DOCSLIB.ORG

Where She Studied at the Dorothy Perkins School of Dance. in 1938 She Joined the Ballet Russe De Monte Carlo. Hightower's Danc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Where She Studied at the Dorothy Perkins School of Dance. in 1938 She Joined the Ballet Russe De Monte Carlo. Hightower's Danc State of the Arts where she studied at the Dorothy Perkins School of Dance. In 1938 she joined the Ballet Russe de Monte Carlo. Hightower’s dance career also includes performances in such noted ballet companies as Ballet Theatre, Original Ballet Russe, Grand Ballet du Marquis de Cuevas, and the American Ballet Theatre. Hightower married Jean Robier, a French artist, and she moved to Paris, France. Hightower’s love of dance resulted in her establishing the Center courtesy of the OklahomaPhotographs Arts Council. for Classical Dance in Cannes, France. She has worked as director of the Marseilles Opera Ballet, Ballet de Nancy, and the Ballet of Paris Opera. Hightower was named an Oklahoma Cultural Treasure in 1997. She died in 2008. Moscelyne Larkin—Larkin was born in Mi- ami, Oklahoma, on January 14, 1925, of both Writer N. Scott Momaday. Russian and Shawnee-Peoria Indian descent. She learned ballet from her mother, a former dancer. As a teenager, Larkin traveled to New York to study dance under such notable artists as Mikhail Mordkin, Anatole Vilzak-Shollar, and Vincenzo Celli. At the age of fifteen, she joined the Original Ballet Russe. Larkin’s professional career included performances across the United States, Europe, and South America. She married Roman Jasinski, a ballet dancer, and the couple joined the Bal- let Russe de Monte Carlo. The couple returned to Tulsa, Oklahoma, where they established the Tulsa Civic Ballet, now known as Tulsa Ballet Theatre. Larkin was named an Oklahoma Cultural Treasure in 1997. Maria Tallchief—Tallchief was born in Fairfax, Oklahoma, on January 24, 1925. Her heritage includes both Osage and European ancestry. She and her sister, Marjorie, both studied dance and piano at an early age. She continued her studies when the family moved to Los Angeles, California. Following her high school graduation, Tallchief traveled to New York, where she became an apprentice for the Ballet Russe de Monte Carlo. Tallchief’s illustrious dance career includes leading performances in Orpheus, Firebird, Swan Lake, and The Nutcracker. She performed for notable individuals including President Dwight D. Eisenhower and England’s Queen Elizabeth. She married Russian choreographer George Balanchine, and together they created the New York City Ballet, where she became its premier dancer. Tallchief was named an Oklahoma Cultural Treasure in 1997. Marjorie Tallchief—Born in Denver, Colorado, Tallchief was raised in Fairfax, Oklahoma. Like her sister, Maria, she studied dance at an early age. Her dance career includes performances with the American Ballet Russe de Monte Carlo, the Grand Ballet du Marquis de Cuevas, the Chicago Opera Ballet, and the Harkness Ballet. Tallchief married George Skibine, a choreographer, dancer, and director in 1947. That same year, the couple became the first Americans to join the prestigious Paris Opera Ballet. In 1958 Tallchief became the first American since World War II to perform at the Bolshoi Theatre in Moscow, Russia. One of the highlights of her luminous career was her performance with the Paris Opera Ballet at Versailles, where she helped welcome President John F. Kennedy’s of- ficial visit to France. Following her retirement from performing live, she helped develop the Dallas Civic Ballet; served as director of the Chicago School Ballet; and was named director of dance at the Harid Conservatory in Boca Raton, Florida. Tallchief was named an Oklahoma Cultural Treasure in 1997. 42 Oklahoma Almanac.
Load more

Recommended publications
  • Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
    Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement.
    [Show full text]
  • Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
    DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters.
    [Show full text]
  • Ballets Russes Press
    A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event.
    [Show full text]
  • Dance Program and Ephemera Collection, 1909-1987
    http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others.
