to keep the human figure circular rather than "natural." These humans are not comic figures, but are made under the esthetic compulsion to circularity.

Art as a basis of communication designed to pro­ mote world-wide cultural and racial amity must be understood in the light of the biology of esthetics, the record of which is to be found in child art. 1(1

Illus. 10 Arms drawn to touch an implied oval circle, here sketched in by author. Ages 5 to 7.

"Imports and Exports"-!700-1940 ADELE WENIG

Until the 2 0th Century, theatrical dance in the United formances of European ballets until an indigenous States has been almost exclusively an imported art form evolved. with ballet being the main form presented. As far back as one may delve, some form of dance ap­ Compared to the number of teachers and performers peared; and, with the exception of the minstrels, coming across the Atlantic from Europe and almost all theatrical performers were Europeans. England, the American contribution was small The dance, transplanted to the United States by those indeed; and the exchange across the Pacific or to who migrated here, received revitalization by the any of the other continents was negligible. Forthe repeated visits of European artists and the per­ first 200 years of our history, less than a handful

Adele Wenig, member of the editorial board of Impulse Publications, is teaching dance at Colby College in Waterville, Maine. 17 of Americans received recognition outside of the cers the United States had seen. He was 10 years United States. From the late 1800's through the old upon debut and his career ended at age 15. 1930's, the number of exports increased slightly; M. and Mme St. Aivre danced minuets, gavottes but dancers visiting these shores continued to out­ and allemandes at John St. Theatre, N.Y. number them particularly, with the invasion of European and ethnic dancers inthe 1930's. Only 1791-1792 A small French company of acrobats in the last twenty years has there been a notice­ and tight-rope dancers appeared in Philadelphia. able shift in the balance. Star was M. Du Moulin. 1792 M. and Mme Placides and group, trained in 1700-1789 Prior to the American Revolution, little classic ballet, acrobatics, mime, tumbling and has been recorded; but it is known that as early as dancing, appeared in Charleston, New York and 1732, bands of English players toured the colonies. Philadelphia early in career. Presented the first Dance was much like that in the English theatre with professional ballets in the "French Style." Other Harlequin characters, pantomimes or national French and American dancers later joined this dances performed between or after the acts of plays. group. In Charleston, besides 9 soloists, the actors doubled in dance productions. At least 12 December 20, 1753 Earliest known American women and 32 men were important enough to be playbill from the New Theatre, N.Y., includes listed in newspaper ads in one year, 1794. And "a Hornpipe by Mr. Hulett." 34 ballets and pantomimes were produced. December 14, 1767 At the John Street Theatre, "Dancing Ballets" were very popular. N. Y., ". . .an Indian delegation from South 1793 William Francis was imported from Eng­ Carolina, comprising the famous Attakullakulla land to choreograph and stage rustic and comic or Little Carpenter, and the Raven King of ballets. Toogoloo, with six other chiefs, visited ... a pantomime was substituted for the 'Oracle,' 1794 The debut of the first ballet pantomimes in which had been announced forthe afterpiece for Philadelphia and New York served as vehicles for the evening. At the conclusion of the perform­ imported ballerinas, many of whom became very ance, the warriors, being desirous of making popular, and stimulated newly arrived choreo­ some return for the friendly reception and civil­ graphers, new companies, and afforded dancers ities they had received, offered to entertain the the opportunity to perform with several compan­ public with a war dance. Their offer was ac­ ies in Philadelphia, New York and on tours. cepted, and their dance was given on the stage Dancers were a part of almost every theatrical after the pantomime." program. If no "grand ballet" was featured, there were sure to be divertissements to liven up March 1774 The Continental Congress passed the proceedings. a resolution recommending suspension of all Madame Gardie charmed Philadelphia in LA public places of amusement. This, plus popular FORET NOIRE and New York in SOPHIA OF hostility, caused most English performers to re­ BRABANT, choreographed by M. Quesnet. A turn to England until after the Revolutionary War. viewer in Philadelphia wrote: "Madame Gardie 1790-1840 A profusion of French dancing masters created quite a sensation in her pantomimic act­ and performing artists arrived. The "French aca­ ing. Her face, figure, and action were truly demic style" predominated, romantic ballets were beautiful and enchanting, and the town were in performed, and the French ballerina was idolized. extacies (sic) with her and this species of per­ Often several foreign artists as well as American formances." dancers would be hired to appear in one program. 1795 M. Francisquy left Placide's Company and The Americans usually had minor roles or were gathered a small group of French dancers includ­ members of the corps. ing M. and Mme Val, M. Dubois, and Mme 1790 Pierre Landrin Duport, wife and two chil­ Gardie. In four months he staged many, many dren arrived. Father taught dance and produced ballets and pantomimes as well as divertisse­ ballets in Philadelphia, New York, Boston, ments for the Old American Company. Baltimore, Georgetown, Norfolk, etc. until he 1796-1800 James Byrne, former ballet master retired in the 1830's. at Sadler's Wells and Covent Garden in London, Louis Duport gained the reputation of an accomp­ was hired by the owner of a circus and riding lished violinist and one of the most brilliant dan­ school to produce an outstanding novelty, a 18

1827 M. and Mme Achille. He was acclaimed I the best male dancer yet seen in America. Mme Achille, second best to Hutin. 1828-1839 A number of famous families ap­ peared in the United States: Charles and Ronzi Vestris, who remained one year. The Ravel family (1832-1866) of ten members in­ cluding acrobats, tight rope dancers and ballet dancers, grew into a troupe of 40. They became very popular and toured extensively, presenting diversified programs of variety acts, drama, ballet, and spectacle. Mme Lecomte's Company became instrumental in bringing Jean and Marius Petipa, who re­ mained only a month because of financial failure. Paul Taglioni (brother of Marie) and his wife, Amelie, performed for a few months in 1839. They were considered the most finished dancers yet seen. 1836 Mile Augusta, a beautiful woman and dan­ cer, was considered one of the best dancers America had seen until Elssler came. She per­ formed for 20 years and was one of the favorite ballerinas. She captivated audiences asZoloein WMWI ^iJjaxjsai. I J*mtf LA BAYADERE. In 1846 a Baltimore reviewer I A UIHHJ4. compared her steps in LA BAYADERE to ". . . Harvard Theatre Collection the bouncing of an India rubber ball, clearing the stage at times from 18 inches to two feet at a "Grand Serious Pantomime" called THE DEATH bound and moving through the intricate steps of OF CAPTAIN COOK with native dances of the the dance with a grace and beauty that was almost Hawaiian Islands. ethereal." 1826 Mme Hut in and Joseph Barbiere were im­ ported for the opening of the Bowery Theatre. The curve of popularity of romantic ballet in Her performance resulted in French dancing be­ American theatre reached a peak inthe 1840's with coming the "rage." She introduced the new and the arrival of Fanny Elssler, who caused the great­ advanced French dance techniques of pointe work est sensation in the history of the American stage. and supported adagio. ". . .When the graceful In fact, she inspired an enthusiasm which was near danseuse came bounding out like a startled fawn hysteria. upon the stage, her light and scanty drapery float­ The term Fannyelsslermaniaphobia was used to ing inthe air, and her symmetrical proportions describe this period. Congress had to adjourn liberally displayed by the force of a bewildering during her performances because it was im­ pirouette, the cheeks of the greater portion of the possible to obtain a quorum; in Baltimore a group audience were crimson with shame and every lady of men unhitched the horses from her carriage in the lower tier of boxes immediately left the. and pulled it themselves to her hotel, where they house." The management asked her to wear serenaded her until dawn; her dancing figure Turkish trousers. Afterwards, the originally- appeared impressed in the glass of whiskey worn costume, a calf-length traditional ballet bottles; horses, boats, boots, and hats were dress, was accepted. named after her. In this same program Mile Celeste made her de­ Her triumphant two year tour (1840-1842) began but, but her greatest triumphs were upon her re­ at the Park Theatre, N. Y., in the divertissement, turn in 1834. She was best in roles requiring LA CRACOVIENNE, and ballet, LA TARAN- dancing and pantomime. TULE. She was accompanied by her manager, 19

her cousin, Katty, a dancer, and James Sylvain, opened in L'ALMEE or an ORIENTAL VISION - her partner and ballet master, who left in '41 "a grand Asiatic ballet in two acts and five tab­ because he was not well-received. She toured leaux." One of the ballets included a highly or­ from New York south as far as Cuba and back iginal pas de deux called "LaZingarella" which via Ohio. She received $500 per performance became extremely popular; and during the next and netted approximately $100,000. decade it appeared on the programs of most of the well-known dancers. This group toured the Other dancers were added to her company during United States as far as California. They left for her tour: Mile Des jar dins, M. and Mme Jules Italy in 1848 or 1849. Martin and several American dancers such as Julia Turnbull and George Washington Smith, Les PetitesDanseusesViennoises, a celebrated who was her partner on the second tour to Havana, group of 48 girls, ages 8-16, became a box-office Cuba. hit. They specialized in pretty dances involving In a letter written by Elssler, there is a descrip­ pleasing geometrical patterns and intricately tion of her reception in New York. "The whole designed evolutions. They were described as house rose and such a shout ascended as stunned "charming," "appealing," and "the realization my senses and made me involuntarily recoil. of fairy dreams." Men waved their hats and women their handker­ Debut of Giovanna Ciocca(one of the first pupils chiefs and all was inexplicable dumb show for of Carlo Blasisto come to America) and another several mortal moments. Order at length re­ Italian, GaetanoMorra. Ciocca, especially, was stored, the dance began. . . . The most deafening well received. Ciocca, with Morra, Mile Fanny exclamations of delight broke at rapid intervals Mantin and a small ballet ensemble, toured the fromall parts of the house, till they lashed them­ country with occasional appearances in N.Y. selves into a perfect tempest of admiration. Never before did I behold so vast an assembly so Gaetano Neri, technical virtuoso and friend of completely under the sway of one dominant feel­ Ciocca, arrived from Italy. They were engaged ing and so entirely abandoned to its inspiration. The curtain fell amid a roar that sounded like the Harvard Theatre Collection fall of mighty waters and that soon brought me LA ZINGARILLA before them. Their applause was perfectly fran­ tic , cheers and bravos saluted me and flowers and wreaths fell like rain upon me." The news of her triumphs in America encouraged other dancers who previously would never have dreamed of undertaking so long and hazardous a journey. After Elssler, ballet enjoyed a wave of tremendous popularity which diminished gradu­ ally in the 1850's and 60's with an upsurgeof in­ terest in spectaculars like THE BLACK CROOK in 1866.

The dancers and companies previously mentioned, such as Mile Celeste, Mile Augusta and the Ravel family, profited by the interest generated by the Elssler tour. Some others who performed in the 40's were: Charles T. Parsloe from England, a dancer, contortionist and actor. Pauline Des jar dins and M. Korponay from Hungary. HermineBlangy from Paris and Vienna, with Ravel Company for a while. Her sensitive interpretations in LA SYLPHIDE and GISELLE made a deep impres­ sion. In Alabama she filled the theater ten times in two weeks when appearing in GISELLE. MAI * BONS MONPLAISIR, The Monplaisir Ballet Company, a large group, M MM MAM A1IAUC »AlllI «f L'ALMEE, • • pi rinliiii'il UIiiliT lll>- nmttM "' «HI.

for the re-opening of the Park Theatre and nameless grace about her person and movements danced between the acts of HAMLET. Ciocca which, with her history, gives her an attraction and Neri remained partners for several years, which a better artist could not command, but appearing in ballet productions and divertisse­ which however is not destined to be very long ments in various cities with several companies. lasting." She dissolved her dance company the A New York review: "The beautiful dancing of next year and toured the country, appearing in Signora Ciocca, Signor Neri, and Mr. G. W. plays and solo dances between acts. Smith elicited the most enthusiastic applause. The artists are immense favorites, and during The Rous sets, a family of five, made their debut. this, their present engagement, have delighted 1852 A French-Spanish troupe, engaged to ap­ thousands." Ciocca, Neri, and Morra began the pear at Niblo's Gardens, N. Y., included Pepita Italian influx which increased throughout the Soto, a celebrated Spanish dancer, as well as remainder of the 1800's. several soloists from the Paris Opera. The company broke up when financially ruined during Also inthe 1840's Irish clog dancers were appearing a Boston engagement. Pepita Soto remained and in America. The best known was Barney Williams, toured, dancing between acts of plays in N. Y., who sang and danced in American Minstrel shows. in operas and ballet productions. 1857 DomenicoRonzani, a ballet master who had 1850-1890 Although the interest in ballet began to staged dances for Elssler in Italy and Augusta wane, dancers and companies continued to arrive May wood in Vienna, brought a large Italian com­ with the majority coming from Italy. Several large pany as a special attraction for the opening of the Italian companies with excellent dancers failed fi­ Philadelphia Academy of Music. His tour to the nancially. A few dancers from Spain and England U.S. was expensive and a disastrous failure al­ were introduced. This period saw the beginning of though he had outstanding performers including a long series of elaborate musical spectacles for Cesare, Pia and Enrico Cecchetti(7 years old), which ballerinas were imported. 1850-1851 An Pratesi family of six, Louise Lamoureaux active year for ballet in New York. (American) and Filippo Baratti as leads. In New Louise Ducy-Barre, who had appeared in minor York, his troupe augmented by Americans con­ roles at the Paris Opera, was imported especi­ sisted of almost 200 members. He went back to ally forthe opening of a new theater in New York Italy during the winter and returned in the spring and remained there over a year. In the next for a second tour, bringing Annetta Galletti. seven years, she continued to perform at various Ronzani and Galletti remained in the U.S. form­ theaters in New York as well as taking an exten­ ing a company composed of Americans which sive tour to the South with G. W. Smith. presented ballet and opera on a lavish scale*. Leon Espinosa, an extraordinary 25 year old Galletti was considered a "gifted dancer — quite dancer only 4' 10" tall, made his debut with the equal to Lamoureaux in agility, and her superior Ravel troupe. He was able to execute twelve in dramatic power," but the troupe as a whole pirouettes from a single preparation, and an en- was not a success. The group disbanded and trechat-douze — an unequaled feat! He was des­ each went on his own, working in various opera cribed as, "A nose with a little man on the end and theatre productions throughout the C ivil War. of it and a dancer never equaled." Later he joined 1858-60's An Hungarian dancer, M. Czollosy, another ballet troupe with several well - known appeared in various productions. French and Italian dancers such as Celestine 1866 The first and most elaborate of all nine­ and Victorine Franck, M. Gredelue, Adeline teenth century musicals, THE BLACK CROOK, and Signor Neri. Upon his return to Europe he opened at Niblo's Gardens. It was a theatrical became a sensation. event of the century and was produced season Mile Albertine, soloist at the Paris Opera and after season with imported ballerinas from Italian Opera in London, was also in New York. France, England, Italy, Spain and Germany, The notorious countess, Lola Montez, made her many of whom stayed on to teach or dance in bow to the American public. She was certainly other dance productions. It ran with brief in­ not a ballerina and the dances she did had to be terruptions for over forty years and was followed short and simple. A drama critic concluded that, by burlesques and imitations. The bill announc­ "as a danseuse, she is decidedly inferior to ing the opening lists 31 specific dancers from Cerrito, to Augusta, and others, but there is a abroad and 50 other ladies "selected from the 21

principal theatres of London and America." The were stars of the WHITE FAWN 1868, another director was Signor David Costa. The lead dan­ spectacular in which the dancers were divided cers were Rita Sangalli, Marie Bonfanti, and into groups of sixteen according to nationality. Betty Rigi, all appearing for the first time. A The Hungarian Kiralfy Troupe of six — three reviewer of the opening says, "The scenery is brothers and three sisters — were an immediate magnificent; the ballet is beautiful; the drama success in another musical. For ten years they is — rubbish." Performers from THE BLACK produced their own spectacles. Rita Sangalli CROOK and new arrivals appeared in ballets and toured across the States to San Francisco (1870) in follow-up spectaculars, none ofwhichwereas with her own small ballet company. There were successful as the original. other Italians too numerous to name appearing throughout this period. The Zuccoli sisters joined by the Zanfretta troupe were in ballets. DePol Troupe in rival 1870 Kitti Lanner (chief choreographer at the extravaganza (1867) THE DEVIL'S AUCTION Empire Theatre in London) performed in the last with Mile Guiseppina Morlacchi, Elisa Blasini, production of GISELLE until 1910. She was also Mile Diani, Augusta Sohike, Miles Ricci and in spectacles and directed ballet productions. Baretta. Morlacchi was considered a very great artist with "flawless technique and artistic sens­ 1880-90 Early in the 80's ballet moved tothe opera itivity." She and Diani starred in revisions of house. Dancers were mainly imports especially at THE BLACK CROOK in 1868 and 1876 respec­ the Metropolitan Opera Company. Except for these tively. Marie Bonfante, Mile Billon, Mile Sohike performances, not well received by critics of the

rare poster of Ronzani's group, never published before. Dance Collection: New York Public Library 22

time, New York saw little ballet until 1908.

Spectacle and novelty dominated this period evi­ denced by the reception in 1886 given the "Gayety Girls" from London, headed by Fred Leslie and the "winsome"Nellie Farren. Itwas in this organiza­ tion that Letty Lynd and Sylvia Grey introduced the famous skirt dance which started a craze lasting ten years. Imports were fewer and sub-standard in qualities. 1893 Ziegfeld imported dancers for his musical extravaganza at the Chicago World's Fair. Al­ though the cost was only 50£, it was hard to get customers at first. 1907-1908 Ziegfeld brought the celebrated Danish ballet dancer, Adeline Genee tothe U.S. for the title role in the musical KISS OF THE SOUL. Her sprightly charm and precise tech­ nique caused her to captivate audiences. (In his autobiography, Fred Astaire mentions seeing THE SOUL KISS twenty-eight times and felt it was the first really great dancing he had seen as a child.) She caused a revival of interest in ballet, especially after appearing at the Metro­ politan Opera House in 1911 with Alexandre Volinine and Company.

1910-1914 CiaFornaroli, prima ballerina of La Scala Theatre, was soloist at the Metropolitan. From Souvenir Program Book of Diaghilev's Ballet Russe 1910 Pavlova and Mordkin, first outstanding ex­ 1916 Tour. Harvard Theatre Collection ponents of Russian ballet, were engaged by the Theodore and Alexis Kosloff, Boulgakov and Metropolitan. They caused a sensation in Alexandre Volinine. It was not a success. COPPELIA and "were able to pack the opera house to the doors every performance." They Year of debut of Albertina Rasch (Austrian) formed a company and made a long U.S. tour, as premiere danseuse, New York Hippodrome. giving 8-11 performances a week. Pavlova Danced at Chicago, Century and American Opera toured continuously, and between 1913 and 1925 Houses. In 1916 she formed her own group, had the only ballet organization regularly touring toured U.S. and later Europe. She was known the country. In many of the early tours, attend­ for organizing the Albertina Rasch Girls, pre­ ance was poor; 50% did not pay expenses. Not cision dancers, in the 20's, and staging many until her last two or three tours did she have the musicals, in which, for the first time, ballet public solidly and numerically with her. Then technique was incorporated. She made "ballet she became a symbol of the dance. "The perfec­ technique into a salable commodity for America." tion that is Pavlova comes back to us. . . .Ever 1915-1916 First American tour of Diaghilev's the Incomparable, now she is more. Her re­ Ballet Russes with Adolph Bolm and Leonide turn marks the apotheosis of the spirit of the Massine and Alexandre Gavrilov and Company. dance. Great dancers there have been; subtle Itwas the "largest, most glittering organization pantomimists, gifted actors, inspired by poets, America had ever seen." Nijinsky was added to artists magnificent. And there is ALL of these the second tour. Between 1910 and 1919 almost in One Pavlowa!" (from souvenir program) every article written about dance in periodicals 1911 Gertrude Hoffman sponsored a SAISON DE dealt with the impact of the Russian dancers. BALLET RUSSES at the Winter Garden, New When Nijinsky joined, he was considered an "un­ York. A company of 100 imported artists with paralleled" performer whose concepts of various such outstanding dancers as Lydia Lopokova, roles were original and "unequaled." An ardent 23

balletomane said: "Prepared as I was for a re­ Happily, La Argentinita lived to see the day when markable and awe-inspiring performance there New York audiences clamored for her appear­ was, nevertheless, something of the sublimely ance." Between 1938-45 every performance in endowed acrobat about him which I could never America was a triumph in coast-to-coast tours filter out of my consciousness." In L'APRES- under S. Hurok. MIDI D'UN FAUNE, he exhibited an "inner il­ During this period Fatmah was imported from lumination of the truly great performer — the the Near East to dance in the play GARDEN OF artist who can physically synchronize his dance ALLAH. Her dance was "met with a horrified mechanism with an entire company and yet en­ misunderstanding" and caused a scandal at the dow his personal performance with the revealing time. essence of the ballet's intent." Vincente Escudero, "The Flamenco," became 1917 Adolph Bolm's "Ballet Intime," a company one of the top Spanish male dancers and reached of 12 dancers included Oriental artists — Ratan his greatest popularity in coast-to-coast tours Devi (an English girl), Roshanara, and Michio during the 30's. Ito. They gave programs of Hindu, Javanese and Russian music and dance, and toured U.S. The 1930's brought a new invasion of artists from and London in 1920. Europe. It seemed that the prediction made in 1926 1920 Michel Fokine, famed Russian choreo­ by a dance critic that "every European dancer's grapher moved to U.S., where he staged musi­ dream was to come to the United States" may have cals, founded a school and a small performing been coming true. company with students. He drew large crowds 1928-31 Leonide Massine was choreographer and when he appeared with his wife and group in premier danseur for the Roxy Theatre in New New York. York where he provided four performances a day and changed programs weekly. Although other European visitors of prominence came, there was a lull in the influx, and no large Harvard Theatre Collection ballet companies toured for the next decade. Es­ tablished companies would occasionally introduce guest artists such as Karsavina (1924). 1920's The unison dancers from England, the Tiller Girls arrived. For a while, almost no Broadway show did not employ a Tiller unit. The Albertina Rasch Girls were popular. In the 30's an ad read: "World Famous ... in Pre­ sentations in New York, Hollywood, Florida, Paris, London — Everywhere." A greater variety of ethnic dance appeared, such as the "Spanish dancers who made New York sit up and take notice! "— Doloretes and Mozantinito; the African dancer, Asadata Dafora; and La Argentina. 1929 La Argentina, "Queen of the Castenets," though idolized in Europe, had not met with suc­ cess in her first American appearances in the mid 20's. But upon her return in 1929 and for the succeeding six tours her "Spanish style... clicked its way into the hearts by the thousands." 193 0 La Argentinita made her debut in New York in "International Revue," a musical. A well- A GROUP OF FAMOUS DANCERS IN NEW YORK: MARY WIGMAN. known dancer in this show said, "I saw a New Who Recently Arrived From Germany, With Ruth St. Denis (Left), Agnes. De Mille. President of the Concert Dancers League, and La Argentina, at York audience watch this great artist and make the Party Which Was Given for Miss Wigman at the Hotel Plate. no sound except disapproval and finally walk out ITImn wide World Photos.I of the theatre in dozens during the dance. . . 24

