DOCSLIB.ORG

Collection of Material About Daniel Nagrin, 1941-1982

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Collection of Material About Daniel Nagrin, 1941-1982 http://oac.cdlib.org/findaid/ark:/13030/kt967nc9d7 No online items Finding Aid for the Collection of Material about Daniel Nagrin, 1941-1982 Processed by Lilace Hatayama and Ray Senesac; machine-readable finding aid created by Caroline Cubé © 2003 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 1335 1 Material about Daniel Nagrin, 1941-1982 Finding Aid for the Collection of Material about Daniel Nagrin, 1941-1982 Collection number: 1335 UCLA Library, Department of Special Collections Manuscripts Division Los Angeles, CA Processed by: Lilace Hatayama and Ray Senesac, November 1983 Encoded by: Caroline Cubé Online finding aid edited by: Josh Fiala, February 2004 © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Collection of Material about Daniel Nagrin, Date (inclusive): 1941-1982 Collection number: 1335 Creator: Nagrin, Daniel Extent: 1 box (0.5 linear ft.) 1 oversize box Repository: University of California, Los Angeles. Library. Dept. of Special Collections. Los Angeles, California 90095-1575 Abstract: Daniel Nagrin (b.1917) was an American modern and theatrical dancer and choreographer. He performed in numerous dance productions, staged the dances for a jungle musical film, His majesty O'Keefe (Warner Brothers, 1954) and partnered Miriam Pandor in the dance numbers in Just for you (Paramount, 1952). In the 1960s, he co-directed the Tamiris-Nagrin Company and Workshop with his wife, Helen Tamiris. His solo repertory included Strange hero (1948), The fall (1978), and Jacaranda (1979). The collection consists of clippings, programs, and printed materials related to Nagrin's life and career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Language: English. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Advance notice required for access. Preferred Citation [Identification of item], Collection of Material about Daniel Nagrin (Collection 1335). Department of Special Collections, Charles E. Young Research Library, University of California, Los Angeles. UCLA Catalog Record ID UCLA Catalog Record ID: 2470323 Biography Nagrin was born May 22, 1917 in New York City; he received his early basic dance training and performance experience with the Experimental Dance Unit, under Bill Matons, with classes taught by Charles Weidman and the Dance Unit directed by Anna Sokolow; he also studied with Elizabeth Anderson-Ivantzova, Edward Caton, Martha Graham, Hanya Holm, and Helen Tamiris; as an American modern and theatrical dancer and choreographer he performed in Façade--expositione Finding Aid for the Collection of 1335 2 Material about Daniel Nagrin, 1941-1982 Italiana (1938), Liberty song (1942), Up in Central Park (1945), Annie get your gun (1946), Inside USA (1948), Touch and go (1949), Bless you all (1950), Plain and fancy (1955); he staged the dances for a jungle musical film, His majesty O'Keefe (Warner Brothers, 1954) and partnered Miriam Pandor in the dance numbers in Just for you (Paramount, 1952); he co-directed the Tamiris-Nagrin Company and Workshop in the 1960s with his wife, Helen Tamiris; his solo repertory included Strange hero (1948), The fall (1978), and Jacaranda (1979). Scope and Content Collection consists of clippings, programs, and printed materials related to the life and career of dancer Daniel Nagrin. Includes a black and white poster of Daniel Nagrin (ca. 1980). Expanded Scope and Content Note Daniel Nagrin, American dancer and choreographer, was born in New York in 1917. He studied modern dance with Helen Tamiris, Martha Graham, Hanya Holm and others, and ballet with Elizabeth Anderson-Ivantzova and Edward Caton. He began performing in 1940, appearing in many Broadway musicals, among them Annie get your gun (1946) and Plain and fancy (1955) and as a soloist with many dance companies. He toured the U.S. with his program of solos, “Dance Portraits.” Nagrin married dancer Helen Tamiris, founding a dance company with her in 1960. The company disbanded in 1963, and the couple divorced in 1964. Nagrin continues to choreograph and perform. He has completed 2 full-length works, “Peloponnesian Wars” (1968) and “Ruminations” (1976), and performed “Jacaranda (a dance),” written for him by playwright Sam Shepard. The collection consists of clippings, programs, and other ephemera, and a dance poster. Organization and