    [Show full text]
  • Miguel Terekhov Collection
    Miguel Terekhov Collection Inventory Prepared by Jessie Hopper Last Revision - June 2013 Table of Contents Collection Summary.............................................................................................................. 1 Biographical Note.................................................................................................................. 1 Scope and Content Note....................................................................................................... 1 Organization of the Miguel Terekhov Collection................................................................ 2 Restrictions........................................................................................................................... 2 Index Terms............................................................................................................................ 2 Administrative Information.................................................................................................... 3 Detailed Description of the Collection................................................................................. 4 Ballets Russes Archives at the University of Oklahoma School of Dance Collection Summary Repository Ballets Russes Archives at the University of Oklahoma School of Dance Collection Miguel Terekhov Title Miguel Terekhov Collection Dates 1928-2012 Bulk 1935-1997 Dates Quantity 8 boxes, 5 linear feet Abstract Miguel Terekhov, a Uruguayan dancer, was a member of both de Basil's Original Ballet Russe and the Ballet Russe de
    [Show full text]
  • Ballets Russes
    CINEMIEN Film & Video Distribution ABC Distribution Amsteldijk 10 Kaasstraat 4 1074 HP Amsterdam 2000 Antwerpen t. 020 – 577 6010 t. 03 – 231 0931 www.cinemien.nl www.abc-distribution.be [email protected] [email protected] presenteren / présentent: BALLETS RUSSES EEN FILM VAN / UN FILM DE DAYNA GOLDFINE & DAN GELLER Persmappen en beeldmateriaal van al onze actuele titels kunnen gedownload van onze site: www.cinemien.nl of www.abc-distribution.be Link door naar PERS en vul in; gebruikersnaam: ‘pers’, wachtwoord: ‘cinemien’ BALLETS RUSSES– synopsis (NL) Een schitterende documentaire over een revolutionaire dansgroep die bekend staat als het Ballet Russe. De groep is ontstaan uit een groep Russische vluchtelingen die nooit in Rusland hebben gedanst en splitste zich later op in twee rivaliserende dansgroepen: de ‘Original Ballet Russe’ en de ‘Ballet Russe de Monte Carlo’. De documentaire begint bij de oprichting in 1909 door de befaamde Serge Diaghilev, beschrijft de oprichting van de Ballet Russe de Monte Carlo na de dood van Diaghilev in 1929, het ontstaan van een tweede Ballets Russes groep, de voorspoedige jaren ’30 en ’40 toen het Ballet Russe door Amerika toerde, tot de ondergang in de jaren ’50 en ’60 door stijgende kosten, groeiende ego’s, competitie van buiten en intern wanbeleid. Niet alleen choreografen als Balanchine en Massine, maar ook schilders als Matisse, Dali en Picasso werkten voor de revolutionaire Ballets Russes. Om over componisten als Claude Debussy en Igor Stravinsky nog maar te zwijgen. Wereldsterren als Alicia Markova, Irina Baranova en Marc Platt halen herinneringen op. Velen van de Ballets Russes dansers van weleer zijn nu tachtig of negentig, maar zijn nog steeds actief in de balletwereld.
    [Show full text]
  • News from the Jerome Robbins Foundation Vol
    NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries.
    [Show full text]
  • NATIVE AMERICAN CONNECTIONS at JACOB's PILLOW a Summary Of
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK NATIVE AMERICAN CONNECTIONS AT JACOB’S PILLOW A summary of the intersections between the Pillow and Indigenous peoples and traditions of the Americas, compiled by Jacob’s Pillow Director of Preservation Norton Owen. According to the chapter titled “Indians in Becket” by Pillow neighbor Ruth I. Derby in A Bicentennial History of Becket, the Mohicans camped in Becket during the summer months, hunting moose, deer, and bear, as well as otter, raccoons, beaver, foxes, and other small fur-bearing animals. A later Becket history identified descendants of the Muckhaneek, Narragansett, and Pequot tribes. They collected and dried food for the winter and skins for clothing. They also made maple syrup and sugar and taught settlers to do this. They sold the land to settlers in 1736, though the plans weren’t accurate and Chief Konkapot was upset that traditional hunting grounds were inadvertently included in the property transfer. This discrepancy was later settled with an additional payment that covered all lands west of the Westfield River. There are reportedly Indian burial grounds off George Carter Road, near Jacob’s Pillow. 1933 – During its first summer of Pillow performances, the repertory of Ted Shawn and His Men Dancers includes the Osage-Pawnee Dance of Greeting and a Shawn solo, Invocation to the Thunderbird. 1934 – Ted Shawn revives his Hopi Indian Eagle Dance, originally part of his full-length 1923 production, Feather of the Dawn. A new group work, Ponca Indian Dance, is presented for the first time. 1936 – The first act of a full-evening work, O Libertad!, opens with a section titled Noche Triste de Moctezuma and also includes other sections about Native Americans of the Southwest.
    [Show full text]
  • Victor M. Moreno: Master of Grace at the Helm of Ballet North
    Real Estate Magazine Editorial 474for Printing VICTOR M. MORENO Master of Grace at the Helm of Ballet North Story by Denice Breaux Since September 2003, dancers on the Mendocino Coast have enjoyed the rare privilege of working with Ballet Master Victor Moreno at Second Story Studios in Fort Bragg. Former soloist with the Ballet Russe de Monte Carlo and founding artistic director of numerous companies, Victor’s credits span many regions and decades. His high caliber of teaching has already made an impact on this coast’s dance scene, offering students of all ages and abilities a solid classical foundation while imbuing a sheer joy of dancing. Typical in Victor Moreno’s classes is a wide range of ages, with even the tiniest of tots occasionally at the barre amid older children, teenagers, and adults. Seventeen-year-old Elyse Bailey comes from Gualala several days a week to class and, although she’s had other teachers, she has made the most progress in the least amount of time while working with Victor. “He’s the most enjoyable teacher I’ve had, but he works you hard so you can’t slack off,” says Elyse who performed en pointe in this year’s Spring Dance Concert. Victor’s warm manner and sense of fun may keep the young ones coming back, but, as a septuagenarian, he inspires those of us past our balletic prime to take up “the dance” either for the first time or once again. Now we have the chance to benefit from his keen insights and personally developed technique—subtle adjustments in placement and timing that make a world of difference in balance, form and stamina.