1930 LE SACRE DU PRINTEMPS was staged ballet SLAUGHTER ON TENTH AVENUE so that by Massine for the League of Composers with it was an integral part of the plot of ON YOUR the Philadelphia Symphony Orchestra conducted TOES. This was an epoch-making idea. by Stokowski. Martha Graham in principal role, Other Russian dancers appeared in New York and "The Chosen One," for which she did the choreo­ Chicago. Some toured coast to coast and re­ graphy. Mr. Massine also did concert work in ceived poor reviews. Members of the Ballet Chicago in 1931. Russe appeared with other groups and in oper­ 1929-30 Yvonne Georgi and Harald Kreutzberg ettas. "The great new school of dancing which has been 1936 The Jooss Ballet was a "revelation" to developing in Germany... sees the flower of its American audiences. They made one other tour expression in Kreutzberg and almost as truly in before World War H. Many ballets were enjoyed, Miss Georgi." They returned in 1937. Kreutz­ but "none was more impressive" than THE berg and Ruth Page toured in 1932. Georgi came GREEN TABLE, an anti-war dance. alone once and with her Dutch ensemble in 1939. 1931 Mary Wigman's first appearance in Amer­ 1937 Trudi Schoop and her Comic Ballet "became ica brought "new insights into the German move­ a perennial favorite " until after the war. She was ment." She aroused conflicting reactions but called the "Charlie Chaplin of the dance." left a deep impression on many. One viewer 1938-1939 Ballet Russe de Monte Carlo at the felt that her appearances dated a new epoch for Metropolitan included new imported dancers with dancing in this country. In 1933 she returned several from the first company: Markova, with a group of twelve and toured. Slavenska, Youskevitch and Franklin. 1931 Hanya Holm started the Wigman School in A French film, BALLERINA, was shown in the New York. Margarete Wallman, also from the United States in 1938. Story, dance and filming German School, taught for a short time at the techniques were thoroughly integrated. Denishawn School in New York. 1939 Devi Dja, a "comely" girl, brought the Uday Shankar and dancers from India toured the "delicate and poetic dance of Bali." She worked United States. He had aided Pavlova in produc­ in films and gave concerts. ing an Oriental Ballet and danced in it in 1915, and gave America its first real look at "autho­ The organization for the first Ballet Theatre ritative, beautifully produced and artistically brought together many English, Russian, Amer­ elevated authentic Hindu dance," in the 1931 tour. ican and Spanish choreographers and dancers, some of whom were brought especially for this Dancers from the Near and Far East: Michio purpose. There were 11 choreographers; 20 Ito (Japan), Roshanara (India), Fatmah (Near principal dancers, 15 soloists and a company of East), and Mei Lan Fang (Chinese) performed. 56, a Spanish unit of 19, a Negro unit of 14, as 1933 Monte Carlo Ballet Russe arrived in New well as many designers, several conductors and York; the first major ballet company since 1925 the contributions of 18 composers. (Pavlova's last tour). The "charm" and what Ballerina Irina Baranova was invited to come for seemed at the time the "brilliant technique" of M.G.M.'s all-dance film, FLORIAN. the "babyballerinas," Toumanova, Baranovaand Riabouchinska, plus the "artistry" of Alexandra Danilova and Leonide Massine attracted audi­ ences . Ballet Russe returned year after year Exports for extensive tours of the United States. From 1790 until the late 1800's very few American Russian choreographer, Balanchine, came to dancers went abroad. If there were some in addi­ America to help found the School of American tion to those listed below, no one felt they were Ballet. In the first program (1934) some important enough to note. Americans had the opportunity of seeing several ballets he had choreographed for his own LES 1830 T. D. Rice, better known as the blackface BALLETS 1933 in Paris. performer, "Daddy Jim Crow," popularized the minstrel show in America and England. He fo­ Balanchine, later, revolutionized American cused attention on the Negro as theatrical source musical comedy dancing by choreographing the material. 25

1838 Augusta Maywood was the first American 1890-1920 A small group of Americans became to be admitted to the Paris Opera. The next year, internationally famous for their innovations in the at the age of 15, she made her debut and became a dance. member of the regular company. From 1842 to 1892 Loie Fuller accidently found success when 1848, she danced in Lisbon, Vienna and Milan. experimenting with movement, cloth and light. She became the first internationally famous Her unique approach, when presented in Europe, prima ballerina from America. Artistically, caused her to become a rage, especially in Paris, she was compared to the greatest — Elssler, She was called "La Belle Americaine" and was Taglioni and Cerrito. In 1848 she joined forces so popular that the Folies-Bergeredrew women, with the Lasina brothers to organize a semi­ children, writers, artists, and sculptors to permanent company which toured Italy for many over three hundred consecutive performances. years. The Italians adored her. They spoke of In 1909 when she visited the States with a group, her incomparable ability as mime and dancer and she brought several distinguished European dan­ she shared with Elssler the rare title of "prima cers. She performed in Europe and U.S. until ballerina e prima mima assoluta." She retired 1926. Ten years after her death there was still in 1862, never having returned to the United a troupe of Loie Fuller girls to be seen. States. 1842 George Washington Smith went to Havana 1899-1927 Isadora Duncan, exponent of a dance with Fanny Elssler as his partner. Although he form free of conventions, first appeared in partnered almost every great ballerina who Europe in private homes in London and Paris visited this country from Elssler on, and staged (1900). Her first appearance for the public almost all of the well-known romantic ballets, he occurred in Budapest in 1903 where she was never performed in Europe. scheduled for 30 performances. After the first, the house was sold out, and she "established 1844 Mary Ann Lee studied for one year at the herself triumphantly as one of the great artists ballet school of the Paris Opera. She brought of all time." A tour of Hungary followed. back knowledge of the authentic versions of Jean Coralli's works, such as GISELLE. None Between 1903-27, she met tremendous success of these had been seen in the U.S. One may con­ in Austria, Germany, Russia, England, Italy, sider her more of an import than an export. Isadora Duncan. Program cover from one of her Russian tours. Drawn by Abraham Walkowitz, painter made fam­ 1848 Boz Juba(WilliamHenry Lane), considered ous by his paintings, drawings and sketches of Isadora. one of the greatest Negro minstral dancers in the Dance Collection: New York Public Library. U.S., arrived in London to augment an already famous blackface minstrel troupe — Pell's Ethiopean Serenaders. The British wrote of him with an enthusiasm usually reserved for someone like Fanny Elssler. "There never was such a Juba as the ebony - tinted gentleman who is now drawing all the world and its neighbours to Vauxhall; there never was such a laugh as the laugh of Juba. . ." "... the dancing of Juba exceeded anything ever witnessed in Europe . . . The American Juba has for some years drawn immense audiences when­ ever he has appeared. He is quite young, being only in his seventeenth year . . . who, we doubt not, before many weeks . . . will have the hon­ or of displaying his dancing attainments in Buckingham Palace." Other minstrel dancers appeared in England after Boz Juba. The literature indicated that minstrel shows were known and popular in England for many years. 26

where the members of the group were considered artists of a high order. In Japan a newspaper of the time stated that very little dance of merit could be seen in Japan and, until the Denishawn Company arrived, only Pavlova had come near presenting it. Also, it continued, many did not attend the Denishawn program because they thought modern dance was the "vulgar" dance seen in American movies. 1911 Bessie Clayton, whose specialty was pointe work executed in soft black shoes. An American periodical (1912) extolled her abilities, thus: "For strictly toe dancing, Bessie Clayton. . .is without a superior in the world, and her success is as great in London and Paris as in America.

There were probably more dancers in minor com­ panies, music halls and variety theaters throughout Europe. Duringthe 20's several American dancers were successfully touring Europe and one went to the Orient. 1920 The Bracole Opera Company with Helen Tamiris as one of the ballet soloists went to South America. In 1928 she was invited to dance at the Salzburg Festival — the first American since Duncan — and in Paris. The next year, Poster from South American tour. she was invited to Berlin where she gave a mid­ Dance Collection: New York Public Library. night concert at a motion picture house. Her France (reached a height of popularity here), performances were enthusiastically received. South America and eventually North America. She mingled with and was admired and praised 1924 Josephine Baker moved to Paris and danced by the great artists, philosophers and musicians at the Folies-Bergere and nightclubs. She also of the time. She established schools in Paris studied with Balanchine who later choreographed and Russia. for her. Maude Allen made her debut (age 16) in the dance 1927 Ruth Page, as premiere danseuse, and VISION OF SALOME in Vienna. In a review Adolph Bolm, as choreographer, were in Buenos written in America in 1910, Miss Allen was said Aires for six months. She toured the Orient with to have "won no inconsiderable amount of fame in a small company in 1928 and performed a series Europe and England ..." Her appearance in of American dances in Moscow. (1930) Paris at the Theatre des Varietes(1907) "caused some discussion, but no sensation . . . Since her 1928-1929 Angna Enters made her debut in debut at this London music hall, Miss Allen's London and Paris. After this she performed reg­ name has grown steadily in fame." For over a ularly in London, Paris, Havana, Hawaii and year she performed SALOME there. She toured Canada as well the U.S. regularly until 1928 when she founded a school in American dance was known to other parts of the England. world through the movies and the radio ratherthan 1906 Ruth St. Denis appeared in London, where dancers seen in atheater. As early as 1925, many she was "liked," in Paris, where she was a "suc­ Japanese associated American dance with the "cafe" cess" and in Germany and Austria, where she style dance shown in movies which they considered was "overwhelmed." She remained in Central in poor taste and "vulgar." An article from Spain Europe for two years. Berlin wanted to build deplores the fact that exposure to American films her a theater of her own if she would stay. She and radio have caused tap dancing — often of poor She returned to Europe in 1922 with the Denis- quality — and jazz music to supplant the native shawn Company, and visited the Orient in 1925 dance and music! 27

American ballroom dance, musical comedy, ec­ Kreutzberg are rehearsing for Oriental tour. centric dance from vaudeville and jazz dance were Leave April 7 for Japan." seemingly known everywhere. An article entitled Modern dancer Anna Sokolow spent five months "American Dances in France" (1923) says the in Russia. In 1939 she was invited by the Fine shimmy and tango are demoralizing the French" Arts Dept. of the Mexican Government to give a and another, entitled "American Dancing in Russian season of 26 concerts at Palacio de Bellas Artes. Ey es," talks about doing the fox trot " morning, noon and night." For some years she spent half of her time in Mexico and half in the U.S. She started a school Nevertheless, during the 30's American dancers and trained a professional group. were able to appear in both solo and company per­ 1937 During the International Exposition, the formances in tours abroad. Littlefield Philadelphia Ballet Company became the first American ballet group to visit Europe. 1930 Agnes de Mille appeared successfully in They were enthusiastically received; especially solo and group recitals in Paris, Brussels, BARN DANCE by Catherine Littlefield. The London and Copenhagen. After a brief return company also appeared in Rome, Brussels, The to the U.S., she went to London and was highly Hague and London. acclaimed as a performer. In 1933 she arranged the dances for Charles B. Cochran's NYMPH The Rockettes won the Grand Prix at the Paris ERRANT, and in 1937 she formed a small ballet Exposition. company with Antony Tudor, Hugh Laing, Peggy Bentley Stone of the Chicago Opera Company van Praag and Margaret Braithwaite. several lead roles with Marie Rambert's Ballet La Meri toured the Far East and Europe per­ in London. forming and studying. Ted Shawn appeared at the Dance Congress in There were undoubtedly others who traversed the Munich and "he danced with his usual effective­ seas to appear at various opera houses, music halls, ness and in his usual style, which stood out as and variety theaters. American films continued to be shown around the world. The tracing of the quite foreign to that of his colleagues." imports and exports in dance is a vast subject and 1931 Evelyn de la Tour taught Denishawn princi­ difficult to document without access to international ples at International Summer School in England. archives. Only indications of the extent and type of 1934 An announcement in January's DANCE dance exchange in the theater were possible in this OBSERVER stated that "Ruth Page and Harald survey.

BIBLIOGRAPHY

Amberg, George. BALLET IN AMERICA : THE EMERGENCE OF AN AMERICAN ART. New York: Duell, Sloan and Pearce, 1949 . Armitage, Merle. DANCE MEMORANDA. New York: Duell, Sloan and Pearce, 1946. Chujoy, Anatole. DANCE ENCYCLOPEDIA. New York: A.A. Barnes and Company, Inc., 1949. DeMille, Agnes. DANCE TO THE PIPER. Boston: Little, Brown and Co., 1952. Dimmick, Ruth Crosby. OUR THEATRES TODAY AND YESTERDAY. New York, H.K. Fly Co., 1913. Hering, Doris, ed. 25 YEARS OF AMERICAN DANCE. New York: Rudolf Orthwine, 1951. Kirstein, Lincoln. DANCE: A SHORT HISTORY OF CLASSIC THEATRICAL DANCING. New York: G.P. Putnam's Sons, 1935. Lloyd, Margaret. THE BORZOI BOOK OF MODERN DANCE. New York: Alfred A. Knopf, 1949. Magriel, Paul, ed. CHRONICLES OF AMERICAN DANCE, New York: Henry Holt and Co., 1948. Martin, John. AMERICA DANCING. New York: Dodge Publishing Co., 1936. . WORLD BOOK OF MODERN BALLET. Cleveland and New York: The World Publishing Co., 1952. Maynard, Olga. THE AMERICAN BALLET. Philadelphia: MaCrae Smith Company, 1959. 28

Roberts, Grace. BORZOI BOOK OF BALLETS. New York: Alfred A. Knopf, 1952. Terry, Walter. THE DANCE IN AMERICA. New York: Harper and Brothers, 1956.

From issues of DANCE INDEX, Ballet Caravan, Inc., New York. Chaffee, George, "The Romantic Ballet In London, 1821-1858," Vol. II, Sept.-Dec, 1943. Cornell, J., "Americana: Romantic Ballet," Vol, VI, 1947. Van Vechten, Carl, "Collection of Dance Criticisms," Vol. I, 1942. Winter, Marian H., "Juba and American Minstrelsy," Vol. VI, 1947.

From issues of DANCE PERSPECTIVES, Dance Perspectives, Inc., 1801 East 26th Street, Brooklyn 29, New York. Guest, Ivor, "The Alhambra Ballet," #4, 1959. Moore, Lillian, "Prints on Pushcarts," #15, 1962. , "The Duport Mystery," #7, 1960. Terry, Walter, "The Legacy of Isadora Duncan and Ruth St. Denis," #5, 1959.

From recent issues of DANCE MAGAZINE, Lydia Joel, Editor in Chief, 268 W. 47th Street, N.Y. 36, New York. Astaire, Fred, "My Early Years," from STEPS IN TIME, Aug., 1959. Dougherty, John, "Perspective on Adolph Bolm," Feb., 1963. Guest, Ivor, "Adeline Genee in America," Nov., 1958. Hammerstein, Oscar, "Dancing in Musicals," April, 1956. Rene, Natalia, "Isadora Duncan and Constantin Stanislavsky," July, 1963.

Periodical articles from 1800-1920 were selected from Poole's and READER'S INDEX TO PERIODICAL LITERATURE. Other sources: Selected articles in the NEW YORK TIMES and DANCE OBSERVER 1934-1939, souvenir programs, and playbills. 29 Sol The Magnificent WALTER SORELL

One must be a fanatic in whatever one does in order to achieve greatness, one must love what one does tobe successful. When Sol Hurok decided that, one day, the standing-room ticket in his hand would turn into a manager's contract, his career was set. It is more than likely that Sol would have become a financial success in many other lines if he had put his mind to it. "Bread I could have earned in al­ most any other business," he said of himself, mo­ destly, "but caviar is irresistible." There was something strange about this young immigrant who came to the United States in 1906. He was star- struck. And to him, caviar was a simile for a great dream.

Without a knowledge of the language, he tried his luck at several incidental jobs as streetcar conduc­ tor, as bottle washer in a soda pop factory, and as salesman in a hardware store. After all, his father was in the hardware business in the small town of Pogar near Kharkhov in Russia, and the story has it that the fourteen-year-old Sol was given 1,000 rubles to go to Kharkhov to learn the wholesale end of the hardware business, but, instead, he went to Brest-Litovsk and invested almost the entire sum in a passage to America. It was, as it turned out, Azuma n, Masaya Fujima, Mr. Hurok. a sound investment. Photo: Hurok Attractions

Sol was a realist, with the vision of his own great­ He was still in the hardware business when, at the ness. When, a few months after his arrival in age of eighteen, he organized the Van Hugo Musical New York, he stood inthe lobby of the old Victoria, Society and programs for labor clubs and workers' where Oscar Hammerstein was impresario, and organizations. He has always been social-minded. stared with a feeling of admiration, awe and desire These programs were the time of his apprentice­ at the many pictures of great artists, he did not ship. When he took over the Hippodrome for Sun­ know who Horatio Alger was, let alone that he was day night performances to present such artists as about to become a Horatio Alger under the pseudo­ Mischa Elman or Efrem Zimbalist, he made his nym of his own name and with the slogan "S. Hurok first sizable profits. He was still a step or two presents." He was still in the hardware business removed from caviar and champagne, but close when he went to the opera every night. "I am a enough to sense the realization of his dream. hero -worshiper. I belong to that fraternity who crowd into the aisles, run down to the platform and It came when he managed the immortal basso, stand agape, eyes turned upward, until the last Chaliapin, and drank vodka with him, when he ex­ encore. I am one of that clamorous throng that clusively managed Anna Pavlova in America and rudely wedges its way into dressing rooms after kissed her hand, when he managed the unmanage­ each performance." These are the opening lines of able Isadora and "when she kissed me goodbye. . . his book IMPRESARIO. I walked in a dream to my hotel." It came when he

Walter Sorell, writer and teacher, is on the faculty of Columbia University, The New School, and Connecticut College School of Dance. He is the author of THE DANCE HAS MANY FACES in addition to numerous plays, essays, and translations in several of the arts. 30

S. Hurok as Bear Trainer in PETROUCHKA. danced Conga with Katherine Dunham, when he ap­ Photo: Hurok Attractions peared as bear trainer in PETROUCHKA, when he became the Stammgast, patron extraordinary, in the finest restaurants on two continents, with the Russian Tea Room next to Carnegie Hall as his fa­ vorite retreat, when he had long and serious talks about God and the world with Mary Wigman, when he launched the Ballet Russe in 1933 and, before setting off the boom in ballet, held a first-night supper party after the performance at which Otto H. Kahn drank champagne from a ballet slipper. Sol Hurok, as the press release says, "lost about $75,000 on that first season." But this was as sound an investment as the 1,000 rubles in a passage to America in 1906, for his publicity director admits that "in less than ten years he had built ballet into a million dollar business, with semi-annual sea­ sons, spring and fall, at the Metropolitan Opera House and a tour of about 75 cities."

An impresario is an entrepreneur with his heart in S. Hurok and Argentinita the arts and his eyes on his bank account. When Photo: Hurok Attractions his eyes get too big, his heart begins to murmur 31

and, finally, to fail; when his heart beats too loud, the scales fall from his eyes in form of dried-out zeroes. An impresario must be a psychologist who has the right ans­ wers and pills in the right doses for all the idiosyncrasies and whims of all the female and male prima donnas; he must be an orga­ nizer who brings an artist to the public and a public tothe artist; he must have imagination and foresee the change in temper and taste of the audience; he must have instinct for who and what are right at the right moment; and he must be dar­ ing enough to challenge the public in the name of art to ensure the survival of both public and art.

Diaghilev's trouble was his "heart" and the ensuing financial difficul­ ties. Impresario S. Hurok has Margot Fontcyn and S. Hurok autograph menus for the members of the Sadler's more safely leaned toward the ma­ Wells Ballet at Mr. Hurok's party for the company following the final perform­ nagerial aspects of the business. ance of the second South American tour, 1950. Photo: Roger Bedard Not that he wasn't daring from time to time: he engaged Argentinita for annual tours after she had flopped in a Broadway musical; he banked on Isaac Stern's andArtur Rubinstein's futures when fame was not yet guaranteed. He brought Marian Anderson back to this country and made her native land recognize her voice in spite of the color of her skin; he discovered New York born Jan Peerce who was soon hailed as the finest "Italian" tenor in America; he signed baby coloratura Patrice Munsel to a $120,000 contract before she audi­ tioned for the Metropolitan in 1943.

Hurok wouldn't be the Russian he is if he were not in love with the ballet, or dancing per se. From Isadora Duncan to Trudi Schoop, from Anna Pavlova to Martha Graham and Uday Shankar, from Loie Fuller to Vicente Escudero, he has helped and managed the dancer. He did a not yet properly evaluated service for the American S. Hurok and Moiseyev in Hollywood visiting DIARY OF ANN FRANK set. modern dance by bringing Mary Photo - Courtesy Hurok Attractions Wigman to this country, and, if 32

nothing else, Hanya Holm and her creative contri­ in determining the artistic shape of the American bution to the dance development in this country is ballet, or the more unwieldy modern dance, for his living monument for this deed. that matter. If anyone in this country could do this, it is Sol Hurokwho, under his magic banner, might The souvenir programs of the Ballet Russe de Monte gather those forces which could create an American Carlo published a full-page photo of S. Hurok and Folklore Ballet a la Moiseyev, to mention only one the following tribute to its General Manager: "Since concrete task which cries out to be done. the beginning of the Pavlova period, one man per­ sisted in the belief that the human body in motion The star-struck and hero-worshiping youngster can become one of the most thrilling theatrical from Pogar near Kharkhov has made his dream spectacles. The materialization of his conviction come true. In the face of modern giant organiza­ has given America its dance fever. That man is tions, such as the National and Columbia manage­ S. Hurok." ments with their profit-conscious and dividend- minded executives hiding behind a huge machinery, And, finally, this man has presented us with the Sol Hurok held out valiantly, an endearing figure world's most famous ballet companies, the Royal in love with the worldof illusion, and he built up his Ballet from London and the Bolshoi Ballet, the own empire in which he rules like a king supreme. Moiseyev and Kirov companies, the Kabukis and Bayanihans, Kolo and Inbal, Roberto Iglesias and Perhaps now when nothing can endanger his king­ Roland Petit. One could write volumes about his dom, one wishes he would sometimes be reminded managerial activities and genius, and he himself that dreams have no borders, and that they live and wrote two as an impresario's memoirs. grow best when their frontiers are constantly pushed farther and farther into yet undreamt-of lands where If we can blame Sol Hurok for one thing — and one new wonders take root and form as the realization can hardly reproach him for having neglected to do of what they are: the magic of creation, the dream that with which he may still surprise us one day—, of man. it is that he did not yet take a more courageous part

June 1958 - Mr. Hurok receives honorary degree from Boston University. Photo: Fay Foto Service, Inc. Dance as United States

Cultural Ambassador ARTHUR TODD

Over the past nine years, American dance companies abroad have presented a truer cultural image and have had a greater Arthur Todd, Associate Editor of impact on peoples of the world than any of our other performing DANCE OBSERVER and American arts programs. Dance, indeed, transcends all language barriers Correspondent to DANCE AND DANCERS in England, also writes as well as those of politics, race, creed and color. "It is ob­ on dance the THE NATIONAL vious that the sooner the nations of the world find an artistic OBSERVER in Washington D.C. 'Esperanto', the better for everybody," says Ruth St. Denis. In addition, he has written for "Let us remember that racial prejudices and political antago­ BALLET ANNUAL, "The Abrams nisms always function below the level of the arts. The arts are Encyclopedia of Music." MUSICAL AMERICA and THEATRE ARTS. never concerned with these things. It would seem as though any­ body, at any level of education, of any race, creed, color or

Alvin Ailey, choreographer, director and star of the Alvin Ailey Dance Company, is greeted at Tan-Son-Nhut Airport, Saigon, South Vietnam, March 2, 1962, during company's tour of Australia and the Far East. Photo —U.S. Information Service

^

\

A :;i

June, 1963, the President's Special International Program for Cultural Presentations has exported some 26 programs of dance to the rest of the world. (A chronological list follows as an appendix to this article.) These programs have been administered up to last June in conjunction with the American National Theatre and Academy and the U.S. State Department. Under a newly revised set-up, in the future all such programs are being administered by Glenn G. Wolff, Director, Office of Cultural Pre­ sentations, through the Bureau of Educational and Cultural Affairs in the U.S. Department of State. Mr. Wolff explains that a Dance Panel has the res­ ponsibility of selecting dance groups for over­ seas tours, and this panel is comprised of Martha Hill, Lillian Moore, George Beiswanger, Emily Coleman, Alfred Frankenstein, William Bales, Isadora Bennett, Hy Fain, Walter Terry and John Rosenfield. "Mr. Wolff adds, "We are guided by three factors. In the first place, the company must be of top artistic value. Secondly, they must be willing and happy to adhere to our program of activ­ ities. Finally, the behaviour of individuals in the group is of great importance because you've got to have a group that adjusts to any situation."