Arrangement Arranged in the following series: 1. Collection arranged chronologically. Indexing Terms The following terms have been used to index the description of this collection in the library's online public access catalog. Nagrin, Daniel. Male dancers--United States--Archival resources. Choreographers--United States--Archival resources. Box 1, Folder 1 1941. Physical Description: 5 items. Box 1, Folder 2 1942. Physical Description: 2 items. Box 1, Folder 3 1947. Physical Description: 1 item. Box 1, Folder 4 1949. Physical Description: 2 items. Box 1, Folder 5 1951. Physical Description: 2 items. Box 1, Folder 6 1952. Physical Description: 1 item. Box 1, Folder 7 1953. Physical Description: 10 items. Box 1, Folder 8 1954. Physical Description: 4 items. Finding Aid for the Collection of 1335 3 Material about Daniel Nagrin, 1941-1982 Container List Box 1, Folder 9 1955. Physical Description: 1 item. Box 1, Folder 10 1956. Physical Description: 2 items. Box 1, Folder 11 1957. Physical Description: 6 items. Box 1, Folder 12 1958. Physical Description: 10 items. Box 1, Folder 13 1959. Physical Description: 17 items. Box 1, Folder 14 1960. Physical Description: 19 items. Box 1, Folder 15 1961. Physical Description: 12 items. Box 1, Folder 16 1962. Physical Description: 7 items. Box 1, Folder 17 1963. Physical Description: 9 items. Box 1, Folder 18 1964. Physical Description: 8 items. Box 1, Folder 19 1965. Physical Description: 15 items. Box 1, Folder 20 1966. Physical Description: 18 items. Box 1, Folder 21 1967. Physical Description: 14 items. Box 1, Folder 22 1968. Physical Description: 20 items. Box 1, Folder 23 1969. Physical Description: 22 items. Box 1, Folder 24 1970. Physical Description: 10 items. Box 1, Folder 25 1971. Physical Description: 10 items. Box 1, Folder 26 1972. Physical Description: 35 items. Finding Aid for the Collection of 1335 4 Material about Daniel Nagrin, 1941-1982 Container List Box 1, Folder 27 1973. Physical Description: 36 items. Box 1, Folder 28 1974. Physical Description: 16 items. Box 1, Folder 29 1975. Physical Description: 4 items. Box 1, Folder 30 1976. Physical Description: 2 items. Box 1, Folder 31 1977. Physical Description: 6 items. Box 1, Folder 32 1978. Physical Description: 13 items. Box 1, Folder 33 1979. Physical Description: 27 items. Box 1, Folder 34 1980. Physical Description: 2 items. Box 1, Folder 35 1981. Physical Description: 4 items. Box 1, Folder 36 1982. Physical Description: 1 item. Oversize Box 2 Black and white poster of Daniel Nagrin. n.p. n.d. (ca. 1980?). Physical Description: 24.2 × 40.8 cm. Finding Aid for the Collection of 1335 5 Material about Daniel Nagrin, 1941-1982.
Load more

Recommended publications
  • 2017 Scripps ADF Award Announced
    HONORARY CHAIRPERSONS Mrs. Laura Bush Mrs. Hillary Rodham Clinton Mrs. George Bush Mrs. Nancy Reagan Mrs. Rosalynn Carter Mrs. Be y Ford (1918–2011) BOARD OF DIRECTORS Curt C. Myers, Chairman Jodee Nimerichter, President Russell Savre, Treasurer Nancy McKaig, Secretary PRESS CONTACT Charles L. Reinhart, Director Emeritus National Press Representative: Lisa Labrado Jennings Brody Mimi Bull [email protected] Nancy P. Carstens Rebecca B. Elvin Direct: 646-214-5812/Mobile: 917-399-5120 Richard E. Feldman, Esq. James Frazier, Ed.D. omas R. Galloway North Carolina Press Representative: Sarah Tondu Jenny Blackwelder Grant [email protected] Susan T. Hall, Ph.D. Dave Hurlbert Office: 919-684-6402/Mobile: 919-270-9100 Carlton Midye e Adam Reinhart, Ph.D. Arthur H. Rogers III FOR IMMEDIATE RELEASE Judith Sagan 2017 SAMUEL H. SCRIPPS/AMERICAN DANCE FESTIVAL AWARD PRESENTED TO LUCINDA CHILDS Durham, NC, February 6, 2017—The American Dance Festival (ADF) will present the 2017 ADVISORY COMMITTEE Samuel H. Scripps/American Dance Festival Award for lifetime achievement to legendary Robby Barne Brenda Brodie choreographer, Lucinda Childs. Established in 1981 by Samuel H. Scripps, the annual award honors Ronald K. Brown choreographers who have dedicated their lives and talent to the creation of modern dance. Ms. Childs’ Martha Clarke Chuck Davis work, acclaimed throughout the world, is renowned for its minimal and elegant style, virtuosity, and Laura Dean mesmerizing repetitive movements and patterns. Additionally, Jorge Pérez Martínez will be in Mark Dendy Eiko and Koma residence at ADF 2017 setting two of Ms. Childs’ works on ADF students to be performed as a part Garth Fagan William Forsythe of the Footprints program July 25-26.