    [Show full text]
  • Serge Grigoriev / Ballets Russes Archive
    Serge Grigoriev / Ballets Russes Archive Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2007 Revised 2014 October Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu010001 LC Online Catalog record: http://lccn.loc.gov/2010561019 Processed by the Music Division of the Library of Congress Collection Summary Title: Serge Grigoriev / Ballets Russes Archive Span Dates: 1909-2009 Bulk Dates: (bulk 1909-1952) Call No.: ML31.G75 Creator: Grigoriev, S. L. (Sergeĭ Leonidovich), 1883-1968 Extent: 1021 items ; 24 containers ; 18 linear feet Language: Archive material in English and Russian Location: Music Division, Library of Congress, Washington, D.C. Summary: The Serge Grigoriev / Ballets Russes Archive documents Grigoriev’s decades-long career as régisseur (rehearsal director) for both Diaghilev’s Ballets Russes and for Col. W. de Basil’s Ballets Russes de Monte Carlo. It consists primarily of photographs, photograph albums, and notes and manuscript drafts for Grigoriev’s book S.P. Diaghilev i ego ‘Russkii Balet’ 1909-1929, which was translated into English and published as The Diaghilev Ballet, 1909-1929. The archive also contains Grigoriev’s unpublished manuscript for his work Original’nyi Russkii Balet pod upravleniem Colonel W. De Basil 1932-1952. In addition, the archive includes choreographic notes, programs, additional writings by Grigoriev, clippings, tour information, and drawings. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog.
    [Show full text]
  • Sociedad Proarte.Pdf
    Las huellas que han dejado provienen menos de ellas mismas que de la mirada de los hombres que gobiernan la ciudad, construyen su memoria y administran sus archivos. El registro primario de lo que hacen y dicen está mediatizado por los criterios de selección de los escribas del poder. Y estos, indiferentes al mundo privado, se mantienen apegados a lo público, un dominio en el que ellas no entran. GEORGE DUBY Y MICHELE PERROT «ESCRIBIR LA HISTORIA DE LAS MUJERES» A mi hijo Samuel, por ser fuente eterna de inspiración y luz. A mi madre Ramona Valera, a quien le debo todo lo que soy. A mi padre Heriberto Pacheco, por su oportuno apoyo. A mi madrina Enma Rosa Verano Martínez, por su dedicación. A la memoria de Clara Díaz, José Orlando Suárez Tajonera, Harold Gramatges y Nara Araújo. A mis alumnos pasados, presentes y futuros. A mi legendario y amado San Antonio de los Baños. Agradecimientos A todas las personalidades de la cultura que con amor y entrega me han brindado sus testimonios para tener la satisfacción de llevar a cabo esta obra. A Zoila Lapique, fuente de obligatoria consulta en la etapa investigativa. También a Radamés Giro, por ser llave cultural y por su magisterio profesional. A mi amiga Sonnia Moro, por inspirarme para que me dedicara a esta vertiente de la historia oral y la memoria. A los investigadores Ana Cairo y Ricardo Hernández Otero, por sus recomendaciones oportunas. A mis queridos alumnos y amigos que, en unión de su familia, me han brindado su ayuda solidaria y desinteresada y me han acogido en sus hogares: Gisela Sosa, Jorge Carlos Herrero y Cristina Frutos.
    [Show full text]
  • Oklahoma Today Spring 1962 Volume 12 No. 2
    FIFTY CENTS EUFAUU DAM Now under construction is Eufaula Dam located on the Canadian River. Its total length I will be 3,200 feet, ' including power- house section, concrete spillway and rolled earth embankment. It will stand 112 feet above the present stream bed. Total initial storage will be 3,848,000 acre- feet, including flood control and power pool. Surface area of the lake at maximum capacity, I 143.000 acres. RESERVOIR NAVIGATION 04- COMPLETE BY BOB WOLF RESERVOIR UNDER CONSTRUCTION * I RESERVOIR a PROPOSED NAVIGATION cr* AUTHORIZED n the past, the Prairie Schooner has been about the only term with a nautical connota- tion which had any connection with land- locked Oklahoma in the minds of most people. *This idea still persists. Navigation of the Arkansas River, while being a widespread topic of conversation, is still looked upon as a far-out dream by many. Not only the magnitude of the dream, but the proximity of its realization can easily be felt in a visit to the area. Senator Robert S. Kerr, champion of water resources development in Oklahoma and the nation, confidently predicts that barge transportation from Tulsa to the Mississippi River-and thence the world-will be an accomplished fact by 1970. Throughout eastern Oklahoma preparations are being made for the new economic hori- zons that will open with the coming of water transpor- tation. Historically, Oklahoma is not a land-locked area. River steamers served Fort Gibson on the Arkansas River, CLAHOMA TODAY THREE - --- and much of the Choctaw Nation as early as the 1830's.
    [Show full text]