Russia, which willingly spends some two billion dollars a year so that the Soviet Union is in the fore­ front in cultural activities abroad, appreciates full well the tremendous prestige value of its ballet and folk dance companies. On the other hand, the United States, which talks much of its own cultural explo­ sion, has been spending approximately two and one- quarter million dollars yearly since 1954 on its cultural exchange programs. Of this amount, about $110,000 yearly was allocated inthe past to ANTA for its help in screening companies, as well as for its advice and aid in presentations.

Jose Limon and his Dance Company are the only group of dancers chosen to tour under U.S. gov­ ernmental auspices during the cycle period of September, 1963 to June, 1964. This is the fourth such tour forthe Limon company, who commenced their tour of Australia and the Far East in Sydney Jose Limon in Belgrade outside of United States Information on August 29th. This tour, which concludes on Service Exhibit Center, 1957. December 10th, takes the Limon troupe to virtually Photo — U.S. Information Service the same cities and countries visited by Alvin Ailey religion, would see that dance is the universal in 1962 — Malaya, Thailand, Hong Kong, Manila, language, enjoyed instantly. As it travels from Formosa, Korea and Japan. In addition to regular one racial audience to another, it bestows the finest performances on this tour, Mr. Limon and his group (not the lowest) feelings, concepts and ideals of the gave workshop seminars, lecture-demonstrations, race and culture that produces them. and clinics as well as special performances for students, and television appearances plus the at­ As the dance world is aware, from late 1954 up to tendant receptions and interviews. 35

Every American dance company that tours abroad of the performing arts in which they were recognized under State Department auspices has an equally and still think of themselves as leaders. Fewthings arduous schedule. For instance, last November and could have as strong an effect on both balletomanes December, when Martha Graham and her Dance and active performers, choreographers in Russia Company appeared in Turkey, Greece, Yugoslavia, as comparing the stagnant state of programs, music Poland, Germany, Sweden, Norway, Finland and and forms of Russian ballet with the great variety, Holland, they gave 28 performances to a total inventiveness and matchless execution found in this attendance of 25,817 people in 40 days. Addition­ phenomenal American ballet group." ally. Miss Graham and her troupe made 27 off-stage appearances in this period. These included lecture- "All performances were attended to capacity inthe demonstrations, radio, television and newsreel in­ Soviet Union by 98% local audiences. Initial per­ terviews, press conferences and receptions, As a formances were usually attended by officials who result, these communication media gave news of knew little about ballet, but the following perform­ the Graham company to an estimated ten and one- ances were attended by ballet enthusiasts, intelli­ half million people on both sides of the Iron Curtain. gentsia, avant garde youth and the general public, Similarly, The New York City Ballet participated in who greatly appreciated what they saw. In the an equally back-breaking program of performances U.S.S.R., in most cities tickets were never put on and scheduled off-stage appearances in and outside sale. Four or five times the number of people who of Russia. attended could not get to see the attraction. Where tickets were sold the price was 100% higher than According to an official dossier on The New York generally charged for top attractions. Even so there City Ballet's appearances made in Russia, and put at was a booming black market in tickets and four the disposal of IMPULSE, "Sending the New York times the regular price was being paid by many." City Ballet to the Soviet Union presented us with a unique chance to show the Russians that the United "There can be no question of the U.S. gain in cultural States surpasses them also in this particular form prestige in all areas toured by the New York City

Ted Shawn, Founder-Director of Jacob's Pillow Dance Festival, with Dame Marie Rambert at his left and members of the Ballet Rambert of England. Photo: John Lindquist

- • 49 ' ' / a •

saatsa^aT ' Wt adlv

m \ Mt*? i T^4^-i^saaM*^fflslDa 12*< .• m •imm^ nliiK w *• • *Z ;SRtee e* t -^ "W-jrw^mu ^^K ^ ^w- v 1 J*0- 4&*i> it-Sim saWMs^saasaUaafli !f'*ij -* - •aWA'' •#*•*.->•:-" **« ssaaaaaemeaaaHsBeaaaeaasaaaaaBasaBeaasai Martha Graham leaves New York's Idlewild Airport, October 1962, for a two month tour of Israel, Poland, Yugoslavia, and several Western European countries. Photo: Peter Brunswick Ballet." continues this evaluation, "IntheU.S.S.R., in of Jerome Robbins' WEST SIDE STORY is clear, particular, far beyond the vociferous and welcome beautiful, human and striking. All of our company recognition, the New York City Ballet made their and I personally support such a movement and mark in a more profound sense. Soviet artists and direction." intellectuals will think and talk for a long time to come about the experience of the New York City Because of his deep interest in Russian folk dances Ballet, and over a period of time, perhaps as long Pavel Virsky was most curious as to why America as five to ten years, this deep impression will trans­ had not produced a folk dance company of its own. late itself into liberalizing further Soviet artistic "Such a great country," he stated, "ought to have a efforts, leading to the broadening of the horizons of folk dance company. The time has come for this Soviet intelligentsia and leading them toward indi­ now and the interest that other countries show in vidual expression and liberalization of thought." American dance proves that this is necessary." Mr. Virsky's suggestion is a brilliant one indeed and it is Russian choreographers and artistic directors are one that the Cultural Presentations Program of the quite obviously interested in all forms of American Department of State and its Dance Panel should seri­ dance. While Pavel Virsky, artistic director of The ously consider at the earliest possible moment. Ukrainian Dance Company from Kiev, was in New York in the spring of 1962, during the first appear­ Aside from the needs of implementing a folk dance ances of his company here, he stated, "Certainly the group, the U.S. Cultural Presentations Program language of the dance is an international one. Agnes has many other aspects in the dance field to con­ de Mille's dances inthe film, OKLAHOMA, andher sider. In England, particularly, an increasing hue RODEO for American Ballet Theatre are real folk and cry has been raised for the past three years over dances that were marvellous. The stage production the fact that the U. S. Government has not under- 37 written return visits of the New York City Ballet should be sent in the future. Although London, Paris and Martha Graham and her Dance Company. This and Copenhagen are world dance centers, it appears was fanned to a fever pitch in the autumn of 1962 that our government does not regard Great Britain, when both the New York City Ballet and Graham France or Denmark as what are termed "trouble were appearing under government auspices so near spots" and hence few of our companies are seen in to Great Britain. The fact that Martha Graham and these major centers. It indeed seems ironic that her company scored the greatest success in their the U.S. Government was not far-sighted enough history in their recent non-U. S. Government spon­ to sponsor and underwrite the Graham appearances sored appearances in Edinburgh and London might in Great Britain, Erick Hawkins' performances at well lead the U.S. State Department's Bureau of the Theatre des Nations Festival in Paris last July Educational and Cultural Affairs to make a re-eval­ and Paul Taylor's October appearances at the Berlin uation of its policy as to where American companies Festival.

Members and staff of the Martha Graham Dance Company enplane for European tour, October 1962. Photo: El Al Airlines 38

In most instances, we were turned over to commer­ cial sponsors and they were more worried about making money than to whom we played. I was very dismayed that we didn't reach more of the univer­ sity audience. Theirs are the important minds, because they will be making their country's future."

Lew Christensen, of the San Francisco Ballet, reports, "We have given special performances, dress-rehearsals and lecture demonstrations to university students, dancers and schools on our three tours of South and Central America, the Far East, the Near East and Middle East, just as we do at home, and these were probably more important than the regular performances. We also visited the national schools in each country and they per­ formed for us. It seems to me that both the East and West are crossing all the time. It's becoming a path."

"Rather than piddle them out," continues Mr. Christensen, "we should combine dance, music and art into an important related touring unit that would make a dance event into a major festival abroad."

In some instances, of course, it is quite impossible from a financial and physical point of viewto send a live American dance company to every city through­ out the world — or even in a more limited area that would welcome it. As a substitute measure, Ruth St. Denis points out the tremendous value of dance exhibitions as a matter of cultural exchange. "These exhibitions," says Miss St. Denis, "should include dance films, still photographs, biographical material, musical recordings and manuscripts, and all manner of programs, criticisms andarticlesin translation which would reveal the value of the ar­ tists represented." Going a step further, Miss St. Denis also feels that there is much to be said in favor of tape recordings of noted dancers and choreographers, which would explain their ranging viewpoints on the dance in general.

George Balanchine and Diana Adams at Idlewild Airport where Although Katherine Dunham and her Company have the New York City Ballet boarded aKLM plane to Amsterdam, appeared in some 61 countries outside of America, August 28, 1962. The company began its thirteen week Euro­ none of these tours has been sponsored or subsi­ pean tour in Hamburg and continued on to the Soviet Union. Photo — Bob Larkin dized by the U.S. government. It seems strange indeed that in these years of heightened tension in As Alvin Ailey looks back on his ANTA-State De­ many areas — especially Africa and South America partment sponsored tour of Australia and the Far — that Alvin Ailey's company has been the only East, he claims, "It's better to go to fewer places American Negro company that has gone abroad un­ and stay a longer time. We should have played at der government auspices. "The Asians," reports more schools, colleges and universities and we Mr. Ailey, "knew all about Little Rock and the should have had more communication with students. Freedom Riders and they have a great identifica- 39 tion with the American Negro, especially because they, too, have been involved with struggles for years and have seen so many wars. There are, I believe, important political ramifications to this." As all of our experts agree, our rich heritage of American Negro dance is one of our national treas­ ures and it seems a pity indeed that the rest of the world has so little opportunity to see such per­ forming troupes as Katherine Dunham's and Alvin Ailey's as well as other such major dancer-choreo­ graphers as Talley Beatty, Pearl Primus and Donald MacKayle. When Rudolf Nureyev witnessed an Alvin Ailey performance at the Y. W. C. A. Clarke Center in New York in 1962 and heard the cheers and applause of the capacity audience, he said, "A company like this would have twice as much success as this in Russia." Rebekah Harkness Kean, President of the Rebekah Harkness Foundation, at United Nations Reception for the Robert Joffrey One hopes inthe near future that some of our highly Ballet prior to its 1962-63 European-Asian tour, with Adlai Stevenson, United States Ambassador to the United Nations, creative and so-called "avant garde" smaller dance and Robert Joffrey. Photo - Martha Swope companies will be provided with their rightful op­ portunity to travel overseas under government auspices, too. Paul Taylor and Erick Hawkins, who tracing the career of Martha Graham that ran from have already been invited and have danced at the im­ July 26th through September 13th to coincide with port Theatre des Nations festival in Paris, are ex­ Miss Graham's non-U.S. Government-sponsored cellent candidates in this performing area, as are appearances in Edinburgh and London. For the Merce Cunningham and the Alwin Nikolais Dance opening program the Cultural Affairs office pre­ Theatre. Paul Taylor has stated that he can tour his sented five short dance films taken from the U.S. concert group abroad for a budget of $2500 per week, television program, "Bell Telephone Hour," fea­ and Erick Hawkins has estimated that all of the costs turing ballet dancers Rudolf Nureyev, Carla Fracci, for his group on tour could be covered by $2000 per Erik Bruhn and others in ballet divertissements. week. Certainly the ferment and excitement that Puzzled London viewers in attendance were left to such a company might stir up would be considerable. reason the connection between these television What's more, by the very nature of their cameo clippings and Martha Graham. size, each of these companies could perform in many vital areas that are not yet able to accommo­ If Britain's Royal Ballet scores a success in New date a full-scale ballet company and orchestra. York City, every paper in London reports this fact the next day. Similarly, if Russia's Bolshoi or In his 80-page report of the government's attitude Leningrad Kirov ballets have a triumph at the to the arts made last June, August Heckscher, Metropolitan Opera House, it is headline news the President Kennedy's special consultant on the arts next day in Russia. Not so, however, when termed the U.S. role narrow in the arts. He made a American companies score a bull's eye abroad. It special point in criticizing displays of visual and is weeks, if not months, before translated reviews graphic arts. "As a practical matter," he said, filter through various agencies in Washington. Since "they are generally inadequate and haphazard." He old news is dead news, little gets into the American also cited "lack of funds, limited exhibit spaces, press about the enormous successes American duplication and ineffective coordination and liaison companies have been making abroad. We might not between the different government agencies involved, have heard about the New York City Ballet Company and above all the absence of any positive policy and in Russia until their return were it not for the fact program." This would refer specifically to areas that John Martin, who accompanied them, cabled such as United States Information centers and voluminous reports to The New York Times. One American embassies where dance exhibitions, can only imagine that American taxpayers in general lecture-demonstrations and dance films are shown. and the art world in particular would be extraordi­ One of the most recent examples of inept planning narily interested in learning at once how American was the U.S. Embassy's exhibition of photographs artists are being received abroad. 40

Katherine Dunham, with some of the performers of the Royal Troupe of Morocco, who appeared in her recent Broadway show BAMBOCHE.

For better understanding it would seem that dance The question of tickets for American dance events must have a two - way passage both to and from abroad is a serious one since, in many instances, America. Such great impresarios as Sol Hurok do they are priced far beyond the pocket of the average bring most of the great companies to America from man in the street. Jos6 Limon states, "If you're time to time. However, it's just as important that going to bother sending people overseas, you're we see some of the smaller companies as well. going to have to subsidize them as the Russians do, Elsewhere in this issue Isadora Bennett explains the so that they don't have to charge prices that are sound and valuable policy of the Asia Society of the prohibitive. Performing Arts. It must be added, however, that Ted Shawn's Jacob's Pillow Dance Festival has also Reflecting the majority view on the arts in America, been responsible for bringing some highly important Lew Christensen states, "America is not doing companies to America for the first time and this has enough to build its own culture. We're dilettantes. been done with no aid from our government. Mr. We dabble. We're concentrating mostly on building Shawn's most recent plum has been the Western no-purpose buildings." Perhaps if Americans were Theatre Ballet from Bristol, England, which had a willing to put more money in companies than in cul­ fortnight's engagement at Jacob's Pillow last July. tural centers we could better support dance which is Other distinguished predecessors included 10 lead­ now America's liveliest art both inside and outside ing dancers of the Royal Danish Ballet, and their our borders. Possibly if there are others who be­ reception was so great that this event led to two lieve this strongly enough, they will write to their subsequent American tours by the Royal Danish congressmen and senators requesting an expansion Ballet. Ten years ago, Mr. Shawn gave the of the Cultural Presentations Program of the National Ballet of Canada its American premiere Department of State for dance. American dancers and, in 1959, he introduced Les Grands Ballet abroad have proven to be our best ambassadors — Canadiens from Montreal. In 1956, the San they are tough, tireless, valiant, pioneering and Francisco Ballet made their East Coast debut at infinitely courageous and deserve all of the support Jacob's Pillow and, in 1959, Mr. Shawn's biggest citizens and the government can provide. enterprise was the bringing of Ballet Rambert from England for three weeks. 41

Further notes from Mr. Todd (October 1963) is and is not art and how it is to be judged, Mr. Frelinghuysen falls back on mud-slinging. Whether Word has just been received from London that Robin or not they are head-line hunting, they chose to Howard, who personally sponsored the London attack one of America's greatest living artists after season of the Martha Graham Company, is now set­ the triumph of her career at the Edinburgh Festival ting plans in motion for a return London engagement and while all London was at her feet. As a result, as well as a full tour of Europe for this company these two members of our House of Representatives in the fall of 1964. Again, this will mark another became a public laughing stock among London's wonderful leap forward for American dance abroad, knowledgeable critics and the capacity audiences but it seems a sad commentary on our own govern­ who had been according the Martha Graham Com­ ment's educational and cultural programs overseas. pany the most stirring reception in their distin­ If this trend continues, perhaps our dance com­ guished career. All our self-appointed censors panies may well expect further foreign festival accomplished, sadly enough, was to diminish rather appearances, where they are obviously enthusias­ than enhance the American cultural image both tically received, as well as sponsorship by far- abroad and at home. sighted individuals who fully realize the enormous creative impact of American dance at its best. Mr. Frelinghuysen and Mrs. Kelly may be surprised to hear that the directors of Britain's two great dance companies, who are eminently qualified to Congressman Peter H. B. Frelinghuysen's and judge dance and art, hold completely opposite feel­ Congresswoman Edna Kelly's recent and ill-timed ings. Sir Frederick Ashton, director of the Royal attack on Martha Graham's PHAEDRA, which they Ballet, and one of the world's great choreographers viewed in Germany last December, is shocking and states: "Martha Graham is indubitably one of the frightening in its implications. In attempting to most significant figures in the world of dance today, force his and Mrs. Kelly's personal views on what and for that matter for any time.... Her plastic The Ukrainian Dance Company performing WE ARE FROM THE UKRAINE on their first U.S. tour. courtesy Hurok Concerts Ii

I 9 ill aflHaH L i saaaaj 1 1 /'I Fas! 1 taaaaM « • II 1 sasasasasl 1 aaaaaaaj Iff J 1 tjjfl 1 d lev 1 ' M MM m fll W ' m\ 'lK 1 1 ' w ' M ^^kW • II f Mil ; II It n m ' eaaaaasaa ?*V I WA •nt Jfl A MIIW J 42

contribution is tremendous, coupled with her out­ America's cultural image resulting from the dia­ standing theatricalism in its noblest sense. . . .It tribes of Mr. Frelinghuysen and Mrs. Kelly is the was fascinating to see so many beautiful people spectre of government censorship raised by the moving in such an individual, lissome manner. I latter at the hearing on the Administration's Cultural salute her genius. Long may she flourish for our Exchange Program, when she urged censorship of delight." Dame Marie Rambert, founder-director ballet and motion pictures sent overseas by the of Ballet Rambert, says: "That Martha Graham is government. a genius is by now an accepted truth in the world of dance.... She is a choreographer of genius who Mary Wigman, Germany's greatest dancer and reveals a new aspect of truth in each new work. choreographer, takes a frightened view of Mr. Her powerful mind, great culture and taste, endless Frelinghuysen's and Mrs. Kelly's attack on Miss inventiveness, and absolute integrity make every Graham. "It was quite a shock to me," she says, new production of hers an experience of the highest "What does this mean after all — censorship? And value." that inthe United States, the country in which free­ dom and liberty have always been written in capital Who is to be believed — Sir Frederick Ashton letters. Of course, this can't hurt Martha Graham, or Representative Frelinghuysen, Dame Marie herself. She is above that. But what about all the Rambert or Congresswoman Kelly? other dancers and choreographers? I'm sure that they all stand up against this queer threat. It is Even more appalling than such diminution of absolutely ridiculous."

INTERNATIONAL CULTURAL EXCHANGE SERVICE of THE AMERICAN NATIONAL THEATRE AND ACADEMY

PROJECTS — November 1954 to March 1963

JOSE UMON & DANCE COMPANY — November 22 to Lucknow, Delhi, Jodphur, Agra, Amritsar, Madras, Guntur, December 12, 1954. (Brazil) Riode Janeiro, Sao Paulo; Takikonda, Vijayawada, Hyderabad, Bombay; (West Pakistan) (Uruguay) Montevideo. Karachi, MirpurKhas, Lahore, Lyallpur, Multan; (East Pakistan) Rangamati, Rangarh, Raikaali, Banderban, Kaptai, NEWYORKCITY BALLET-April 9toJuly 3, 1955. (Monaco) Chittagong, Dacca, Barisal, Mymensingh; (Burma) Rangoon, Monte Carlo; (France) Marseilles, Lyons, Bordeaux, Paris; Mandalay; (Indonesia) Surabaja, Surakarta, Djakarta, Medan. (Italy) Florence, Rome; (Portugal) Lisbon; (Switzerland) Lausanne, Zurich; (Germany) Stuttgart; (Holland) Amsterdam, NEWYORKCITY BALLET-August 26 to November 11,1956. The Hague. (Austria) Salzburg, Vienna; (Switzerland) Zurich; (Italy) Venice; (Germany) Berlin, Munich, Frankfurt, Cologne; BALLET THEATRE — June28to Novemberl, 1955.(Mexico) (Belgium) Brussels. Antwerp; (France) Paris; (Denmark) Mexico City; (Guatemala) Guatemala City; (Costa Rica) San Copenhagen; (Sweden) Stockholm. Jose; (Panama) Panama City; (Columbia) Bogota, Medellin, Cali; (Ecuador) Quito, Guayaquil; (Peru) Lima; (Chile) BALLET THEATRE - August 20, 1956 to February 3, 1957. Santiago; (Argentina) Buenos Aires; (Uruguay) Montevideo; (England) London; (Yugoslavia) Belgrade, Skopje; (Greece) (Brazil) Rio de Janeiro, Sao Paulo. Athens; (Turkey) Istanbul, Ankara; (Italy) Naples, Rome, Florence, Livorno, Genoa, Turin; (Lebanon) Beirut; (Holland) TALLCHIEF & EGLEVSKY (ballet dancers) - November 15 Rotterdam, Utrecht, Delft, Hilversum; (Belgium) Antwerp; to 19, 1955. (Brazil) Rio de Janeiro. (Portugal) Lisbon, Oporto; (Spain) Madrid. MARTHA GRAHAM DANCE COMPANY - November 1 to TOM TWO ARROWS-October 31, 1956 to February 28, 1957. February 12, 1956. (Japan) Tokyo; (Philippines) Manila; (Japan) Sapporo, Ashigawa, Akita, Nagasaki, Saga, Fukuoka, (Thailand) Bangkok; (Mayala) Singapore, Kuala Lumpur; Hiroshima, Matsuyama, Takamatsu, Kobe, Kyoto, Osaka, (Indonesia) Djakarta; (Burma) Rangoon; (Pakistan) Dacca; Nagoya, Tokyo, Yokohama; (Korea) Seoul, Kwangju; (Taiwan) (India) Calcutta, Madras, Bombay, New Delhi; (Ceylon) Taipei; (Cambodia) Kompong-Cham, Siem Reap, Battambang, Colombo; (Pakistan) Karachi; (Iran) Abadan, Tehran. Phnon Penh; (Vietnam) Saigon; (Thailand) Bangkok, Songkhla, Haadya, Korat; (Burma) Kyaume, Lashio, Kutkai, Muse, TOM TWO ARROWS (American-Indian dancer, singer and Namkham, Man wing, Bhamo, Myitkyina, Mandalay, Moulmein; lecturer) — January 20 to May 20, 1956. (India) Calcutta, (Malaya)JohoreBahru, Malacca, Tampin, Seremban, Penang, 43

Tmerloh, Bentong, Kuala Lumpur, Tapoh, Ipoh, Sungei. Kong; (Taiwan) Taipei, Kaohsiung; (Korea) Seoul, Pusan; Patani, Klang, Singapore. (Okinawa) Naha; (Philippines) Manila.

SAN FRANCISCO BALLET -January 12 to March 15, 1957. AMERICAN BALLET THEATRE-March 27 to April 2, 1960. (Taiwan) Taipei; (Philippines) Manila; (Hong Kong); (Burma) (Cuba) Havana. Rangoon; (Thailand) Bangkok: (Cambodia) Phnom Penh, Kom­ pong-Cham; (Malaya) Singapore, Kuala Lumpur, PenUng; AMERICAN BALLET THEATRE - May 15 to October 24, (Ceylon) Colombo; (India) Bombay; (Pakistan) Karachi; (Iran) 1960. (Portugal) Lisbon; (France) Bordeaux, Vichy:(Belgium) Tehran. Brussels, Ostend, Antwerp: (Sweden) Gothenberg; (Switzer­ land) Geneva, Zurich, (Italy) Spoleto, Como, Naples, (Spain) JOSE LIMON DANCE COMPANY—September 2to December Santander, Granada; (Germany) Munich, Koblenz: (Holland) 21, 1957. (England) London; (France) Paris; (Germany) Berlin, The Hague, Amsterdam, Rotterdam; (Denmark) Copenhagen; Bonn, Diisseldorf, Munich, Stuttgart, Essen;(Poland) Poznan, (Greece) Athens; (Bulgaria) Sofia, Plovdiv; (Rumania) Wraclaw, Katowice, Warsaw; (Belgium) Ghent, Brussels, Bucharest; (U.S.S.R.) Moscow, Tiblisi, Leningrad, Kiev. Lie*ge, Antwerp; (Holland) Scheveningen, Utrecht, The Hague, Amsterdam, Enschede, Hilversum, Rotterdam, Arnhem, JOSE LIMON DANCE COMPANY — August 26 to November 9, (Yugoslavia) Ljubljana, Zagreb, Novi Sad, Belgrade, Sara­ 1960. (Columbia) Barranquilla, Bogota, Medellin, Cali; jevo, Skopje, Rijeka, Subotica; (Portugal) Lisbon, Oporto. (Equador) Quito; (Peru) Lima; (Chili) Santiago; (Argentina) Buenos Aires, Cordoba, Santa Fe, Rosario; (Uruguay) Mon­ NEW YORK CITY BALLET (3rd Tour) — March 17 to August tevideo; (Brazil) Porto Alegre, Curitiba, Rio de Janeiro, 10, 1958. (Japan) Tokyo, Osaka; (Australia) Sydney, Mel­ Sao Paulo; (Trinidad) Port of Spain; (Venezuela) Caracas bourne; (Philippines) Manila. Maracaibo; (Panama) Panama City; (Costa Rica) San Jose; (Honduras) Tegucigalpa; (Guatemala) Guatemala City; (Mexi­ AMERICAN BALLET THEATRE (3rd Tour) - April 28 to co) Mexico City, Monterrey. August 17, 1958. (Morocco) Casablanca, Rabat, Tangier (Poland) Warsaw; (Germany) Hamburg, Wiesbaden, Stuttgart GEORGE TAPPS DANCE COMPANY - December 1, 1961 to (Finland) Helsinki; (Norway) Oslo; (France) Paris, Cannes April 20, 1962 (Ghana) Accra, Kumasi; (Togo) Lome; (Holland) The Hague, Rotterdam, Amsterdam, Utrecht (Dahomey) Cotonou, Porto-Novo; (Congo) Leopoldville, (Belgium) Brussels, Namur, Ostend; (Ireland) Dublin Brazzaville: (Rhodesia) Salisbury; (Mozambique) Lourenco (Yugoslavia) Dubrovnik; (Spain) Santander. Marques; (Tanganika) Dar es Salaam, Zanzibar; (Uganda) Kampala; (Kenya) Nairobi, Mwanza; (Madagascar)Tananarive; SAN FRANCISCO BALLET (2nd Tour) —June 12 to September (Ivory Coast) Abidjan: (Upper Volta) Ouagoudourou; (Mali) 26, 1958. (Venezuela) Caracas, Valencia, Barquisimento; Bamako: (Senegal) Dakar; (Morocco) Rabat, Casablanca, (Colombia) Medellin, Bogota, Cali; (Ecuador) Quito, Quaya- Meknes, Tetuan, Tangier, Kenitra, Marrakech. quil; (Peru) Lima; (Paraguay) Asuncion; (Argentina) Buenos Aires; (Uruguay) Montevideo; (Brazil) Porto Alegre, Rio de CARMEN DE LAVALLADE — ALVIN AILEY DANCE COM­ Janeiro, Maracanasinho, Sao Paulo, Campinas, Ribeirao PANY — February 1 to May 13, 1962. (Australia) Sydney, Preto, Belo Horizonte, Salvador, Recife, Belem; (Trinidad) Melbourne; (Burma) Rangoon, Mandalay; (South Vietnam) Port of Spain; (Panama) Panama City; (Costa Rica) San Jose; Saigon; (Federation of Malaya) Kuala Lumpur, Ipoh, Penang; (Nicaragua) Managua; (Honduras) Tegucigalpa; (El Salvador) (Indonesia) Bandung, Djakarta; (Philippines) Manila, Basiled, San Salvador; (Guatemala) Guatemala City; (Mexico) Mexico Cebu, Cetebate City; (Hong Kong); (Taiwan) Taipei, Kaoh- City. suing; (Japan) Tokyo, Kawasaki, Osaka, Nagoya, Kusamate, Nobooka, Tokuyama; (Korea) Seoul. SAN FRANCISCO BALLET (3rd Tour) —January 15 to April 23, 1959. (Greece) Athens, Salonika; (Turkey) Ankara, Izmir, BEREA COLLEGE FOLK DANCERS - June 5 to August 23, Istanbul, Bursa; (Lebanon) Beirut; (Iran) Tehran; (Ethiopia) 1962. Mexico, Guatemala, El Salvador, Honduras, Nica­ Addis Ababa; (Eritrea) Asmara; (Egypt) Cairo, Alexandria; ragua, Costa Rica, Panama, Columbia, Ecuador, Peru, (Syria) Damascus, Aleppo; (Libya) Tripoli. Dominican Republic.

JEROME ROBBINS' "BALLETS: U.S.A." - July 3 to NEW YORK CITY BALLET - September 1 to December 2, November 4, 1959. (Italy) Spoleto; (France) Paris; (Monaco) 1962. (Germany) Hamburg, Berlin; (Switzerland) Zurich; Monte Carlo; (Isreal) Tel Aviv; (Austria) Salzburg; (Yugo­ (Germany) Stuttgart, Cologne, Frankfurt; (Austria) Vienna; slavia) Belgrade, Dubrovnik; (Greece) Athens; (Scotland) (U.S.S.R.) Moscow, Leningrad, Kiev, Tbilisi, Baku. Edinburgh; (England) London; (Denmark) Copenhagen; (Sweden) Stockholm; (Germany) Berlin, Stuttgart; (Poland) MARTHA GRAHAM DANCE COMPANY - November 7 to Warsaw; (Spain) Barcelona, Madrid; (Portugal) Lisbon; December 16, 1962. (Turkey) Ankara; (Greece) Athens; (Iceland) Reykjavik. (Yugoslavia) Belgrade, Zagrab; (Poland) Warsaw; (Germany) Munich, Cologne; (Sweden) Stockholm; (Norway) Oslo; DANCE JUBILEE — Rod Alexander - October 4, 1959 to (Finland) Helsinki; (Holland) Haarlem, The Hague, Heerlen. March 7, 1960. (Greece) Athens, Salonika; (Lebanon) Beirut; (Iran) Tehran; (Afghanistan) Kabul; (Pakistan) Lahore, ROBERT JOFFREY BALLET — December 1, 1962 to March Karachi; (India) Bangalore, Madras, Hyderabad, Calcutta, 7, 1963. (Portugal) Lisbon; (Jordan) Amman; (Jerusalem) Nagpur, Bombay, Baroda, Lucknow, New Delhi; (Burma) Ram Allah; (Syria) Damascus; (Lebanon) Beirut; (Iran) Tehran; Rangoon, Mandalay; (Thailand) Bangkok; (Cambodia) Phnom (Afghanistan) Kabul; (India) New Delhi, Hyderabad, Madras, Penh; (Malaya) Penang, Kuala Lumpur; (Singapore); Hong Ahmadabad., Bombay, Calcutta. 44 A Farewell and Welcome WALTER SORELL

Is there any meaning in Mr. Asaf Messerer's visit of a dream and the eternal magic of theatre within to the High School of Performing Arts where he gave the theatre that gave these fleeting moments their a class, and in George Balanchine's visit to the memorable quality. Bolshoi School where he showed off his dancers at the barres to his Russian colleagues? Beyond the More so than any time before, the stress on the political meaning which is for the day and as ephem­ physical was apparent in whatever the Bolshois did. eral as yesterday, they have implications which Lifts began to outlift themselves, turns multiplied, may prove important to the growing dance genera­ leaps sneered at gravity and all balances created tion, even if only in a few individual cases. But of the impression of the most difficult being just a greater importance is the general impression we child's play. (Perhaps this is why some of us had of the Bolshoi Ballet this season and the manner thought longingly of the more lyric and less acro­ in which the Russians received the New York City batic Kirov company.) With so much emphasis on Ballet. dazzling technique the creative aspects have badly suffered. Where no room is left by dizzying feats Of all the productions which the Bolshoi Ballet and marvels of mere mechanics, sentimentality presented this time the great sensation was not easily takes the place of real sentiment and drama SPARTACUS heralded as a colossal ballet — "the that should be inherent in movement labors and biggest staged in America" —, but an unpretentious limps. This was not only shown in the massive little ballet that grew out of the annual graduation mistake of SPARTACUS, but also in Leopold exercises of the Bolshoi School, a ballet a la Harald Lavrovsky's PAGANINI. True, it is always diffi­ Lander's ETUDES (done some time ago by the cult to show 'genius at work,' but through these American Ballet Theatre). soul-searching, lyric lilts of torments I was not transported into any state of enchantment though I Asaf Messerer staged the work and played, in a may have admired certain moments of brilliant way, the Master of Ceremonies. It proved, if dancing. It is indicative of the entire basic con­ nothing else, that the sheer weight of more than cept that governs the approach of the Bolshoi 200 dancers on-stage in a spectacularly mounted Ballet that the obvious simplicity of BALLET show can be lighter than the poetic touch of a few SCHOOL achieved with the showing of pure tech­ who, with suggestiveness and subtleness, pre­ nique what could be called the mystery of artistic sent themselves in artistic splendor. Moreover, creation which PAGANINI tried so hard to convey BALLET SCHOOL was so successful because it gave to us. the American audience deeper insight into the tech­ nical aspects and teaching methods of the Bolshoi George Balanchine, a descendant of the Leningrad School. School, seems to have sensed the contemporariness of the American character and skilfully blended it This ballet re-enacted the most important story of with the classic ballet tradition. In contrast tothe the company: the growth of a dancer from an early Bolshois who arrested their own development by age to his stardom. Why is it that to see the Bolshoi channelling it into outwardness, his remained a School in action, to see one of its choreographers searching spirit. You may disagree with this or on the stage guiding the little dancer to his proficient that of what he does, but for every artistic sin he greatness, correcting body positions, improving a commits, he makes amends with the creation of line here and there, should turn out to be such an something startling and stunning that leads a few impressive theatrical experience? Probably, the steps forward. feeling of one who looks through a keyhole watching the private life of a great school with an even greater He, too, is master of the spectacular and the old- tradition, added to the excitement. But essentially fashioned story ballet, sumptuously costumed a- it was the inherent drama of growth, the fulfillment gainsta rich setting, in which the Bolshois believe

The major portion of this essay appeared in DANCE OBSERVER, January 1963, and is reprinted by permission. and on which the Russian ballet public was reared. synchronized to the measure and scale, to the an­ Such ballets as A MIDSUMMER NIGHT'S DREAM gularity and dissonance of our time. and FIGURESON THE CARPET are little more than eye-filling waste that will fall by the wayside when, This was particularly manifest in the New York City one day, the achievements of one George Balanchine Ballet's spring season of 1963. More and more of will be counted. But he cannot help tossing even his new ballets are distinguished by visual spare- into these ballets moments of sheer poetic beauty or ness, by taut and clipped movements. He, no doubt, the movement-fulfillment of a musical passage. delights in off-beat creations which he has choreo­ graphed to the music of Stravinsky, Webern and Ives. One only has to think of his NUTCRACKER which, A case in point is his new ballet, MOVEMENTS in spite of its threadbareness and all its infantil­ FOR PIANO AND ORCHESTRA, a recent Stravinsky ism, is turned into an artistic experience readily score. acceptable to both young and old since it does not stoop to a somewhat mature baby talk, nor does it Two leading dancers are engaged in creating visual pretend that there is not sufficient childlikeness images of the most exact and exacting tonal texture. in the adult. Its fairy-tale is enjoyable on many With perfect control of line, coldly and analytically levels of appreciation because of its psychological designed poses move, so to speak, from movement depth with the ready-made dream images and its to movement with calculated precision. The sculp­ consistent theatricality. Balanchine gives it a stage tured bodies radiate that warmth and luminosity realization with all the elements of make-believe whichyou feel when seeing Greek marbles. In spite that turn the unreal into a dancing and moving of being almost clinically impersonal this work has, reality. in its meticulous body manipulation, a dramatic viewpoint which lies in the juxtaposition of male But his strength lies in the story less ballet in which prowess and female intensity. SuzanneFarrelland movement is self-explanatory; it lies inthe dynamic Jacques d'Amboise are ideal bodies for George use of the human body and the esthetic manifesta­ Balanchine's sculptural mind. Six female soloists tion of rhythmic patterns. In extending these function as the chorus, as accompaniment and principles he often experiments without doing it counterpoint to the storyless action of the two consciously. The Russians, first started, finally principal dancers. took to the innovations of the New York City Ballet. One of their major critics, Mikhail Gabovich, was The other Balanchine premiere was BUGAKU for particularly impressed by Edward Villella ("Light, which a special score was commissioned from the jumps magnificently") and Allegra Kent ("rare Japanese composer Toshiro Mayuzumi. The music charm and vital plastic lyricism. There is a flavor is not genuinely Japanese and tends, in spite of its of Ulanova's style in this inspired dancer.") Most weird effects, to lean towards Western conceptions. of his praise, however, went to George Balanchine The ballet, on the other hand, might have been ("he really 'sees' the music and 'hears' the dance created by a Japanese choreographer trying to . . . fills the 'language' of the dance with poetic emulate Balanchine's inventiveness. meaning, giving it, so to speak, the effectiveness of verse.") It was an odd feeling to see classical ballet magically transposed into a Japanese setting in which even No doubt, there must have been great apprehension the tutus had the shape of petaled flowers. There in Russian balletomanes to accept ballet as an art was a great deal of the suggestive power — partic­ form that is not blind to a modern concept of ex­ ularly in Allegra Kent's movements — that emerges pression. We hope to see more of it in the future. from the delicate brush work of Japanese painters.

Once asked to take issue with the modern dance, It is a storyless ballet hinting at a wedding ceremony Balanchine answered that he knew no difference between the two principal dancers. Every move­ between ballet and the modern dance, he only knew ment was as unpredictable as the music. It had an good and bad dancing. Balanchine is an artist, and oriental quality without having moved a single step as such he did not let his own time pass by without West of 55th Street or East of Balanchine's intricate noticing it. Although he may still be with one ro­ and interweaving arm and leg devices. If it created mantic toe inthe 19th century, upholding the tenets a lotus petal atmosphere, a feeling of lucid lightness of the classical ballet tradition as many of his works and reshaped what our Western minds imagine as in the repertory of his company prove, his heart is very much in the mood of Japan, it was due to the 4fi

ballet's poetic essence. Sbbotka's costumes which were too elaborate in sug­ gesting the Venice or Bologna of the Renaissance. Some orientals smiled. When asked how they felt about this ballet, their grin became wider and more John Taras, who used Stravinsky's CONCERTO polite: "How unique!" FOR PIANO AND WIND INSTRUMENTS for this ballet, gave some expressive movements to a large Balanchine's weakness as artistic director of his group of male dancers. Then, out of a procession company is his failure to inspire sufficiently the of the "chaperones" emerged the engaging dancer, creative efforts of other choreographers. One such Suzanne Farrell — she is, undoubtedly, the great step in this direction several seasons ago seemed discovery of this season — who was joined by to have disheartened him from continuing this path Arthur Mitchell in a pas de deux after which the of pioneering. But his experience should make it the chaperones forced her to leave again. And so possible to assist with positive and corrective ad­ did the boys. vice. More often than not, an even slight change here and there could eclipse a glaring mistake, or The music did not always seem to support the move­ a bit of editing and tightening could keep a ballet ments which only periodically were forceful and to from falling apart. the point. There were too many arcaded walks which led nowhere. The only non-Balanchine dance creation premiered this past season was John Taras' ARCADE which had One cannot say the same about the spring season a complex scenery by David Hays (whose set for of Balanchine's New York City Ballet in general. BUGAKU was utterly delightful), a scenery which It was in many ways rewarding, exciting, enchant­ worked as little in harmony with the ballet as Ruth ing, colorful and "how unique! ".

Recent "Exports" Jean Erdman

as told to Rhoda Slanger

THE COACH WITH THE SIX INSIDES is Jean the Arts Program of the Association of American Erdman's lively adaptation of James Joyce's Colleges and the donations of individuals, Miss Erd­ FINNEGANS WAKE. The chain of events which man was able to hire actors and finally perform led to the play's European tour is no less a merry COACH at the Village South Theatre in New York. madness than the play itself. The James Joyce Estate, which had granted Miss Miss Erdman had first conceived of COACH as a Erdman permission to use material from the book, piece for solo dancer. As she worked with the sent a representative to one of the New York per­ material she realized that several characters should formances. She, in turn, brought an Italian actress be used to give the presentation the richness it de­ who was a friend of the composer Gian-Carlo serves. Through the Ingram Merrill Foundation, Menotti. Together they agreed that the COACH Rhoda Slanger, member of the editorial board of Impulse Publications, lives in New York City, where she is working in the office of Thomas R. Skelton. Jean Erdman in THE COACH WITH THE SK INSIDES was performed at the end of a summer long festival. WITH THE SIX INSIDES should be sent to Spoleto. Audiences were beginning to leave Paris. One in­ cident helped to compensate for this disadvantage. In Spoleto the audience reaction was overwhelmingly A friend of Miss Erdman relates that during a per­ receptive and enthusiastic. There seemed to be no formance he was seated between two couples, one language problem whatsoever. Miss Erdman feels French speaking, the other English. At the same that the meanings in COACH, as in FINNEGANS point one of each of the couples said to his partner WAKE, operate on so many levels that it is possible in his respective language, "It's so funny but I don't to gain even if it is understood on one level only. know why because I can't understand a word of it! " Obviously, the more one can see, the more one gets, but itis not necessary to take in all levels — THE COACH WITH THE SIX INSIDES, a comedy of visual, literary, movement, design, etc. Although acting, miming and dancing will be performed in Miss Erdman regards COACH as a play, not a dance, Dublin, London, Italy, and Germany. It will travel she feels the words add to the understanding and across the United States in 1964 and then to Japan. appreciation but are not essential to it. It is truly an international, intercultural experience, communicating through the essential media of the After Spoleto, the company performed in Paris at theatre. PadraicColumpraised the conception and the Theatre des Nations. En route to Paris all of performance by saying, "I would not believe until I the paraphernalia needed forthe show was lost and had seen it that it was possible to render this dance it was necessary to improvise sets and costumes material with such verve, to project the different with crepe paper. After the initial shock, they en­ levels of meaning that are in FINNEGANS WAKE, joyed this very much and found in some ways that to leave us with a sense of the mysterious, and to it enhanced the humor of the production. COACH do this with grace and virtuosity. " Members of the Jean Erdman Company in THE COACH WITH THE SIX INSIDES

Paul Taylor Meg Gordeau '

The Paul Taylor Dance Company has made two IL TEMPO, Rome, December 19, 1961 separate tours of Europe, in 1961 and again in 1962, and they appeared for four weeks at the Spoleto "Yet another proof of the wonderful cultural har­ Festival in 1960. The 1961 tour was arranged by mony existing in America between the plastic James Spicer of the Living Theatre in New York arts and the theatre, was given us in the ballets and presented by the "Theatre Club" of Italy. Mr. of Paul Taylor, ayoung artist who is not a stran­ Taylor and his company appeared in Sienna, Torino, ger to us, since we celebrated his debut two years Florence, Rome and Messina. The press reception ago at Spoleto; thanks to his great quality, talent, for this tour was, on the whole, more than enthusi­ wonderful technique, and powers of invention, he astic. The following are three quotes which, I feel, is cited as the most valid of all the young choreo­ are typical of the reception which the company re­ graphers and dancers who have appeared on the ceived. American scene in recent years." Meg Gordeau is a member of the staff in the office of Charles L. Reinhart, manager for Paul Taylor. 49

IL PICCOLO, Trieste, December 10, 1961 was remarkable for its genuine warmth and unin­ hibited emotion. "A brilliant performance, of genius and intel­ ligent originality . . . profoundly convinced, The only complaint voiced by Mr. Taylor was a tech­ vibrant applause . . . unconditional success. nical one. Unused to touring dancers, the Theatre PAESE SERA, Rome, December 20, 1961 Club had not made arrangements for a proper man­ " Paul Taylor is a genius of the brief ballet. Take ager. This left him with many minor problems; 'Three Epitaphs!' for example, which lasts five i.e., transportation, checking to see that the stage or ten minutes at most; yet what tension it has, was swept, hotel reservations, stagehands, etc. what a fearful, and disturbing atmosphere!. . . Then there was always a last minute emergency, Enthusiastic applause from the audience (the ab­ such as a television interview five minutes before stract section), less cordial in response to the curtain time. These are problems that time and figurative section. At any rate, a highly inte­ experience will solve. resting performance." In 1962 Mr. Taylor appeared for two weeks at the Mr. Taylor found the tour most gratifying. He felt Festival of Nations in Paris. His performances at that the audience reaction was excellent. The audi­ the Theatre De Lutece were completely sold out. ence for the performance in Messina was an exciting Had the theatre not been totally booked for the one. Almost totally made up of laborers, who had Festival he would have been held over. On his own, had little exposure to the dance, their enthusiasm Mr. Taylor decided to move the company into the

The Paul Taylor Dance Company in INSECTS AND HEROES Theatre Des Arts, a 530 seat house on the Right Bank. Without any press or advance notice the Merce Cunningham company opened a two week engagement. By the as told to Joanna Gewertz last week they again had sold out houses. They were due in Torino for a television appearance, or they would have continued their engagement in Paris. "Yes. Carolyn Brown and I danced in the Venice International Festival of Contemporary Music. Mr. Taylor had been forewarned that the French There was not enough money to take the whole com­ hated modern dance, and that he would receive a pany, so John Cage, David Tudor, Carolyn and I very cold reception. He found this to be just the went. We danced in Berlin, Cologne, Stockholm, opposite. Hamburg, Munich and Brussels. Our work was well received. European audiences tend toaccept dance NEW YORK TIMES INTERNATIONAL EDITION performances without discrimination. They see April 14, 1962 modern dance at Festivals, ballet all the time. The audiences consist of people who want to watch dance; "Each night there has been enthusiastic applause this is true of the United States also. We are more and shouts of 'bravo' from the audience. The prone to giggle, not yell. company has been called back for many curtain calls. "The Cunningham Company performed attheFes­ "While some spectators remained puzzled by tival of Contemporary Music in Montreal, Canada. what they felt was the obscure content of the The Festival commissioned AEON, which was done troupe's dances, most seemed highly pleased by in 1961 in Canada and at Connecticut College. Not Mr. Taylor's inventiveness, the beauty of the only did the Cunningham Company perform at this shapes and forms interpreting the choreogra­ Festival, but so did Alwin Nikolais and James pher's work. Waring and their companies. The Festival Com­ "The provocative and experimental nature of the mittee paid all expenses. United States participation in the Theatre of Nations Festival here has not gone unnoticed in "Generally, there is not enough support for dance Paris." companies — from sources which should be vitally concerned with sending American dancers abroad. Mr. Taylor was keenly aware that the French are Often, the support is more important in terms of fascinated by youth. They want to carry the New social, not artistic prestige. One must be very Wave ideology into all art forms. However, in careful. their dance they do not want the groveling aspect that has become so prevalent in their films of re­ "I noticed that the greatest influence in Europe from cent years. American dance is George Balanchine. He has made some of his dances available to European companies Following the Paris engagement Mr. Taylor and without charge. It is interesting to see a program Company went to Torino to make a film for Italian consisting of GISELLE, followed by THE FOUR television. This tour was financed by a bank loan TEMPERAMENTS. European ballet dancers can­ that Mr. Taylor took out himself. not handle dances like TEMPERAMENTS, at first, but they work at them and it is an exciting achieve­ Note: The Paul Taylor Dance Company appeared in ment." Mexico in April, 1963 at the request of the Mexican Government. Merce Cunningham and Company in ANTIC MEET 52

of the artists and musicians in the audience had al­ Ann Halprin ready visited rehearsals, created varying factions JERRY MANDER within the audience which occasionally warred with each other, and with the performers. This was es­ When the Dancers' Workshopof San Francisco, un­ pecially true during the early moments where much der the direction of Ann Halprin, presented its work action was taking place off the stage, i.e., in the abroad this past spring, the performers and colla­ lobby, balconies and auditorium. borators found the most trying and rewarding ex­ perience that of facing an utterly new performing One time, a few men in the audience grabbed at environment: new audiences, new response factors Lynne Palmer's costume; in another instance, Daria —varying drastically in each city, different critical Lurie was helped by a member of the audience in her preconceptions (or no critical preconceptions), and efforts to climb from the auditorium into a tier of the realization that performing in a different cultur­ boxes. al environment could be a most surprising experi­ ence. The responsiveness of the audiences suggested the adoption of a different set of performing attitudes. The tour began in Venice at the Biennale di Venezia, Leath, one of the dancers, found himself discarding where the company had been invited to present a part of the dialogue he had used during rehearsals commissioned collaboration with Luciano Berio, of the off-the-stage portion of the show, and sub­ Italy's celebrated young composer. The theatre stituting other dialogue more related to what people was the Teatro la Fenice, a fantastically adorned, were saying to him — "Hurrah"; "I suppose you're horseshoe shaped, baroque theatre — one which has happy now", "Now what?". Or, in other instances, a reputation as one of the world's most beautifully Leath began to laugh when it served to integrate with decorative yet intimate theatres. the audience laughter.

The festival provided the group three weeks of daily It was also curious and completely new for us to rehearsal time with a thirty five man crew which note the Italian response to children in a per­ jumped en-masse at the slightest request for help. formance situation. Whenever nine year old Rana Jerry Walters, set designer for EXPOSITION, com­ Schuman would appear on stage, a hush would fall mented at one time that "crews like this simply don't over the crowd. One sensed a reverence for the exist in the United States. They're involved some­ child which altered the entire mood of the proceed­ how with the whole pride of working in a theatre with ings . This reaction was predicted by Berio and the the tradition of this one. It seems more than a job Workshop, making it possible to include it within to most of them. " the compositional form.

The Venice audience was to be, according to Berio, The effect of the Italian culture was also evident in a highly intelligent, cultured, experienced, and another way. No matter what was happening on stage vigorous one. As with all Italian audiences, they or off, audience members were sure to find some would be responsive, to the point where they might definite symbolic content. This was relatively get up and walk around if moved to do so; they might simple for them in EXPOSITION, where the action shout, or sing, or talk or do almost anything else. was conceived in very bold strokes — pace and tone It was a factor that had to be included within the changed dramatically throughout. A word text by composition, musically and theatrically. There Eduardo Sanguinetti assisted the majority of an were entire passages of Berio's music which were audience impelled to find meanings even in the purest composed with expectation of an audience vocal re­ movement phrase. This sort of symbolic, literal sponse. In some cases it meant sustaining or reaction was even evident in the brief GARDENS developing a singular sound quality or ceasing WITHOUT WALLS, the dance which opened the pro­ sounds altogether. The audience was, for all its gram in Venice. GARDENS is a piece performed seeming independence, a part of the show. by tall, slender John Graham and tiny, frail Rana Schuman. The images are slow and architectural, Audience sounds, laughter, bursts of applause, each image a modification of the one before. The movement, whistling, gesturing added to the rich­ language is pure movement seen (hopefully) for its ness of the entire experience. The fact that many own sake. A large percentage of the audience (and

Jerry Mander is business manager for Dancers' Workshop Company Dancers' Workshop Company in EXPOSITION. (left to right) John Graham, A. A. Leath, Lynn Palmer (top). Daria Lurie (bottom), Ann Halprin. 54

critics, also) responded literally: "aLolita story"; one case Ann Halprin worked her movement "gamut" "man's power over woman"; "woman's power over to the apron of the stage to confront a few men who man" "love versus hate"; "the power of love" and had come to the front of the auditorium. Her so on. "attack" electrified them, and hushed the audience. The possibility of an aroused audience stimulated Ann Halprin, commenting on this reaction, which other kinds of more practical reactions in the comp­ surprised her, said after the tour — "I don't know any. For example, it was decided that the program how many times they called us 'innocent'over there. for the final Rome evening should include GARDENS What they mean, I suspect, is that we're coming rather than just THE FIVE LEGGED STOOL and from a culture where tradition has not dominated Berio's short VISAGE. It was felt that the lyrical our creative efforts. We've not found it necessary quality of the dance, and its more easily observed to make a major social point in every art experi­ thread, would calm the audience at the outset and ence. The art experience for us more easily exists soothe their hostility. Finally, however, the idea for its own sake; without modification to suit a story was discarded when Jo Landor and the company line or social implication; without necessity to de­ manager urged that a nine year old child should velop themes beyond the language of movement, not be exposed to a Rome audience; that it might space, color, sound, and texture of the creative frighten her terribly. work. In Europe, apparently, the experience has been too direct; the tradition too rigid; the memo­ Instead, the order of the program was reversed. ries too clear, to easily relate to the work now The full length FIVE LEGGED STOOL, which has going on in the States. " a beginning which can make use of a noisy audience entering the theatre, was placed first. VISAGE, Many Europeans made the same observations. In an intense solo, demanding complete silence inthe fact, it was a surprise to note that many of the auditorium was presented last. The change in European intellectuals looked to America to pro­ response was astounding. While the previous vide the most interesting new creative products night's audience had either booed or cheered, on during the next years. the third evening there was unanimous applause, and five curtain calls. Following the Venice dates, the Workshop moved on to Rome, where, under the sponsorship of the In Zagreb, there was no audience problem. The Philharmonic Academy of Rome, THE FIVE Workshop was appearing at a very ambitious festival LEGGED STOOL was performed. This is a work which also presented the Moscow Philharmonic the with sound by Morton Subotnick, which ran for a year Zagreb Quartet personal appearances in concerts in San Francisco amid tremendous controversy. In of Stravinsky and also a full program of electronic Rome, however, critics and audience were more music and a concert by John Cage and David Tudor. sharply divided than any of the group had ever ex­ perienced. There seemed no middle ground what­ The audiences, largely comprised of students, ar­ soever . The outright hostility of a portion of the tists and critics, were extremely attentive. Their audience reached the point that, during the second differences were intellectual ones. This became evening's performance, the dancers began to sense abundantly clear at the next day's special press con­ a real danger that the audience might go out of con­ ference, called, according to festival director, trol. According to dancer, A. A. Leath, "during Josip Stojanovic, because "of the intense interest the second night, it became most difficult to remain and differing opinions of the critics and students who with a fixed composition. I didn't know how far the viewed the work. " It is doubtful that a press confer­ audience would go; but all the while, I was fascinated ence of such scope — it was also televised and by the powerful effect I seemed to be having on them. carried on Europe-wide radio — would ever have My curiosity was tremendously aroused. . . .1 felt been suggested by American festival officials. myself wondering what either they or we could make it lead to. A puzzling thing was whether or not to Asked to summarize her reactions, Ann Halprin re­ 'play it straight' or change some compositional marked that "really the most important thing about aspect on the spot; or, in fact, to drop the entire bringing work abroad is the chance to show it, and composition, and use the audience as a fresh and judge the reactions and opinions of entirely new aud­ new material. " That is, eventually, what the dan­ iences and critics. By touring, especially at festi­ cers did, with great effect. The audience was vals , your work can be seen from a fresh point of handled quite directly during the third evening. In view." She also mentioned that all the performances were decade". . . only "the Dancers'Workshop Company reviewed by art or music critics, rather than dance did something to uphold its (the festival's) reputation critics (some 75 in all). "That's a wonderful thing for being out in front." THE LONDON TIMES critic for us for two reasons. First, there's nothing I've said. . . "The Dancers'Workshop brought the most seen in Europe that in any way relates to some of provocative show of the Festival. . . a total theatre the contemporary developments in American dance. mixture from the surrealist grab-bag of elements of A European dance critic has no frame from which to speech, singing, chorale, dance or acrobatic judge the work. Secondly, our work was seen as an squirming . . . Far from being confusion however, art experience, rather than a dance. Itwas viewed the whole exercise in madcap Gesuntkunstwerk by most of the better critics as a work which must was ingeniously arranged one might say, with the be judged on its own new terms. For us, this was zany logic of a walking dream, and was highly perfect. We have been hoping for a reception of that entertaining." kind for many years. " Extremely favorable reviews came from four The reception also resulted in a string of invitations important Swedish critics and one from Darmstadt, for tour next season in Europe. Invitations have Germany. been received from Warsaw, London, Paris, Stockholm, as well as a number of events in Italy Jan Bark, writing in Stockholm's major paper, and Yugoslavia. The company hopes to go again. reported — "Ann Halprin teaches us something about It remains to be seen if that will be possible. the paradoxical congruence between the ugly and the beautiful. She does not try to deny the miserable What follows is a rundown of the reviews of a few of things of our existence, but she gives a higher light the most important critics in Europe. In general, to ugly things. As a stimulant, the vulgar occur­ the reviews were divided; some favorable, some rences equal the beautiful ones. Lots of examples of not. But in almost all cases, they were thoughtful, this are in ESPOSITIONE, made by different means, provocative, and intense. but always obvious. Ann Halprin has come far in her art. It is not just the means of expression which From Paris, two divergent points of view — Sacha have changed character. She is looking for a new Simon of FIGARO, after viewing FIVE LEGGED level of experience — a new instrument to take with STOOL, was hostile, finding it unworthy of much her with which to view everyday life. . . . The consideration as a serious work. But Nicole Hirsch public, after this stormy introduction, felt as if of L'EXPRESS wrote a two thousand word essay they had been raped. They had been raped in the called "After the Music Without Notes, The Dance nastiest way, and they had let it happen." Without Steps." In it, she devoted extreme praise to the group, saying, in part, "The avant-garde of Stuckenschmidt of the STUTTGARTER ZEITUNG, the avant-garde has just made its appearance in generally considered Europe's leading music critic, Europe in the form of a choreographic spectacle used the term Sur-Naturalism to describe the work presented at the modern music festival in Venice. It of this company. has to do with a form of show quite new.. . one which owes its conception to a woman of great in­ Italian critics were sharply divided. But Giordano telligence, Ann Halprin . . . She teaches her dan­ Falzoni of Rome's IL POPULO wrote a thoughtful cers to work so that they take total awareness of review in which he stated "The performances have their muscles and free themselves of all constraints revealed the existence on the California coast of in order that their bodies cease being instruments choreographic activity of extreme avant-garde, no which you torture .... The student thinks of what less interesting than the activity we've already seen he can do, not on a given theme, but on a given from New York. " muscle. Itis necessary to become master of your body as much as the Balinese dancers are of their And from the NEW YORK TIMES, Gunther Schuller hands. . . ." comments: "A dance pantomime evening, in con­ ception very close to a happening; though more con­ From London, two similar responses — Colin sequentially and cohesively organized. . . .Although Mason of THE MANCHESTER GUARDIAN wrote: the workshop shocked some of the more conservative "It was a remarkable stage spectacle. . .the aud­ (Zagreb) visitors, it ultimately turned out to be a ience became quite gripped by it. " He furthermore great artistic success and personal triumph for noted that in a festival which has had "three impor­ Ann Halprin, its director. " tant Stravinsky first performances in the past 56 The Unknown Guest

ISADORA BENNETT — Director of ASIA SOCIETY Performing Arts Program

Shanta Rao, India's great dancer, heads a company of dancers and musicians from the southern­ most tip of India. This company is currently on its first coast-to-coast tour of the United States under the auspices of the Asia Society Performing Arts Program. Mistress of India's best known classical form, Bharata Natyam, Shanta Rao is also acknowledged to have the widest repertory of Indian dance among her compatriots. 57

Isolationism is not merely the attitude once held by taste, untroubled by the academic, they can be a few frank and stubbornly honest tribunes in the excited by the fresh, the new — and the strange. United States Senate, now outmoded and abandoned by the makers of American policy — as out of date Isolation is gone forever. Lend Lease, the Marshall as those box-wood crates, which were the airplanes Plan, Foreign Aid have shelved the whole concept. of the pre-space age. Itwas a "naturalsymptom." We know we have neighbors everywhere. The "un­ known guest" is here. Isolation was very real for very long. And, like the drag-anchor on a boat, itwas a persistent, out- We have come a long way in education and the arts. of-sight adjunct of American thinking. That "salu- From a preoccupation with the modes of our Latin tory neglect" of the colonies by the Mother Country Grammer School inheritance, education has moved (theme of Edmund Burke's famous speech) had its out into the world. Our universities and colleges effect. We were bred to "go it alone." Remem­ now have highly developed departments of Non- ber that, in the 17th Century, men like George Western Studies, Asian Studies, even South Asian Burroughs joined the settlement at Salem from Studies, East Asian Studies, Far East Asian Maine. How did they get to Maine? And how did Studies. And there are Departments of Ethno- they make their way through the primeval forest Musicology, headed by professors who could actu­ to Salem? They simply did. And they did it alone. ally play in and with a Balinese gamelan. And we have Centers of Asian Arts. Isolation was our inheritance. It was the heritage of the "Lonely Men,"the "LongRifles" and the "Out Along the line, a great impetus was given this trend Riders," who crossed the prairies and the mesas by a new organization, the Asia Society. Non-pro­ with only ahorse for a crony. While fine forensics fit (supported by contributions) and non-political, were being delivered in golden-throated style inthe it was formed in 1956 by interested Americans, who Congress by those "far-sighted statesmen" with a had lived or worked in Asia, and who had realized vision of winning the West, a caravan of home- that aid to our new world-neighbors without under­ seeking families .freezing in the snow on the peaks standing was not enough. of the third, or fourth, mountain range on the way, were out of earshot of the orators. Their sense of The Society is now housed in a prize-winning build­ manifest destiny was somewhat obscured by the ing at 112 East 64th Street in New York, where the immediate problems of bearing babies on bearskins Japan Society — with kindred aims — also has its — or simply rubbing sticks to make fire. They headquarters. The serenebeauty of Asia House is might live a long life — or die here — and never misleading. It is a beehive of activities, some even see Washington. highly organized, some informal, neighborly. But all are directed toward understanding of Asia. Pre­ But they were neighborly, our ancestors, as soon siding over all of them is Paul Sherbert, who was as they had neighbors. And they were hospitable, much loved as aforeign service officer of the U.S. on the Frontier or Back East. If the visitor came during his long stay in India, for his deep sympathy to one of the great houses, he was given a ball in and understanding of the people with whom he fine style. If he came to a cabin, he was given the worked. And all executives on the staff have had a best — the best corn pone and fat. back. If he was term of service in Asian countries. a wayfaring singer or could play the fiddle and dance like John James Audubon, there was merrymaking. Asia House is an information center and a kind of For the country was won, not only with "a Bible and service-station. It has a good small library of a- a gun," but with a great deal of music and dancing. bout 30, 000 hard-to-find sourcebooks. Its educa­ And, as with all people living under primitive con­ tional services include aid in setting up curricula ditions , their hospitality was complete. It was like for Asian Studies, assistance to conferences, the that of the archaic Greek or the ancient Gael. The furnishing of publication lists, teaching kits and table was always ready for "the unknown guest." handbooks on individual countries, useful in teach­ ing or for general information. At times, lecture And, while they had a Spartan suspicion of Art engagements are arranged for leading authorities. (which lasted too long and allowed them to avert the Exhibits of informational material travel the year eyes and overlook four or five great art movements round. Asia House has assisted, not only scholars, in this country), this pioneer-breed is very suscep­ but practicing professionals as well — a scientist tible to art, when they meet it. Untrammeled in who wishes to meet scientists, an engineer wanting 58 V knowledge of the contemporary situation, and who work to en­ courage interest in them.

It is also a hospitality center and an art-center. In its hand­ some gallery there are un- matchable works from private collections and museums, even national treasures, assembled from all over the world and shown. Its catalogues are "art books." In the large assembly room, with its flexible and a- daptable arrangement of move­ able chairs and platforms, lectures, meetings, and forum discussions are held. Concerts of music or dance are also held there, when a distinguished Asian artist happens to be pass­ ing through New York. Many of these are given by the Society for Asian Music, which also has other services to interest American musicians and mu­ sicologists in Asian music. But everywhere — in the halls, the library, the garden, the gallery — teas and receptions are constantly in progress, honoring the ruling heads of government, or helping wives of exchange professors feel at home in a strange, new land.

Across town and far removed from the house in 64th Street is the cradle of the newest ac­ tivity of the Asia Society, called the Asia Society Performing Masked Duel from epic dance-drama of Thailand. This Arts Program. For the past genuine and hair-raising duel is part of the centuries old two years it has scouted for, repertory of the PHAKAVALI, the famous dance-music-and- chosen (sometimes organized drama company from Thailand. and staged at long range) and brought to the United States to study American plants, a new minister wanting and their companies, truly authentic and represen­ to study city-planning. It is used directly by pro­ tative, to give American audiences a first-hand ducers in radio, TV, films. A private showing of experience with the living arts of Asia — the arts one of the new films coming out of Asia produced of music, dance and theatre. And a new season is repeated tours in the art film houses. Its County in the offing. It has taken them, and will again Councils, each adopting a country, are made up of next season, not only to great opera houses in a few former ambassadors, consuls, other government show-case cities, but to university auditoriums and officials, industrialists, and long-term residents theatres, museums, even chapels and gymnasiums in those countries, who are a repository of active — to the "grass roots." 59

While all of the activities centered in Asia House The philosophy was simple. Everyone who knew have far-reaching effects and influence, this is the Asia knew the arts were great, that they would be one that really does the traveling. It proffers its a rich experience for American audiences. They very special presentations to virtually every city would stimulate American artists, too, both per­ and hamlet in the land and, by plane, train, bus, forming and creative artists. Suchaproject would rented car, balloon or pontoon, dog-sledge, heli­ be stimulating to education just because these arts copter — or roller skates — will try to get them could point up every area of Asian civilization. One there. In two years, it has not failed. performance was worth a hundred lectures. And it would also reach the dear, old American public, Both literally and figuratively, it takes the heart of fond of entertainment and new experience, but not Asia to the heart of America. For this rich com­ given to home-work. posite of inter-related living arts of dance, music and theatre, is the heart of Asia. Developed through The need was there. Leading educators recognized centuries — even millenia — these arts represent the genuine need in education. There were also the deepest race-memory, the most ancient sources signs of intellectual hunger on the part of plain citi­ of tribal beginnings, the religion, history, the epic zens, a desire to know about the world outside. But literature of the Heroic Age, lyric poetry — and the there was another need, too, involving international mores and manners of people, who have lived relations. "Cultural Exchange" was a new term through more mutations and historic adventures of already bandied about until it had become a cliche. high empire, defeat, occupation, colonialism and Butwherewas the "exchange"? Our own State De­ rebirth than any nations of the West. If they were partment, within the limitations of congressional only to be considered as arts, they are the major appropriations, had been sending distinguished ar­ arts, the First Arts in Asia. (The other arts, tists and companies, symphonies and ballets to sculpture and the graphic arts, though great, are Asia. But where was the invitation to a return- often merely frozen records of artist-gods and their visit? Considering the importance of these arts to devotees on earth dancing and making music.) But the national consciousness, the national pride of they are more. They are the vehicle for under­ Asian people, didn't this savor of indifference, standing all the rest of Asian life. This composite almost condescension? It did. But the State De­ is the touchstone for the entire history and culture partment was doing all it could. (Its annual approp­ out of Asia's ancient past. riations still amount to half what Russia spent on one Paris Festival.) It did give help. Who was to But, because they come from these deep sources do this? The Asia Society had the interest, the and, more immediately important, because the arts background knowledge and the willingness. It also in Asia are an inseparable part of all living in a way had unmatched facilities in Asia for finding the the West does not know, the living arts also provide proper sorts of offerings. the key to the New Asia. Preserved in hiding, often going underground in a period of conquest or occu­ The necessity for an organized, professional effort pation, these arts have had a rebirth in this century was dramatized in a way that was embarrassing as part of a general resurgence of national con­ for loyal Americans (who happened also tobe Asia sciousness. In Asia, art is the "ikon" of the new-old Society members). Distinguished artists did come religion, national identity. from Asia, especially India, for an official appear­ ance, or two. Or they stopped by on a round-the- The dynamic growth of the program, which has sur­ world trip, performing elsewhere. Well-willed prised even its founders, came out of two things, friends of Asia were asked if they could not quickly we now see as the original guess-work becomes setup a tour, as can be done in Asia or even Europe. hindsight: a sound philosophy with a healthy esthe­ Sometimes a few engagements could be found on tic — and a genuine need. The philosophy had been short notice. But, inthe elaborately organized con­ there. Leading spirits in the Asia Society had har­ cert field in this country, a tour has to be booked boured ideas of such a project for a long time. more than a year ahead. And travel in this broad They had given aid to commercial managers, who land is costly. Sometimes, through friends, the had ventured so far as to bring to the major cities artists picked up a few engagements at almost no­ ready-made companies, sometimes "hokedup" for thing in the way of fees, lowering their own pres­ the groundlings. But what of the authentic? What tige and that of the art. Presentation was careless of great examples of these arts, not already avail­ or inexpert. Sometimes they fell into the hands of able as "package shows " ? And what of the rest of unprofessional or inexperienced "managers" and the country outside of the great cities? were almost stranded, getting home only with dif- t>u

ficulty. Not a pleasant memory of America! overweight, staging and styling, insurance (both of the artists and their priceless costumes and deli­ It is no coincidence that the chairman of the pro­ cate instruments), advance arrangements made gram (and its author) was the one who had earlier for housing and food — with sometimes three sets found herself trying to make these random bookings. of religious dietary rules in one company. Photo­ She had done well. But booking is a business, not a graphs had to be obtained (or taken), printing de­ hobby. When reputable managers were approached signed and produced, publicity had to be written, to undertake the project, the sage and seasoned a- publicity of a fairly exacting kind, requiring good, mong them pronounced it "impossible." There was solid research and sympathetic translation in no field for it, no local outlets as there are for stan­ American thinking. The American public had to dard attractions. The financial hazards were insu­ have some preparation for this very new adventure. perable. No management had an adequate staff — It was not enough to invite Asian artists. They and or the techniques. their art must meet a warm response. The idea had to succeed or boomerang. And they were right. It was "impossible" as all pioneering efforts are impossible until they are And all of these had to be done practically at one done. The field had to be surveyed, explored and and the same time. Where was there a profes sional created. The artists and companies had to be found, with a strong seasoning of insanity, who would at­ chosen, negotiations completed (with almost un­ tempt this? Insanity— atouch of it, at least— was imaginable delays), the country broadcast with a prerequisite. Anyone who knew enough about the announcements, and bookings made. Problems of Kimio Eto, the great kotoist, and Suzushi Hanayagi, a lead­ immigration had to be met and permissions of local ing exponent of Japanese classical dance and a trained governments, visas, overseas transportation and Geisha, who are making their first transcontinental tour of the United States in 1963. 61 field and who knew anything about Asia, would also occasional help from former employees as "moon­ know enough to flee to the Himalayan caves. lighters," some temporary secretaries who looked at the Asian names they were to spell, and went But all was not March Madness. There was some home, sick. One dashed out, saying that she had conservatism in the air. The artists and companies "already had one nervous breakdown." for the first season were not rashly chosen. All had given a few successful performances before Esthetics and policy (fancier names for Showman­ American audiences and had good critical reviews. ship) were settled at the start. Our offerings had They had also had some experience with travel and to be authentic, of course, but they had to be en­ living in this country. The three were Ravi Shankar, tertaining and exciting — "good shows," inthe Oc­ India's great sitarist, composer and "man of mu­ cidental sense. The guiding standards would be sic," with assisting musicians; the handsome and quality and variety — variety in each program, with­ photogenic Indrani, who could offer, with her com­ in each season and from season to season. There pany, a broad introduction to Indian dance, and the would be contrast between each one and the ones of Ceylon National Dancers. One could safely hope that the season before. No matter how successful, none the success would be repeated, they'd meet their would come back on successive seasons. (We didn't travel-schedule and they'd not get sick on foreign want sponsors, who took all three, cursed with food and fall by the way. monotony in their own programs.) With versatile artists and good repertory, companies could be "No management had an adequate staff? " Neither relatively small, but they would be — and they are — did the Asia Society Performing Arts Program. (It "Big little shows." Staging would be simple for is short-staffed, even now. But each one does the economic reasons and to keep fees down, also for work of many and brings the background of a host.) the convenience of colleges with scant equipment. After the first good help from volunteers, the direc­ This was also decided for esthetic reasons — to tor was "going it alone," like our ancestors, with give the essence of the art, itself. The spectacle was — andis — in the glamorous costumes, the dec­ orative instruments —and good lighting. For this, PHAKAVALI — The Dancers of Thailand. This dance repre­ from the first, we have sent out a fine technical di­ sents the high style of Thai classical dance portraying angels rector, who also acts as manager for each company. meeting at a celestial fiesta and honoring the high gods. 62

This Trojan hero is as important to Cultural Ex­ The coming season offers Shanta Rao, one of the change as a city editor is to Freedom of the Press. greatest dancers of our day from any country, in Yet nothing but personal loyalty and native heroism any country, in rare classical Indian dance forms, makes him take the job! (One of them has just re­ some her own rediscoveries, saved by her from tired tothe easy life of running a giant theatre pro­ oblivion — one, a form she has not yet shown to ject.) The companies would "travel light." Of all India. It also offers a Japanese concert, with fea­ those early decisions, that was the one vain dream. tures few Japanese ever see. Kimio Eto, whom They travel heavy and none of their bulky, odd- Japanese call the greatest kotoist of the decade, shaped instruments may go in the baggage compart­ will be assisted by the classical dancer, Suzushi ment. Hanayagi, and TadeoNomura, Shakuhachivirtuoso. From Korea, will come the Sahm-Chun-Li Dancers Eccentric, the operation was — and homely. We and Musicians, a company that has been over a year were outlining ways to rig a gymnasium, where in the planning and organizing, and the first, it is there was no auditorium; explaining how to sepa­ said, ever to bring together all of the leading dan­ rate reservations from the current sale; sending cers of the country. Its musicians are not mere out recipes for Asian food — with light plots. accompanists, but leading performers, as are all those in the Program's dance companies. The com­ We were not dealing with commercial managers, pany makes artistic history, too, by combining with after all. And only in a few cases were we under court and classical music and dance, the folk-arts the wing of the regular manager of a university con­ of Silla. cert series or the permanent chairman of public events. In most cases, we were dealing with dis­ In the course of these three seasons (and bookings tinguished scholars, weighted down with honors and are far from complete for the next), the "Experi­ degrees, but light on experience as entrepreneurs. ment" has seta fairly high score. That score now stands at 340 performances on tour or in New York. It was not a booking or management operation, it It has created the field that did not exist and met the was a pioneering collaboration and a rewarding one. schedules and needs of 129 universities and colleges They were wonderful collaborators. The old com­ in34 states, including Hawaii, and 30 museums and munal American spirit came out. There were re­ cultural organizations in 16 states and the District markable alliances made in' the universities or of Columbia. Some of these take one, or all, of its abetted by us, as between a graduate school of Po­ offerings. New ones join the collaboration each litical Science and the Modern Dance Teacher, Fine year. But it is still an experiment and a costly one. Arts and Physical Education, Sociology and Music, History and Drama. Some of these had never met As long as it lasts, it will continue its policy of in­ until these wayfaring strangers came along. In troducing America to new arts, new countries, new Kansas, the collaboration was between the Depart­ areas, new forms. As it has gained in momentum ment of Horticulture and the Indian students. This on this side of the seven seas, it has gained in au­ was inspiring and the year ended happily with the thority and expert aid in Asia. And it has gained Ceylon dancers closing their tour by opening the time, time to scout, plan and produce. As it takes Seattle World's Fair. We were all veterans by now over a year to book here, it takes longer some­ and America could boast the most distinguished im- times to find, or design a company. But compan­ presarii in the world. ies have been found — or are in the planning.

The season just past gave the promised variety and And Americans have taken these arts — and the contrast. Ravi Shankar had represented Hindustani artists —to their hearts. Hostesses have made music of North India. Thisyear, a group of special­ curries in every Asian mode. One even made part ists in Carnatic music, headed by Balachander, re­ of a costume after a dinner-party! American hos­ created a music festival as it would be heard in South pitality has been prodigal. The table has been ready India. Kathak dance and music, new to America, — and the ice-box raided. Every company has gone was represented by the Bharatiya Kala Kendra, home with happy memories, wanting to return. The headed by Brijmohan Maharaj and Rani Nina Ripjit "Unknown guest" is now a family friend. Singh. The legendary music of Thailand came from Bangkok with the Phakavli and its Pi-Phat Orchestra. THC 63 Second Thoughts lOMAS R. SKELTON

'"J^%%T^^tka^ ^sfasJww^TOLub** an«.^«^|L4W^«|»**«l r*22sff^pw-y "*" %4T^?^^* ^dbs****-**.*.«*WE*S.«».

»*""TTJ ** -*A s. / i ft s * ~t-J5 .

/ift^** ti^A <^du*p *&

Elizabeth Harris Greenbie, member of the IMPULSE editorial board, wrote to Tom Skelton to ask if he would be interested in writing an article telling of his extensive experience with dance productions abroad. He replied that he would prefer to write the article "Staging Ethnic Dance" which follows this letter. As a postscript, he wrote the above "Second Thoughts" which we include, because he puts forth so succinctly the very ideas we were hoping he would. Staging Ethnic Dance—The Dance and the Dancer

THOMAS R. SKELTON

Many countries have found that among their most commercial theatre, he is facing the gigantic prob­ effective ambassadors to the court of world opin­ lem of taking a form out of its natural environment ion are their indigenous art forms, which are and making it equally real in a completely false en­ capable of surmounting obstacles of language and vironment — the proscenium stage. His basic culture that make communication on other levels palette is prescribed for him: performers, chor­ extremely difficult. The success of ethnic dance eography , music and costumes. But it is not simply companies, for instance, is based on a kinetic a case of transferring a dance from jungle or valley reality which reflects a strong inter-relationship tothe stage: the indigenous material must, for good between the dance forms of all societies. reasons, first be formalized.

But how are these companies to be staged? Many Folklorique dances not originally created as presen­ folklorique companies choose to bring in an out­ tational ballets generally lack the variety and in­ side director. His job is to restage the original terest essential for audience enjoyment. When these material without losing its original flavor and au­ dances are presented in their natural locale, the thenticity, and to prepare a troupe capable of per­ audience is usually participating to various de­ forming professionally. If he is conscientious, his grees — sometimes actually, sometimes kinesthet- work carries great responsibilities. When a direc­ ically. To compensate for the lack of personal tor is planning to restage folklorique dances forthe involvement imposed by the stage many of the

Broadway producer-designer, Tom Skelton, studies the work of a dance group in the interior of the Ivory Coast. On a month-long research trip he recorded the music, singing and the cries of the performers on tape, giving, at the same time, a verbal description of each dance. This one is a bird pantomime herald­ ing the arrival of the dry season. Playbacks of tapes invariably delight­ ed the dancers (many of whom had never heard even a radio) and helped establish an attitude of cooperation. Skelton has been engaged by the new West African republic as producer for THE DANCERS OF THE IVORY COAST, a presentation of 65dancers and musicians who will tour the United States next year.

Mr. Skelton's article was edited by Joseph Focarino. 65

elements of the director's palette must be greatly of bowing, because the non-human part of the audi­ heightened and emphasized to encourage in the aud­ ence never specifically acknowledges the entertain­ ience something approaching the same degree of ment . These dances make the transition to the stage kinesthetic participation. To know where and how quite easily; they merely need to be turned around to this heightening and emphasis can and must take face the theatre audience, and cuts and tempo place, the director must go to the original dance changes can be made without violating the original and analyze and dissect it in great detail. He must intent, which is, after all, only to entertain. understand its inherent form and quality before he can make any cuts, changes or shifts in emphasis. here are many introverted dances, however, that Otherwise he will weaken the integrity of the origi­ appear to be completely extroverted, and these nal so as to make it nonexistent — and the changes are more difficult to handle. An example is the may even become apparent to the audience. Jongleurs dance of the Yacuba people in the Ivory Coast of West Africa. In this dance, little girls The most important element on the palette is, of whose bodies are limp with trance are thrown from course, the dance itself. Ethnic dances fall into man to man. At the climaxof the dance the girls are two categories: introverted (or subjective) and thrown into the air, and as they reach the upward in­ extroverted. cline of the arc, daggers are thrust against their stomachs until gravity starts to pull them earthward. One might presume that a dance is introverted if The audience responds with screams of terror, and itis not performed for an audience, and extrovert­ laughs with delight when the girl emerges unscarred. ed if there is an audience present, but the distinction It is a very popular dance performed at any festival is not quite as simple as that. Many dances that are in the area lucky enough to have a troupe of Jongleur performed in solitude are focused toward a god, his dancers. altar, shaman or symbol, or some object like a seed that the Earth Mother must be induced to fertilize. This is all well and good, but the director would do These dances are extroverted or presentational re­ well to knowthatthe origin of this dance is not pre­ gardless of the presence of an audience. On the sentational at alffif It was originally performed out­ other hand, mask and trance dances generally re­ side the hut of a woman in labor on the theory that quire the performer to undergo a personal transi­ there is a natural limit tothe amount of pain in any tion — sometimes spoken of as self-hypnotism. given geographical area and that if the child could When the dance is finished, the performer's per­ accept the burden of the area's pain, the woman sonality has changed because of the wisdom he has would be spared. gained in the depth of the dance experience. He may have been serving as a medium or there may have Many pantomimic dances are equally transferral in been no audience present, but the important dis­ intent. Crops are taught how to grow with great tinction is the character migration of the dancer. leaps by highly skilled dancers. Rain is encouraged This, then, is an introverted dance. to fall by wind and water dances. Meat is found through dances that teach the animals how to be Purely extroverted dances are generally obvious: caught by clever hunters: the Venado Dance of they are fun to do and their sole intent is to enter­ Mexico's Yaqui Indians pantomimically represents tain. Chinese opera, for instance, is highly presen­ a deer running through the forest and suddenly sens­ tational and, without an audience, does not exist. ing the presence of human foes; his death by bow Classical ballet, circus and musical comedy are and arrow is meant to be seen by deer which, the Western versions of distinctly presentational dance. Indians assume, are actually watching the perform­ But the moment the audience includes something ance from deep inside the forest. beyond a group of human beings, we begin to have a degree of introversion entering the dance. Even the These transferral dances are more difficult to put most extroverted of Balinese dances, for instance, on the stage because their validity lies in the or­ is always performed with an awareness of entertain­ iginal creative inspiration. They have a complete ing the gods as well as the people, and because of unity of form and style, but only in exact context this the performer assumes a concentration and a and sequence. To cut them or change them with­ responsibility to his audience that precludes devi­ out a sure understanding of what they are accomp­ ation from the dance pattern through reactions or lishing, and how they have been devised, is to des­ byplay to the audience response. The audience troy them. would never think of applauding, nor the performer 66

II A more introverted kind of dance involves charac­ cern among the Balinese. During a performance in ter-transition. Most mask dances are in this cate­ Chicago several of the musicians fell into trance and gory. Although many attempts have been made, chased the Rangda through the backstage and dress­ these dances are actually more difficult to stage ing-room areas trying to kill him. We eventually because they involve the performers to an intimate found that an egg used inthe sacrifice was double- degree. An example is the trance dance presented yolked and therefore weak in protective powers. by the Balinese dancers on their last two tours in Foresightedly, this dance was always presented just the United States. It is a dance in which the defend­ before intermission so that there would be time for ers ofBarong, the lion-dragon symbol of Good, fall the company to come out of its trance and cope with into trance —a real one — when they see the mask of whatever problems or emergencies might arise, Rangda, the witch symbol of Evil. They attack before continuing the performance. Rangda, who is also in trance, with their razor- sharp krises. If Rangda's trance is sufficiently Unfortunately, the trance dance is too introverted a deep, the krises fail to penetrate his skin, and the subject to be a successful ballet. Since the audi­ warriors then turn the krises onto themselves. The ence could not appreciate that the trance was real pressure of the kris makes black-and-blue marks on and that the krises were deadly sharp, the ballet their bodies but fails to break the skin if the trance appeared to be a rather badly staged wrestling state is maintained. match with a couple of interesting masks. If we had tried to get across the reality of the situation Before each performance of this ballet, the priests the audience probably wouldn't have believed it any­ with the company would protect all of us involved in way, and if they had believed it they would jus­ the performance with sacrifices and prayers so that tifiably have accused us of bad taste and side-show we would be immune to the power of the Rangda theatricalism. mask. Generally his blessing kept the main per­ formers under control, but occasionally something The trance dance is not purely introverted because would go wrong and other dancers and musicians in it is performed for a large and enthusiastic public the company would also fall into trance and attack in Bali. It is only one of the many reenactments of Rangda. During a Paris performance, one of the the conflict of Good and Evil in Balinese dance and little girls fell into trance and remained unconscious drama — a conflict ever-present in the Balinese for several days, which upset me but caused no con­ mind and represented in all aspects of life. Good

LES JONGLEURS, an astonishing dance of the Yacuba tribe. In this, four-year-old girls are tossed about spectacularly. The high-flying tots display supreme confidence in the skill of their juggling elders and show a trance-like unconcern, even when it looks as though they are about to be impaled in mid-air on up-turned knives. But they are always safely caught, usually in the crook of the juggler's arms. 67 will always defeat Evil, and Man will always come too intimate and delicate to transfer to the stage. to the aid of the lovable Barong. Their power comes from the personal involvement of the performers, rather than from any attempt Dance-as-propaganda enters into many of the sub­ whatsoever to project to an audience. jective dances. The Balinese presume that this conflict is equally important to their Western aud­ iences and feel that their interpretation of it will help us to better understand the problem. For So much for the dance itself. Now to the dancers. Ill them it has a propaganda and educational value, To form a company of folklorique dancers, one must and should certainly be included on the program. consider its purpose and the physical and psycho­ Their leaders also believe that presenting the con­ logical limitations of it members. One approach is flict eight times a week has a certain cathartic to lift a complete society out of its environment and value. put it on the Western stage for a specific tour, with a few cuts, changes, orpolishings; this is primarily a Masks in all societies carry magical powers, even commercial one - shot venture. The second ap­ in such extroverted theatre forms as Chinese opera proach is to create an organization with schools and and Greek drama, or the Hallowe'en and Mardi Gras training programs which will prepare programs of masks our society uses for character transitions. representative dances of all areas of the country and The entranced, maskedRangda on the stage and the build a touring company representative of the larger human being portraying him are not considered to organization; this is a permanent organization, with be one and the same. The human in daily life is a a future as well as a present. very gentle and wise man, loved and respected among his people to the extent that children fight for The various Balinese companies provide an example the opportunity to sit in his lap. It is because of of the best way to handle the first approach. With an his preceptivity and wisdom that he is considered excellent climate and natural vitality, the Balinese worthy of supporting the weight that the wearing of have developed their "leisure-time activities" into the mask implies. The mask, tobe sure, achieves highly sophisticated and elaborate art forms. Each its power through super-imposed incantations, but village is a self-sufficient social unit with its own these must be combined with the deeper powers of music and dance clubs, and the leaders of the best the man who wears the mask. of these clubs are quite naturally the leaders of the village. If one of the clubs is selected as atouring In many African tribes the mask-wearer's identity unit, one finds automatically a rather self-sufficient is never even known. In a small village, one would microcosmic society complete with dancers and presume that the spectators would be aware that one musicians who are religious and political leaders, of the villagers was missing, and that he might teachers, barbers, woodcarvers, cooks, weavers therefore be the man wearing the mask. But I think and tradesmen. The company is self-sufficient that there is a kind of tacit agreement that the miss­ and secure as long as the impresario can provide ing man will never be identified even to his wife and it with the right ambience for performing and travel­ children. The missing man is not the man wearing ing. Accommodations, transportation and theatre the mask: it is the mask that is being "carried" or facilities must provide a physical intimacy and "activated" by the missing man; it is the maskwhich protect them from contact — at least without advance is wearing the man. explanation — of strange things, people, or climate. Unfortunately, strange and unfamiliar things do The purely introverted dance, although it may have happen, and an entire company may be plunged into form and rhythm, is not performed for its own sake. fear or homesickness and be unable to give good If an audience is present, it is not an observing aud­ performances, if they can perform at all. ience; it is a participating audience joining body- force and concentration with the dancer who is From time to time, one-shot companies have under­ physically trying to reach the absolute. The few taken tours, but the results have been much less purely sacred dances that I have seen are not dances satisfactory and sometimes even tragic, usually that one can stage, even if one may, even if vows and because the impresarios or producers have not promises had not been made. taken the trouble to study the society from which the company comes. They have plucked up a group of It is impossible to communicate the meaning of these dancers but neglected the roots — the spiritual, dances to a theatre audience. Their expression is medical and political leaders who are so much a 68

part of the dancers' society. By exploding these tribes. One method to help the tribes establish dancers into a society for which they are complete­ mutual respect is to give them the opportunity to ly unprepared, the impresario has given himself learn of, and to grow to respect, each others' art unstable performers, and, more important, caused forms and, projecting this a little further, to learn personality schisms in the dancers themselves. of the art forms of the rest of the world. The per­ forming arts of other countries have been seen in An example of the alternative kind of company, a the Ivory Coast. I myself saw a small French com­ permanent folklorique organization, is the company pany presenting Shakespeare in a jungle clearing — I am working on for the government of the Ivory a rather ludicrous experience. But the performing Coast. Our purpose is to form a national theatre arts using Ivorian themes have only begun to de­ offering a training ground for young Ivorian artists. velop. The national theatre organization will serve The Ivory Coast is fertile country with good natural this purpose. resources. Part of its strength, as well as one of its major problems, lies in the fact that itis com­ The most logical place to begin to form a national posed of 83 tribes speaking78 languages. Colonies theatre is to form a national folklorique dance com­ are held together by the dominance of the mother pany . Since dance is already an integral part of the country, but now that the Ivory Coast has achieved life of all Ivorians, it is a highly developed art form. its independence from France the new leaders are Many of the dances are primarily extroverted and searching for methods to integrate the various tribes will easily make the transition to the stage. Once a enough to give the country strength without destroy­ dance company has gone through the training re­ ing the character and strength of the individual quired to present representative dances of various

Boys in costume for DINDE, a dance performed hopping over sticks. Dancers wear grass skirts and the blue and white batik of the Baule tribe. 69 tribes on an international tour, the national pride dancer, and the pressure of knowing that the dance in and interest will be aroused, and the next step, rehearsal is going to be on next week's program the forming of a national theatre, will be easier. tends to make the rehearsals more efficient. Even the best-trained professionals find it difficult to The formation and training of the original dance work hard on something that won't be presented for company, however, is a formidable task, with many several months. pitfalls. It should, of course, be handled and super­ vised when possible by Ivorians, with foreign ex­ There will also be classes in other, equally impor­ perts called in only when they can bring with them tant subjects. When the company tours foreign a specialized training that cannot be found in the countries, these dancers will be ambassadors-at - Ivory Coast. Even then the foreign experts must large of the Ivory Coast and as such should be the make themselves dispensable as soon as possible. best possible examples of cultured, educated, healthy young people. They will be interviewed and The members of the company should come from var­ entertained often, and the impressions they make ious tribes. Through living and working together, will often be as important as those they make on they will grow to respect, and be more aware of, stage. Their ability to speak good French; their their country's unity. The majority of the company general background and knowledge about the history should be young and good-looking, and all must have and current events of the world, and most especially that kind of theatrical projection that will get across of Africa; their intellectual and artistic curiosity the footlights to the audienc e. Many companies have about their own and other cultures; and possibly succeeded on the strength of young dancers with their ability to speak a little of the language of the sparkling personalities alone, and this is a quality country they are visiting —all of these become very that American audiences have come to expect. The significant because of the confidence and sense of ability to project is a natural thing, but it often re­ responsibility they build in the company. The em­ quires a good deal of training and experience to be phasis on classes is not tobe interpreted as brain­ brought out spontaneously when the curtain goes up washing or indoctrination, but rather as an oppor­ rather than after warming-up by dancing for several tunity to permit individual development along hours. The company will be chosen after more trips individual inclinations, with the aim of preparing into the interior to see dances, dancers and musi­ the company to adapt unselfconsciously and easily to cians, but many of the people so chosen will not be the new situations, social customs and peoples they able to carry their spontaneous projection into the will meet. Such a company cannot be organized in stage situation even after extensive training and will a month, although it can probably be functioning have to be replaced. very well within a year.

After the members of the company have been se­ lected, they should start classes, not to turn them into ballet dancers — although the exercises would Fortunately, audiences do not need to know the IV be similar — but to give them the stamina and en­ amount of analysis and plies that have gone into the durance to perform everyday at full intensity, plus presentation they witness on the stage. They are muscle toning to protect them from strain and in­ generally willing to partake spontaneously of an eth­ jury, plus a common vocabulary to permit them to nic dance performance without even reading the learn dances from other tribes. As for athletes, program. They are often better off than those of us general health and diet are very important consider­ who feel that, in order to enjoy and appreciate any ations because of the effect they have on the dan­ art form, particularly an indigenous expression of cer's psychological as well as physical well-being. a civilization, we must bring to it a background of social and historical — if not anthropological — Rehearsals will begin immediately. As soon as pos­ knowledge. I suppose this is one of the after-effects sible, the company should present performances, of history-of-art courses which teach us not simply no matter how small, because the performing ex­ to respond, but also to analyze and intellectualize. perience will also act as a training experience as the dancers become more professional in their atti­ Program notes are, however, important forthe di­ tudes and stage deportment and learn how to work rector to supervise, because those who do read them with and respond to an audience. The director will are often hopelessly confused by shadowy catalogues be able to watch and guide the progress of the chor­ of unfamiliar characters or the descriptions of the eography as well as the progress of each individual larger ballet "ofwhich this dance is but an excerpt." 70

The notes are generally patched together by an im- vides elaborate descriptions of a ballet that is in presario's press agent who has conscientiously essence nothing more than a battle between Good tried to gather all the available information about the and Evil, a non-specific harvest dance, or simply dance and condense it into as small a space as a dance that feels good to do. possible. Because of his limitations as an anthro­ pologist, coupled with the fact that he has probably Fortunately, the general audience, thanks to its not even seen the ballet, the press agent generally non-voluntary kinesthetic responses, tends to enjoy misses the point of the dance completely and pro­ the performance despite its intellectual confusion.

DJANE, a "Danse de Masque" — These grass-skirted, masked dancers are men of the Bete tribe, one of the 78 tribes in the Ivory Coast Republic. Dancer at left portrays a woman, with a blue mask and a carved woman's figure as a headpiece. Dancer at right depicts a man, with a green mask topped by a male figure (in Western style undershorts). In headpieces, note the snakes, a fetish common to this part of Africa. Rattle anklets emphasize the intricate footwork of their dance, called DJANE. Africans believe that a dancer, once masked, acquires the identity of the mask itself. One is not permitted to know him or see his face. Nor does one inquire about the village mask-maker or ask to see his shop. 71

Ballet Folkldrico

The story of the development of the Ballet Folklorico of Mexico is a fascinating com­ bination of individual dedication and deter­ mination on the part of Amalia Hernandez from the time she was a child, the rich heritage of dance material in the country, and the stimulus and encouragement of in­ telligent and influential persons in Mexico. World famous composer and conductor Carlos Chavez followed the group's work in its first explorations in folkloric chore­ ography, and the group has had the gener­ ous support and intelligent advice of Don Celestino Gorostiza, the Director General of Mexico's Institute of Fine Arts, which now sponsors the Ballet. Guillermo Keys in now the ballet master of the company.

Amalia Hernandez in LOS DIOSES 72

American modern dance has played an important Alfred Frankenstein, reviewing a performance in role. After early training in ballet, followed by the SAN FRANCISCO CHRONICLE, says, "the flamenco with Argentinita, Amalia Hernandezez company is immense and it rides the crest of the studied modern dance for six years with Waldeen, public interest in theatricalized folk dance which who is described in Mexico as the North American has brought us similar companies from Russia, who brought the "new rage" southward. As early Poland, the Philippines, Bali and elsewhere. . . as 1939 Anna Sokolow spent five months in Mexico their show draws on an immense variety of folk at the invitation of the Mexican Government. Among cultures, is lavish and entertaining, and occasion­ other artists from the United States were Jose ally provides insights below the entertainment level. Limon and Tom Skelton, who worked on production . . . Successful in its evocation of the ancient cul­ problems as late as spring 1963. tures (was) 'The Quetzal Birds of Puebla,'wherein the men of the company wore enormous, stylized headdresses, and danced with vigor, point and Popular acclaim has been so great that the Ballet perfect clarity. An interesting footnote to folklore Folklorico maintains two companies: one remains is the fact that the pipe and tabor which accom­ in Mexico City presenting two performances each panied this dance, and are probably entirely native week including a true "matinee" on Sunday mornings and very old, are all but identical with the instru­ at 9:30; the other is the traveling company, which ments used to accompany the morris dance in is currently on a coast-to-coast United States tour. England. This may well be one of those accidental To date, including tours of Europe, SouthAmerica, parallelisms that crop up everywhere, but Mexican and the United States, the two companies have given culture, like the culture of every country, is a mix­ a total of approximately two thousand performances. ture involving innumerable direct influences — in They have received numerous prizes, one of which this case from Indian, Spanish, Caribbean and was the first prize in 1961 at the Theatre des Nations Negroid sources —and all these were touched upon, Festival in Paris. in one way or another, during the evening."

LOS QUETZALES DE PUEBLA 73 Notes From the Argentine ANTONIO TRUYOL

Antonio Truyol, choreographer, dancer and director, is associated with the Ballet of the Colon Theatre in Buenos Aires.

HISTORICAL NOTES vocabulary was utilized, and there was no attempt, In 1925 the permanent corps de ballet of the Colon except occasionally, to stylize a few steps of popu­ Theatre in Buenos Aires was established to present lar material. In order to develop a dance form ballet performances and also to perform the ballet which would really represent Argentinian back­ selections of the operas in the repertoire of the ground and character, the management of the Colon Theatre. Composed of about thirty dancers, the Theatre established the Institute of Advanced Art. initial organization was directed to present avariety Here students are given instruction in classical of works from the most classical or traditional dance, in character, modern, and ethnic dance, in style to the contemporary forms. The first per­ the general history of the art, etc. The Colon corps formances of the company consisted of Russian de ballet now numbers about one hundred dancers, ballets of Diaghilev and other ballets of European and in the present season a group of Argentinian origin. In its development, the Colon Ballet had choreographers has been incorporated into the or­ the assistance of anumber of people throughout the ganization. Of these, Renate Schottelius and Ana world — from Bolm and Nijinska up to Carter, and Itelman both belong tothe school of modern dance. including Fokine, Balanchine, Lifar, Romanoff, It is hoped that, through this expansion of instruc­ Wallman, Milloss, Lichine, Charrat, Massine, tional materials and choreographic resources, the Gsovsky, Rosen, Tudor, Taras, and others. Thus, ballet may truly reflect the distinctive qualities of many important elements in the history of ballet its Argentinian origin. were early incorporated into the resources of the Colon Company. More recently several attempts were made to es­ tablish a national trend in Argentine ballet, as However, in these dances, the familiar classical exemplified in "The Flower of Irupe" and "Huemac."

Students of the Classical Dance School of the Teatro Colon of Buenos Aires 74

L'INDIFFERENT — Teatro Colon, 1954. Choreography: Heinz Rosen Music: Hans Hang Dancers: Paula Svagel, Antonio Truyol

PAVANA REAL — Teatro Colon, 1959. Choreography: Antonio Truyol Music: Joaquin Rodrigo Dancers: Esmeralda Agoglia, Nelly Casella, Antonio Truyol

Photographs accompanying this article are by Annenarie Heinrich. 75

MY PERSONAL EXPERIENCES

I had the opportunity of verifying the previous statements as Director of the Corps de Ballet of the Colon Theatre of the city of Buenos Aires and like­ wise as the choreographer in the same theatre during the years 1959 and 1960. In the first ballet which I had the opportunity of staging, PAVANA REAL, withmusic of the Spanish composer Joaquin Rodrigo, I decided to give it, of course, the char­ acter of courtly dances, since the action of the plot takes place in the sixteenth century. It was realized with a marked sense of stylization of the choreographic movements. This ballet, PAVANA, contrasts with the second work which I staged for the Colon Theatre. With a concept of choreography much more advanced, and breaking deliberately with the traditionalism of the Classic Dance, I staged the ballet OPUS 34 with the music of Benjamin Britten. The argument or plot is based on the indi­ vidualization of the instruments, in its sound color and in its intensity, under the direction of a neutral character called NEXUS. In these two ballets I tried to make prevail the control of large choreo­ graphic masses, which characteristic was accentu­ ated in the first one. DON JUAN DE ZARISSA — Teatro Colon, 1949. Choreography: Tatiana Gsovsky Music: W. Egk The forms employed in the creative conception of Dancers: Maria Ruanova, Victor Ferrari, Tatiana Gsovsky OPUS 34 produced in the public a strong impression of surprise and afterwards a favorable reaction entitled SONATINA with music of Ernest Halffter . especially in that sector of the public devoted to My choreography was realized with the famous Span­ renovating currents. ish dancer Antonio. The characteristic which most attracted the attention of both public and critics was After a trip in 1961 to the United States, to which I that derived by the blending of two conceptions and had been invited by the International Institute of two different schools: mine, enriched in the class­ Education, and after making important observations ical and modern schools, and that of Antonio, formed within the sphere of the contemporary dance, obser­ inthe primitivism of the Spanish dance and carried vations which made me appraise in all its rami­ through his art to a high plane of plastic and dy­ fications the importance of the contribution of North namic stylization. American dance to the universal contemporary dance, I went to Europe. This bare reference to my personal experiences does not have any other purpose than to make mani­ On the Old Continent I was contracted as a Ballet fest before my colleagues in America the need of Master and First Dancer inthe ANTONIO BALLET interchanging opinions in order to contribute the ESPANOL. All my past experience and likewise best of our knowledge and experience in behalf of the the fruits of my studies in the United States of development and expansion of contemporary dance American contributed to the creation of the ballet in our Continents. 76 Dance in the Philippines

ESTER TIMBANCAYA

The Philippines is an archipelago of 7,107 islands, death, courtship, wedding, thanksgiving, victory, about 500 miles off the southeast coast of Asia. To revenge, and welcome. The human emotions and the west and north of the islands is the China Sea, passions of daily living are also depicted in dance — to the east, the Pacific Ocean, and tothe south, the sadness and joy, disappointment and success, pride, Celebes Sea and the coastal waters of Borneo. The dignity of labor, exaltation and adoration of the gods. scattered and numerous islands and the rugged mountain ranges have led to an isolation of the Fili­ As a means of communication, the dances reveal pinos all over the islands, thus causing a wide di­ the different customs and traditions of the people, vergence in customs, traditions, and language. and are a means of passing them on from one gen­ eration to the next. The courtship and wedding The Philippines has a complex culture as a result dances are perfect examples of customs revealed. of the various types of people that compose the popu­ Regardless of the differences from one region to lation . The earliest Filipinos are believed to have another, wedding dances are usually performed by come directly from the southern coast of China in the newly-weds to collect gifts, money or kind to primitive sea vessels and through the land bridges start out their life together. that may have existed before the glacier age. About the 15th Century, the Indian and Arab traders came Folk dancing plays a very important role in the to the Philippines by way of Java, Borneo, and the magico-religious ceremonies of the people, with Malay Peninsula. It was at this time that the Islam varying practices depending on their religious be­ religion was introduced to the Philippines by the liefs. Among the pagan mountain province tribes Arabs and the Indonesians who migrated along the in northern Luzon, the religious dances feature the Borneo coast into the southern islands of Mindanao, offering of sacrificial pig byapriestess asking an­ the Sulu Archipelago, and Palawan. cestral spirits to give the tribe brave headhunters who would go out to fight and win battles against The discovery of the Philippines by Ferdinand other tribes. Among the primitive Tagbanuas of Magellan on March 16, 1521, marked the beginning Palawan, a magico-religious dance is performed of Western influence among the Filipinos. From by the medicine woman to appease the evil spirits 1521 to about 1898 the Filipinos continuously ab­ that may have caused the illness of a sick person. sorbed cultural influences from the Spaniards, Dutch, English, French, and Germans. Then the Dancing to the varying pitches of gongs and drums, Americans took over the islands from 1898 until the and with increasing speed, the dancers dance until Philippines became an independent nation in 1946. they think that the spirits or gods have heard their It is obvious that all these countries have left in­ messages. Sometimes they dance until they fall to delible influences on many of our Philippine dances the ground with exhaustion. so that our dances of today show a beautiful com­ bination of the foreign and native culture. Religious dancing among the Christian Filipinos is rarely done today except for a few dances that are The hundreds of dances that have been collected by still performed during the town fiestas. When the Mrs. Francisca Reyes Aquino, an authority on Spaniards started converting the native Filipinos to Philippine folk dances, combined with the accounts Catholicism, they also condemned and forbade the of early Spanish historians, show the important role idolotrous practices they found in the Philippines. that dance played in the lives of the early Filipinos. They associated the dances with heathen rites and There was always an occasion for dancing —birth, forbade them, confiscating the beautiful gongs of the

Ester Timbancaya, graduate student at Stanford University, came to the United States after she received an Associated Student Fellowship in 1959. An experienced and dedicated folk dancer, Miss Timbancaya. looks forward to doing research in ethnic forms as well as teaching dance. She has worked with the Philippines Peace Corps program at San Francisco State College during the summers of 1962 and 1963. 77 converts saying they were used to call up evil groups: (1) dances of the Non-Christian, Primitive spirits. However, the Spaniards found some of tribes; (2) dances of the Mohammedans; (3)dances these "idolotrous" dances beautiful, graceful, of the lowland Christian Filipinos. and lively, and they have used them to enliven Christian processions and fiestas. An example of religious dancing is practiced in the island munici­ Dances of the Non-Christian Primitive Tribes pality of Cuyo in the province of Palawan where two big fiestas are celebrated every year — St. John's The tribal dances of the Mountain Province and day, on June 24, and St. Augustine's day, on August Mindanao are among the most colorful and authen­ 28. After the morning mass on St. John's day, the tic dances of the Philippines. In the Mountain people of the town form a long procession parading Province of Luzon, there are the primitive, former the graven image of St. John. From the church, headhunting tribes of the Igorots, Ifugaos, and the procession leads to the seashore where several Kalingas. Like any group of so-called wild men, beautifully decorated sailboats await the crowd for they have a "kinship" with nature that civilized man a continued procession to the sea. Leading the pro­ has lost. Among the wild people one has a feeling cession is a group of male dancers dressed in skirts of intimate relation with the earth, the sun, the sky, of strippedyoung coconut leaves. They wear masks the trees and flowers and with all natural objects. and high headdresses made of coconut straw to con­ They are also ancestor-worshippers, and they do ceal their identity. A clown or jester leads the have many gods. The grand feast called the canyao dancers, and he performs all kinds of stunts and is the big occasion for dancing. A canyao is held tricks. The dance throughout the procession has a before a head hunting expedition so that the warriors lively accompaniment of bamboo flutes, drums, and can go with the blessings and protection of the gods. native string instruments. These dancers are sup­ After the fight, a victory canyao is held again to posed to entertain and gain the favor of the patron give thanks and honor to the gods, and to honor the saint, hoping that there will be more rain to come, brave and most successful warriors. Other feasts especially in June, when rice planting is just start­ with songs and dances are held to celebrate wed­ ing. St. Augustine's fiesta is celebrated for about dings, birth of a child, rice plantings and harvesting a week. About four days before the fiesta a group and courtship. of male dancers perform a dance called the "Ates" dance from house to house inthe town. They paint The dances vary from tribe to tribe and may have their faces with charcoal or blue indigo, and wear definite steps, but oftentimes the dance is left tothe straw hats trimmed with flowers, colored ribbons individual dancer. Most of the dance movements and feathers. They sing as they dance to the ac­ are percussive in nature, and, in many instances, companiment of drums and bamboo flutes. The imitate the movements of birds and animals. Drums "Pastoras", a group of women dancers, also go and gongs of various sizes and pitches accompany around the town at this time. Their dances are the dances with increasing speed and excitement as more rustic and romantic in nature, usually featur­ the dancers become more and more engrossed ing the love and adventure of their sweethearts, in the whole spirit of the occasion. Sometimes they who go to war or sail far across the seas, and, dance for days — to the point of exhaustion. with the help of the saints, finally come back to them, bringing honor, victory, and sometimes precious jewels. Dances of the Mohammedans

Philippine folk dancing takes a hundred forms. The Muslim Filipinos who have settled in Mindanao, Mrs. Aquino has classified them according to: the Sulu Archipelago, and Palawan, were called (1) geographical extent of origin— national or local; "Moros" by the Spanish, which means Moors or (2) nature — occupational, ceremonial, courtship, Mohammedans. The Moros are the only group of wedding, festival, war, comic, and game dances; Filipinos who resisted the repeated attempts of the (3) speed of movements — fast, moderate, slow; Spaniards to Christianize them. Their culture, (4) according to formation — longways, quadrille, more Oriental, gives their dances a rather unique set; (5) distinguishing features — dances with songs, character of which the Philippines can be proud. dances with use of objects, dances with combined rhythms and ballroom dances. This classification Moro dancing is stylized, and, to an extent, mystic. is rather complex. For purposes of this discussion, Their step patterns and movements are akin to Philippine dances maybe classified into three main Hindu-Arabic, Javanese, and Chinese dancing. 78

"Inner intensity and absorption, a mysticism, a lan­ Dancing plays a very important role in the life of a guid grace, much use of the upper torso, nuance of Muslim princess. The "Singkil" is performed by facial expression, flowing movements of the arms a princess to show her skill and grace in dancing as they change from pose to pose, the fingers now between two pairs of bamboo poles clapped together held close and stiff, now circling in and out, the in syncopated rhythm and increasing tempo. As a flexed elbow, the shifting of body weight from one princess she must be able to show her subjects and bent and turned-out knee to the other, shuffling her admirers her grace, beauty and skill through steps, creeping toes, the tortillier step, the use this dance. of singkil or metal anklets or bells, the expert man­ ipulations of fans — all bespeak the Oriental style." Everybody in Moroland has his respective dances — (Leonor Orosa Goguingco, "Philippine Dances and young or old, sultan, princess or slave, warrior Trends.") or captive.

The Moros have been known to be brave and daunt­ less warriors and pirates, and they reveal this trait Dances of the Christian Filipinos not only in their victorious raids, but also in their war and victory dances. "Sagayan"is a simulation The dances of the Christian Filipinos are the result of the actual combat and victory of war with the of a happy blending of Western and native dancing. warrior in full uniform and armed with kris, spear The coming of the Spaniards marked the introduction and/or shield. of European influences in our dance. The native

Photo — courtesy of Philippines Travel Information Office 79

Filipinos adapted many of the dance steps that the University of the Philippines. Mrs. Francisca Spaniards brought with them, such as the habanera, Reyes Aquino, of the staff of the Philippine Women's jota, mazurka, fandango, curacha, and polka. University, has been responsible for research in the Through the years other countries such as France, field of indigenous folk customs and materials, and Germany, Holland and England left their influences the preservation of folk dances, music, costumes on the dance. The native Filipinos have adapted and other native crafts. Recently, many educational the various steps so that they are distinctly Fili­ institutions have organized folk groups: among them pino in character. The Philippine Polka is a good the Philippine Folk Dance Troupe; the Bayanihan of example. Due to climate and certain values of the the Philippine Women's University (Bayanihan — a Filipinos, the polka is slow, smooth, andless vigor- Tagalog word meaning an ancient custom of working our than the European polka, with little elevation. together); the Barangay of the Philippine Normal To enjoy doing the polka or other originally fast College, which has toured several Asian countries; dances on warm, tropical evenings, they have to be the Far Eastern University Dance Troupe; the danced in this manner. Other forms such as the Dance Troupe of the university of the East; and lanceros (English — lancers), rigadon, waltz, others. schottische, and paso-doble were also adapted quite readily and, in the process, combined with native Folk dancing is part of the physical education cur­ dance steps. Several native props give the Filipino riculum in the Philippine Islands schools at all dancers the chance to achieve spectacle without levels from the elementary grades through the uni­ doing high leaps and fast twirls as a European dancer versities. Each college and university has its own might do to be spectacular. Some of the props used folk dance team which tours within the Islands and are: drinking glasses or lighted oil lamps balanced plays an active part in the civic and social life of on the dancers' heads; bamboo poles clapped to­ its own community. gether, between which the dancers dance without getting their feet caught; straw hats, handkerchiefs, The Bayanihan Dance Company, best known of the and coconut shells. In order to be more spectacu­ dance groups, represented the Philippines at the lar, sometimes a couple performs a polka on top Brussels Exposition, came to the United States in of a narrow bench, or a male dancer may dance on 1958 to give private performances in connection dinner plates without breaking them. with President Garcia's visit as a state guest of President Eisenhower, and was signed for a short United States tour in 1959. A European tour, from Notes on the Folk Dance Movement January through April of 1960, commenced in London where they had a four-week stand. In Israel, Interest in Philippine folklore was revived in the the company drew crowds of up to 18,000 for a single late 20's. A pioneer in this movement was Dr. performance. In 1961 there was a second American Jorge Bagabo, who was then the president of the tour of more than 60 cities in 13 weeks. 80 [he Bacchae JOANNA GEWERTZ

Chorus of THE BACCHAE During the spring of 1963, Zouzou Nicoloudi, danc­ was to dance, to act, to sing, and to speak —a diffi­ er and guest choreographer forthe Greek National cult problem since all four actions were continu­ Theatre, came to work with the Drama Department ous , if not simultaneous. of Carnegie Institute of Technology, Pittsburgh. Madame Nicoloudi choreographed a production of The score for this production was written by Euripides' THE BACCHAE. Thetaskwasan inter­ Elizabeth Lutyens, a British composer. Itis a very cultural and interpersonal challenge for both the exciting and difficult score, paralleling the drama­ choreographer and the American students who tic action and using endless phrases of mixed meter worked with her. and dissonant intervals. The chorus, many of whom could not read music, learned the score by rote. Trained in Austria, Germany and Switzerland with During the first chorus some of the girls played Wigman and Cladek, Madame Nicoloudi brought drum rhythms, accompanying the music and their her special discipline and style to the production. singing. As the group learned the words and Of the twelve girls chosen for the chorus of THE rhythms of each section, it was taught the move­ BACCHAE, all but one had been trained in the acting ment. Madame Nicoloudi used the interesting no­ program at Carnegie Tech. Some had had outside tation method shown below as a device to assist work in ballet or modern dance, but their move­ the learning process. ment background, forthe most part was three years of stage movement. Their task in THE BACCHAE The chorus has many functions in this play. It must Joanna Gewertz, member of the IMPULSE editorial board, is teaching dance in the Drama Department at Carnegie Institute of Technology, Pittsburgh, Pennsylvania 81

sex ve as Dionysus' band—following him to Thebes to indifference is, in many cases, a mask of extreme teach his rites. It must comment on the action and self-consciousness. Since they had little movement observe some philosophical truths and teachings training and sense of physical freedom, the ac­ inherent in the play. It must capture the ecstasy tresses ' mannerisms intruded on the dance imagery. of the Dionysian cult. It is always on stage and Their movement was "cute" when it should have must underline and help to create each dramatic been secretive, posed when it should have been situation. exultant.

The chorus worked with Madame Nicoloudi 3 5 hours Nevertheless, the chorus gained a great deal of skill a week. There were many problems. The rhythmic and awareness in the course of the rehearsals and integration of speaking, singing, dancing and play­ performances. The feeling of ensemble, almost ing drums and Greek castanets would challenge totally lacking at the outset, grew immensely. the most skilled dancer. Above all else was the Strength and endurance and sensitivity to the total problem of acquiring the ability to use a play of ten­ production made the chorus' role a powerful part sion and relaxation that Madame Nicoloudi felt was of the play. essential to the projection of the "ecstasy" in this play. American girls, she observed, were very It was difficult for twelve American girls to adjtist mannered in the use of their bodies. Hollywood, to the imagery, the technique and the discipline of the fashion industry and American advertising in Zouzou Nicoloudi. That they achieved the level of general have propagated an image which influences performance they did, is a testament to their spirit most American women. Our dress and way of life and willingness to work and tothe devotion andskill are casual. This casualness we find reflected in a of an artist like Zouzou Nicoloudi. seemingly indifferent attitude toward the body. The

Sample of notation used by Zouzou Nicoloudi THYRSUS 4 Ffok- PAROi>ci-(cMoAu£ Z ) V Q*\ l\actkq««_ »\^v,ai'^|^ D i gvt« J j ) J f f JJwirk back*. f I H' - f /1 QLA»«U«U»CS, 1 VMCkAtmL

n i 1 f T Vov* Hu. Ljfdicu, Hi£i» +or(u eptvtiHj * »"«*K|>t>{ ^JVUOL Dt^ »Uvt4 B'SOVMifl.J i I >< H ft ^ (nek Hr

: —-m i n f\ i i I 1. 7 n i i OH, R*t*\t ) J 82 Notation ANN HUTCHINSON

CD Music is considered to be an international language, and perfected by many individual minds concentrat­ dance notation becoming an the more the individual appreciates and approves of international written language because the record­ Labanotation as a means of solving his recording ing of movement has matured in the scientific age. problems. At the same time, because the use of C certain conventions has made the system easy to o Tobe adopted internationally, a system for record­ learn and use in its simple form, Labanotation is E ing movement must be capable of recording every also most suitable for such comparatively simple type of movement, without bias toward any one style forms of movement as ballroom and folk dance. By > or limitations inflicted by an individual approach or the simple, direct statement of action (omitting the o analysis. Of more importance than the actual sym­ details of "how") the system can be taught to 5 year bols used, is the analysis of movement which must old children to make tangible to them the fundamen­ :> be established on fundamentally sound principles tals of movement — space, time, the body, dy­ applicable to all manner of human movement. It namics. In Hungary, the Laban system has been must therefore rest on laws of motion recognized in officially adopted and is used automatically in the other fields, that is, scientific laws. It must be folk dance field, most publications having the dance c capable of stating any aspect of movement individu­ themes in notated form. But subtleties of movement O ally or in context. Where minute detail is required, also exist in such seemingly simple dance forms, D as often occurs for specialists in some particular and forthe research worker, the same dance score u field of motion study, the system must allow for such can be used as a skeleton to which are added the fine definition. Shorthands can be used, but only fine details of carriage of the body, use of a part of *c where the key, the longhand version of the same the foot, the quality of arm and head gestures, action described in all necessary detail, is at hand. etc. To specialists in dance from countries such £ Such a system, fully developed, could then be adop­ as Java, India and Ghana, to mention a few, it is the ted by the peoples of the world, each using as much ability of the system to record these details that E or as little of the entire system as their needs de­ attracts them to it. To cite a few examples of the o mand, with the knowledge that the limitation in use spread of notation, we seeKapilaVatsyayan in India u is of their own choice. whose concern is the preservation of the classic dance heritage which is rapidly becoming forgotten "5 So much for the theory on what would be desirable; with the advent of "modern" dance in India, devoted how far have we progressed toward achieving such a to modern themes. Similarly concerned is Albert c goal? Incredibly far, considering that the system Opoku of the Center for African Studies at the .2 which most closely fits the above description and is University of Ghana, who is anxious to record the the most widely used, that originated by Rudolf native dance culture before "civilization" sweeps it D Laban, was first published only in 1928. Although away. Laban first toyed with shorthand systems for his own c theories of dance, he soon turned to the problem of a Nor is the world-wide spread of the system con­ 0 notation for all movement, his interests in other cerned only with the writing of movement; the ex­ fields having included drama, anthropology, indus­ change of reading materials for study is also try, rehabilitation, and so on. His system also had growing. These are often examples of dance tech­ O the immediate advantage of being further developed nique which, through being recorded in notation, can C Ann Hutchinson, honorary president of the Dance Notation Bureau, Inc., is living in London, England. D She is the author of LABANOTATION, New Directions Press, New York, 1954. 83 he discussed objectively and knowledge and opinions which throws into sharper perspective their own exchanged through correspondence. With the devel­ particular range of interest. And because they are opment of the library of recorded works at the Dance not personally involved, such individuals have often Rotation Bureau, we see an increase in the recon­ been able to add valuable objective comments and struction of choreographic works from the dance suggestions. Those working in identical areas find score. Doris Humphrey's classic of American immediate accord and benefit from the discussion dance, SHAKERS, has been reconstructed in Eng­ of mutual problems. land as well as in many parts of the United States. The excitement and benefit which arises from ac­ As an international language, Labanotation served cess to material of this kind, otherwise unobtain­ as a means of personal communication at the time able, points towards eventual international cultural when many Hungarian refugees came to the United exchange comparable to that existing in the field States, some with no knowledge of the English lan­ of Western music, thanks to music notation. guage. In one instance a Hungarian was able at that time to teach dance, as every correction or further The Dance Notation Bureau, founded in 1940 by no­ clarification he wished to make he wrote on the tators who had studied in England, Germany and the blackboard, and the "literate" students could follow United States, established as its aim the advance­ perfectly. In another instance, a Hungarian student ment of the art of dance through the use of a system had difficulty in understanding corrections made by of notation. The Laban system was the one chosen his dance teacher until these were "translated" into because it met the aforementioned requirements Labanotation for him. for a universally applicable system. Bureau mem­ bership now extends around the world, and members Such instances illustrate the possibilities for this are kept in touch with developments in the use of "language," and it takes little imagination to vis­ the system through "The Labanotator," and are ualize the possibilities for the future. For one encouraged to contribute tothe general knowledge, thing, with dance in written form, the scientific both theoretically and practically through building minds will be able to see the logical structure up the library ofnotated works. More recently the and scientific basis in movement and dance com­ International Council of Kinetography Laban was position (which exist though the unscientific minded formed, an association of experts in the Laban dancers are unaware of it) and to appreciate the system, whose aims are to increase the world­ fact that dance is more than personal emoting or wide appreciation and use of the Laban system and waving the limbs about, as the hard facts on paper to encourage and guide consistent development, make clear. In a field such as dance, which has particularly in the unification of orthography and tended in the past to veer away from analysis and in standards of practice. Members of ICKL rep­ clear definition and in which teachers, performers resent Brazil, Chile, England, Germany (east and and choreographers tend to be subjective and in­ west), Hungary, Iceland, Jugoslavia, Poland and articulate in their chosen art, the need for a common the United States. Changes in usage in the system language is very real. Dance has developed around are effected through mutual agreement, rather than the world in isolated, self-contained pockets, each by a governing body or by vote. Already underway using the same basic material, the same elements is the standardization of library cataloguing proce­ of movement, but each with an individual terminol­ dure for notatedmaterials, scores, etc. .aswell as ogy and movement analysis, or no analysis at all standardization in levels of study, examinations and in the fear that in knowing what one is doing, the certification. joy and spontaneity would be lost. These fears are soon lost once the written version of the movement At the bilingual ICKL conference (English and becomes a part of the whole framework of dance, a German), individual specialization proves to be tool to be used daily. With this tool a universal basis more of a barrier than nationality or personality. is provided for a common meeting ground and under­ Where the form of dance being served excludes an standing so that ballet, modern and ethnic dancers of area of movement, or specific uses of the body, the diverse backgrounds can discuss movement with individual has little understanding of the problems real satisfaction and constructive results, because involved in recording these areas or uses and there­ they all "talk the same language," and can gain fore has little to contribute. But by listening in on immeasureably both personally and in the develop­ the discussions of those involved in the specific ment of the art through such international com­ problems, those not involved have learned much munication and exchange of knowledge. 84 Dance Journeys MARGARET ERLANGER

I have had opportunities in widely different countries start with something we as dancers have in common to experience the impact which the arts can create and be cognizant all the time of divergent back­ in bringing together peoples of different nationali­ grounds and cultures, much would be gained. ties . I can truthfully say that the arts present no barriers to understanding since the verbal aspect I recall Mary Wigman's saying that no people she becomes secondary to the kind of understanding had ever met were as innately sensitive to synco­ with which I am concerned. When one deals with pation as her American students. This was a con­ sensorial perception and aesthetic experiences, stant source of excitement to her. European stu­ words play a very minor role. dents, she claimed, could never quite capture that particular quality of syncopation. She commented With this premise I would like to give illustrations that for European students, this experience of see­ from some of my experiences. ing the way American students handled problems in syncopation was of great value. On the other GERMANY — 1952 hand, in developing a quality of passivity in move­ Dance at Mary Wigman's Studio ment , the American students had great difficulty Since we are so "active" and, in fact, the kinds of My first important dance experience outside the movement experiences most of us have had are any­ United States took place inthe summer ofl952when thing but passive, "To feel that we were moving not I spent three weeks studying with Mary Wigman in under our own power," as Mary Wigman would say, West Berlin and, later, in Montreux, Switzerland was quite foreign to us. Watching her own students with Mary Wigman and Harald Kreutzberg. (I real­ showed us what passivity in movement could be, ized during my second summer (1956) in Berlin with though we could not then capture that quality. With Mary Wigman and later in Zurich that I was more much more time and working in that particular en­ "in tune" so to speak.) I remember clearly the first vironment, it would come eventually I am sure — class in Berlin. There were students not only from just as a student from Germany studying in America Germany, but Sweden, Finland, and Italy. Mary would eventually sense that quality of syncopation. Wigman began that class with a simple walk. But with that beginning she established a sense of to­ After all itwas Hanya Holm who said, "The dance, getherness within the group. like any cultural expression, when brought from one country to another must undergo some changes. That summer I realized the value of being in the National characteristics and rhythms must be ac­ native environment of the teacher with whom I was knowledged and absorbed before any pedagogical studying. When one is in the cultural Mary Wigman leading a class at the International Summer Course in climate of another country and allows Dance — Zurich, Switzerland, August 1956. oneself to be sensitive to the surround­ ing environment, then much will happen. Too often those of us in Contemporary Dance in America set ourselves up as "missionaries" to carry American Con­ temporary Dance, as we conceive it, to other countries of the world, without, in many cases, knowing very much about the cultural background and heritage of other countries. Too often, we think we have the answers and that ours is the sound approach. But if we would do as Mary Wigman did in that first lesson,

Margaret Erlanger is Associate Professor and Supervisor of the Dance Division at the University of Illinois. She has aeen responsible for bringing dancers to the University to be artists in residence, teaching and performing. 85 method can be considered valid.. .Any attempt to their country and its background. 2 superimpose the externals of method and form must always be unsuccessful and can become positively New Zealand as a Caucasian settlement is only 123 detrimental in its consequences. . .Soon after the years old. About six centuries ago a migration of beginning of my work here I found myself moved Maori, Polynesians from Tahiti, found their way to by certain differences in environment and tempera­ this land in large canoes, but today the people who ment which came gradually, if not to change, at least live in New Zealand are almost entirely of British to color my former convictions and attitudes. •*• descent. Of the 2,400,000 New Zealanders about 165,000 are Maori. The Maori enjoy free and equal NEW ZEALAND - 1953 citizenship, work at the same jobs, attend the same Dance in a School of Physical Education schools and universities, and are represented in the government. Two-thirds of New Zealand is popu­ My second important dance experience outside the lated, the remainder consists of mountains, forests United States was as a Fulbright lecturer at the and lakes — the most beautiful country I have seen. School of Physical Education, University of Otago, The people, like the country, are rugged. It takes New Zealand in 1953. Philip A. Smithells, Direc­ hardiness to pioneer in a country like New Zealand. tor of the School, agraduate of Cambridge Univer­ sity in English and Drama, and a Physical Educator In my work with the students I became immediately with great breadth of vision, decided that modern aware of the resulting vigor, energy and endurance dance should become a part of the educational of New Zealanders. In addition, climatic conditions program of New Zealand. His first letter to me during the winter, with no central heating indoors, summed up the picture: "New Zealand has just not were not conducive to movement of a quiet nature, started on anything that could possibly be called nor to periods of any length dealing with composi­ Modern Educational Dance.... There is a recent­ tional problems, and certainly not to work in relax­ ly awakened interest in square dancing, but as yet ation on the floor. These students love to move. nothing beyond a few very rhythmical movements Both men and women knew how to move well. (All to music that could be called Educational Dance. classes were coeducational inthe School of Physical ... I like the fundamental concepts in U.S. Modern Education at the University of Otago.) The reason Dance and all that I have seen and read of it. " for this became obvious when I learned that rhythmic gymnastics are included in the curriculum begin­ "The School of Physical Education here is the only ning in the primary school. The fact that these University course in Physical Education in New students were already skilled in movement made Zealand. . . . We are the main injection point for progress in certain areas of technical development putting new ideas into the field here. What I really much more rapid than I had anticipated. The more want is some experienced American to come here strenuous and fast-moving the lesson the better they and stimulate interest in Modern Dance by working liked it. Therefore, this was my starting point. with our students and also by establishing an Or- Lessons which involved greater concentration on chesis Group in the University. I know this is a lot movement problems of a slower pace were quite to ask for in one year but it could take us a very foreign to this group of students. But, with time, great deal further than we are at present and I hope it was possible to develop sensitivity in this direc­ might lead to a series of visits, in the long run, tion. Warmer temperatures in the spring helped. from Americans." Greater inner concentration on the part of individ­ ual students was established, and they developed a Though in New Zealand there was not the language greater knowledge of what contemporary dance is. barrier, yet, as I mentioned previously, the import­ ance of knowing something of the cultural climate The start of the Orchesis Group and the realization and being sensitive to the surrounding environment that there were other such groups in America who cannot be over-stressed. Granted, Professor would be interested in them and their development Smithells wanted to have an American, yet it was was a great source of stimulation. The feeling of never my intention to walk in and implant ideas of isolation of New Zealanders in relation to the rest mine without first getting the "feel" of the students of the world and the resulting lack of outside con­ with whom I was working, and knowing something of tacts are things one can only understand by being 1. Martin, John. AMERICA DANCING. New York: Dodge Publishing Co., 1936, 180-181. Note: This quotation, Mr. Martin states, is taken fromMODERN DANCE, ed. Virginia Stewart. E. Weyhe, N.Y. 1935. 2. For details, please seethe following article: Erlanger, Margaret, "Contemporary Dance in New Zealand A Pioneering Experience," THE PHYSICAL EDUCATOR, Vol. XI, no. 4, December 1959, 113-117. 86

the purpose of further study. Students and teachers have come to the United States and returned to ex­ pand the dance programs in New Zealand.

In September of 1961 en route to my third dance ex­ perience outside the United States, I stopped in New Zealand to see friends and former colleagues at the University of Otago. It was like returning home for me. Contemporary Dance in New Zealand has come of age and at the University of Otago, under the able direction of Annette Golding, Contemporary Dance has taken its place among the other arts on the campus. As is true when dancers meet, there was no need for verbal communication. And this was true the evening I led the Orchesis Group during this last visit.

In the concluding paragraph of an article by Robin Newick in the New Zealand Journal of Physical Education, titled Some Major Influences on Dance in New Zealand, she says: "Inthe changing scene results have been achieved by the enthusiasm of a few people. But what of the future? There is a general realization that dance teaching is for the Members of Orchesis, University of Otago, Dunedin, New trained specialist only. Some of us believe that Zealand, July 1953. dance is only for those who already have accepted there. The establishment of an Orchesis Group its values or approach it with an open mind, because helped dispel this feeling of isolation and to pro­ creative activity implies whole self participation. mote good international relations, which is one of But, provided that there are people in New Zealand the major functions of the Fulbright scheme. What to teach it, dance must continue to develop. Psy­ better way can there be to promote understanding chiatrists , doctors and educators are beginning to between nations than to create common interests, see the value inherent in creativity. And dance is and here it was possible, in a small way, through one of the oldest of the creative arts. "3 one of the arts, Contemporary Dance. Letters started coming from the University of Illinois group. JAPAN — 1961 One came from Margaret H'Doubler. Orchesis at Dance in the Theatre Illinois sent a subscription to DANCE MAGAZINE. That contemporary dance is a performing art was I arrived in Tokyo September 28, 1961, forayear's clearly established within the Orchesis Group. study. My knowledge of the Japanese language was I pointed out that although the weekly meetings, very slight but I felt sure what I wanted to do would which made possible their dancing together, con­ not be hindered too drastically by this handicap. stituted a beginning, eventually they should set In the theatre of Japan, it has always been my belief, their sights toward performing. The group voted the performing arts of dance, drama and music pre­ to present an informal lecture-demonstration to an sent an integration which has never been successful­ audience of invited guests as their first effort to ly realized in the Western Theatre Arts. It was this acquaint outsiders with contemporary dance. For belief that led me to pursue a course of study and most of the Orchesis group this was the first public observation in Japan. I was enrolled as a special performance of any sort. (For details of prepara­ student in Dramatic Arts at Waseda University in tion for this performance see article "Contempo­ Tokyo for five months and, aside from attending rary Dance in New Zealand", page 116.) classes, saw many performances of Kabuki, Noh Drama, and several of Bunraku. In addition, I What has been the outcome of this assignment? attended numerous concerts of classical Japanese Aside from the developments in New Zealand, which 3. Newick, C.R. "Some Major Influences on Dance in New seem now to be widespread, my visit has led to a Zealand. NEW ZEALAND JOURNAL OF PHYSICAL EDU­ series of New Zealand visitors to our country for CATION. No. 27, July 1962, p. 6. 87

Dance and Contemporary Dance. I also had the Drama, this tradition does not always hold.) The opportunity to visit with Kabuki and Noh actors and Japanese actor possesses a superb movement sense. to visit studios of both classical Japanese dancers This is apparent the moment the actor steps on and modern dancers. In Kyoto for eight weeks I stage. There is never a time when the actor is continued to attend performances and to visit actors not convincing in his movement or lack of it, for, and dancers in their schools. It was my hope that in Japanese Drama, the actor often appears to be through such pursuits I could gain knowledges and motionless yet maintains the proper tens ion to hold ideas which would perhaps help in providing abetter the audience. integrated program of dance, music, and drama at the University of Illinois. For singers and actors in the West this kind of training would prove invaluable. This does not Perhaps one of my strongest impressions was that in mean that the training should be in Classical Japan the dancer is revered, as is any one in the Japanese Dance, but it does imply that students of arts. The fact that I was a teacher also brought drama and opera should not appear on stage without forth reverence. The word "sensei, "which means movement training as a prerequisite. Those actors teacher, sets one on a pedestal immediately and to in Japanese theatre who learned that no dance or be a teacher of dance, "Odori Sensei, " commands movement training is required for stage perform­ even greater esteem. ance in the West were amazed.

I discovered that teachers of the classical Japanese As for dancers, I would like to see in this country a dance, though instruction is entirely by imitation, broadening of movement experience to include dim­ recognize the same principles that we do concern­ inution of range and greater restraint; contemp­ ing the centering of movement in the torso and orary dance is apt to emphasize quite the opposite. body alignment. The presence on stage of musicians, both singers and instrumentalists, in all forms of Japanese I discovered that dance training in Japanese Theatre Theatre provides a better integration of movement is a prerequisite to acting. No dramatic activity is and sound and should be experimented with much started until dance training is well established. The more in Western Theatre. The source of music age of five is chosen as the right year to commence need not be relegated either to the wings or to the dance lessons. In Kabuki Drama there is never any pit. The use of fewer instrumentalists, rather than formal dramatic training, since all actors in Kabuki huge orchestras, facilitates this kind of integra­ are members of a family already established in this tion in the case of legitimate plays and opera. My form of drama, and they grow up learning the parts opinion is that this kind of arrangement would lead from some male relative in the family. (In Noh to beneficial results in the Western Theatre. I would like to see the incorporation of a more flexible type of performing area for all performing arts — theatre, music, dance. Why should, for the most part, all action take place on the traditional proscenium - arch stage of the West? This presents a very one-sided kind of training. As in Kabuki and Noh Drama, such features as the nana michi and hashigi kari, adapted, of course, should be made possible. Also the stage open on three sides as in Noh Drama provides very interesting possibilities. One might visualize a whole new kind of dance, drama, and music performance using adaptations of both the Kabuki and Noh stage architecture. Members of class in creative dance taught by Miss Yoshie Icaku, January 1962. I would like to see the integration, in performance, of dancers speaking or 88

chanting as they move. Perhaps my strongest im­ but also in arts magazines which have wide circu­ pression on this point has been gained from Noh lation. Our interpreter, Mr. Sumio Kambayashi, Drama; certainly this is not far removed from Program Director forthe American Cultural Cen­ what existed in Greek Drama as exemplified inthe ter, is well informed on Contemporary Dance and Chorus. But why should this idea be used only in served previously as interpreter for Martha Graham Greek Drama? Contemporary playwrights could and Dame Margot Fonteyn. Although this was indeed well incorporate this idea. a highlight in the Cultural Exchange through the Arts, I had several other similar experiences such In addition to my studies and observations of the as teaching modern dance in the studio of Yuda Japanese Classical Arts, I was interested to find Shoko, who was then studying at Juilliard and with that much exists in the development of the Contem­ Martha Graham, and presenting a series of lessons porary, particularly in Tokyo. In fact, Contem­ to teachers of physical education from elementary, porary Dance has a very lively following. The high schools, and colleges. I found again that the names best known to the Japanese are those of Mary arts present no barriers to understanding. Wigman and Martha Graham. Connected with the American Cultural Center in Tokyo is the Interna­ I would like to conclude with a statement made by tional Dance Institute, a unique organization. I the founder, Mr. YasaburoShimonaka, of the Inter­ participated in a Dance Symposium sponsored by national Dance Institute in Tokyo, shortly before his this organization and the American Cultural Center death in February 1961. This statement was made on December 11,1961. This symposium was given at a meeting of the Board, during which he laid out for dancers and teachers of classical Japanese his policies for the management of the Institute. dance and modern dance. Two hundred attended. Besides myself, Jean Houloose, formerly a mem­ "Under international foreign affairs policies as they ber of the Agnes De Mille Company, and also Tom exist today, nothing can be more effective inclosing Molinaro (Marlowe) formerly a dancer in Broadway the gap between East and West than an interflow of Shows, were on the panel. Our topic was "Modern art and culture. Smooth flowing of foreign relations Dance in America." I spoke on Modern Dance in and commercial activities of a nation are made Education, Miss Houloose was concerned with Con­ possible through cultural exchange and mutual un­ cert Dance and Dance in Musicals. Mr. Molinaro's derstanding which come into being when the culture topic was dance on television and in nightclubs. In of such nations succeeds in winning the heart of other addition tothe dancers, many notable figures from nations. Without a heart - to - heart flow through the Embassies attended this event. Reports of this such a medium, true peace cannot be realized nor symposium appeared not only in the local papers, can the world's culture flourish." **• 4. Annual Report 1960-61, International Dance Institute, 36-1 Akasaka Hitotsugi-Cho, Minalo Ku, Tokyo, 1-2.

Sponsorship and Support

Financial assistance for dancers to study abroad is from specific foreign schools and companies. made available through many foundations and insti­ tutes. Grants are generally made to individuals: A primary source of information concerning study, support for companies, to travel and perform, research and teaching abroad is the Institute of In­ usually comes from individual donors or the United ternational Education. The Institute is a clearing States State Department. Invitations to teach or house of information on international education and perform abroad have been extended to American exchange. It administers the student category of dancers from the various festivals of drama, dance U.S. Government or "Fulbright" scholarships for and music which are held around the world and also foreign study. Under its Young Artists Program, 0041 89

Dreign choreographers are enabled to study and For persons interested in research and lecturing bserve in the United States. abroad, awards are made under the Fulbright and Smith-Mundt Acts. Applicants are usually college "he Institute publishes a valuable Handbook which teachers at the doctoral level. In the creative arts s available in most college and public libraries. eligibility is based on maturity and professional t should be consulted for all details. The address standing. Selection is based on the applicant's if the Institute and the full title of the Handbook qualifications and the merits and suitability of the ollow these paragraphs. project he proposes to undertake. For informa­ tion about this program, write to: Jnder the Fulbright Act, Educational Exchange Jrants offer graduate study to persons holding a Conference Board of Associated Research Councils ^helor's degree or its equivalent. The grant cov- Committee on International Exchange of Persons 3 round-trip transportation, expenses of a lan­ 2101 Constitution Avenue, N.W. guage refresher course, tuition, books and mainte- Washington 25, D.C. tance. The regulations require enrollment in or iffiliation with an approved educational institution For further information consult: ibroad. Up to the present dancers have been sent >nly to Germany and India, although the 1.1. E. lists Handbook on International Study: A Guide for U.S. studies possible in abroader range of Theatre Arts. Nationals on Study, Training and Other Opportuni­ One could apply to study mime in France, for ex­ ties Abroad. (A companion volume, for Foreign ample .) In the listings of institutes of higher educa- Nationals in the United States, is also available). ion around the world with programs in the arts, the ollowing cite programs in dance: Institute of International Education 800 Second Avenue at 42nd Street \cademy of Music and Dramatic Art, Vienna. New York 17, New York i/isva-Bharati University, Bengal, India. School of Music and Dancing, Bangkok, Thailand. Another guide to Study Abroad is a book with that title published by UNESCO and available through 3ne of the first American dancers to receive a Ful- UNESCO Publications Dright Grant was Joanna Jones Woodbury, who now 801 Third Avenue, New York, New York .eaches at the University of Utah. Through her lioneering, the Mary Wigman Studio was affiliated The John Simon Guggenheim Memorial Foundation ivith the Freie Universitate in Berlin, thus enabling 551 Fifth Avenue, New York, is well known for its Ioanne to study at the Studio and still fulfill the reg- assistance to artists. The fellowships offered are alations of the grant. At the Universitate she took very flexible as to size and period of time, and are courses in German. At the Studio she studied gym- tenable in the U.S. or abroad to persons who have lastics, "tanz", teaching, improvisation and folk demonstrated unusual capacity for productive iance. Attheend of the year, Joanne andtwoother scholarship or unusual creative ability. Awards iancersgave a concert of works they had developed are made by recommendation of persons capable of during the year. judging the applicants' work. The important factor is not the field of work but its worthiness. Dancers Joanne feels that the Fulbright people are interested compete for these awards with all others, chemists, in good international relations through good students writers, et.al. Dancers who have received Gug­ who represent America in the best way. She soon genheim Foundation Fellowships include Merce realized that the ideas she was studying were ro­ Cunningham, Angna Enters, Martha Graham, Doris mantic , dramatic and probably a bit old-fashioned Humphrey, Pearl Lang, Paul Taylor and Charles by American standards, but, she says, "I figured Weidman, James F. Mathias, Secretary for the that the only thing to do was to jump in, believe in Foundation, sums up the point of view about selec­ everything and make criticisms later. Above all, tion of recipients of Guggenheim Fellowships thus: I went to every class, joined in everything and tried "We hope we have chosen people who will make a to be a good American representative. It was hard lasting imprint on their art form." at times of course, but I was the American sample of dancer and I wanted to be sure that I left them with a good taste." PULSE 1963- 1964

.mini n rr inn Dance in Relation to the*

IMPULSE I 7 J I Individual and Society (out of print)

IMPULSE 1952 Production Issue

IMPULSE 1953 Dance in Education (out of print)

IMPULSE I 954 Dance as Communication (out of print)

IMPULSE 1 955 Theories of Choreography (out of print) IMPULSE 1956 Dance and Related Arts

IMPULSE 1957 Dance for Children

IMPULSE 1 958 Theories and View Points (out of print)

IMPULSE 1959 Arch Lauterer—Poet in the Theatre

IMPULSE 1960 Dance in the Screen Media

IMPULSE 1961 The Dancer as a Person (out of print)

IMPULSE 1962 Audience for Dance

MODERN DANCE FORMS In Relation to the Other Modern Arts by Louis Horst and Carroll Russell. $5.00

THE ANNUAL OF impulse publications inc. • 160 palo alto avenue • san francisco 14, California