    [Show full text]
  • Arizona Dance E-Star
    Arizona e statewide listing of performances May 2017 DANCEmaster classes | auditions | jobs tips | news | social dancing Regional Book of Mormons Dance America ASU Gammage National Festival Phoenix Convention ANIMAL Center & COSPLAY Ball Symphony Hall Scorpius Dance Theatre Phoenix InterNational TAP Dance Day Ballet Moods Events Phoenix Ballet Mesa/Tempe Spark The Floor - the Final Xplosion Rialto Theatre Tucson Jennifer Cafarella, Queen of hearts Convergence Ballet's Alice in Wonderland Photo by Ron Brewer Images Arizona Dance e-Star Arizona Dance e-Star a publication of the Arizona Dance Coalition Volume 7, Issue 5 May 2017 Dear readers, Table of Contents This was a difficult issue for me to produce because two beautiful Calendar of Events 3-14 and talented women in our dance communities have moved on Workshops/Intensives. .. .. .. .. .. ..15-18 to that other dimension where I believe dance continues—Elina Mbr Announcements/Auditions.. .. 19-28 Mooney (Phoenix) and Kathryn Ferguson (Tucson). (Pages 22- Arizona Dance Addiction. .. .. .. .. .29-30 26) I thank Beth Lessard and Stephen Romaniello for providing the words that describe so eloquently the lives of these dancers ... Photo of the Month 31 who were so much more. ADC Website Screenshots.. .. .. .. .. .. 32 We welcome the Regional Dance America National Festival to Regional News. .... 33-35 the Phoenix Convention Center May 2-6. Evening performances Article: 15 Surprising Things Productive begin at 7 pm at Symphony Hall, and you can view them on People Do Differently . .. .. .. .. .. .. .36-38 Live Stream! Ballet Yuma performs Wednesday night, May 3. CASINO/Rueda de Casino defined ... .. 39 Show support for the only AZ dance company participating Social Dance .
    [Show full text]
  • Certificate Program Student Handbook
    CERTIFICATE PROGRAM STUDENT HANDBOOK 2016-2017 Artistic Director, Igal Perry Director of Development, Yarden Ronen Certificate Program Coordinator, Nikki Holck Certificate Program Assistant Coordinator, Cleo Sykes Peridance Capezio Center 126 East 13th Street New York, NY 10003, USA 212.505.0886 www.peridance.com Peridance Capezio Center ___________________________________________________________________________________________ Table of Contents History of Peridance Capezio Center 3 Statement of Purpose 3 General Information 4 Size and Scope 4 Tracks 5 Program Components and Coursework 6 Sample Class Schedule 8 Faculty 9 Administrative Contacts 23 Board of Trustees 24 Peridance Capezio Center Facilities 24 Library Facilities 24 Housing 25 Tuition and Fees 25 Financial Aid 25 Withdrawal, Refund, and Transfer Policies 26 Attendance Policy 27 Sign In and Sign Out ____________________________________________________________________29 Space Rental Procedure and Policy _______________________________________________________ 29 Rules of Conduct 30 Dress Code 31 Tactile Cueing 31 Injury Policy 32 Admission Information 32 Orientation 32 Evaluation Policy 33 Failing Grades 33 Grading Policy 34 Retention Policy 35 Credit Policy 35 Graduation Requirements 35 Certificates Granted and Requirements 36 Visa Options and Employment 36 Academic Calendar 37 Grievance, Probation, and Appeals Procedures 38 Self-Evaluative Process 38 Other Services 39 Contracted Education Services 39 Certificate Program 2 Peridance Capezio Center ___________________________________________________________________________________________
    [Show full text]
  • A TRIBUTE to DANIEL NAGRIN: Russian Jewish Influences in American Modern Dance by Diane Wawrejko, MFA
    1 Dancing Voices, November 2009 A TRIBUTE TO DANIEL NAGRIN: Russian Jewish Influences in American Modern Dance By Diane Wawrejko, MFA. CMT, PhD © Published in Dancing Voices, Nov 2009, Haifa Israel 1. INTRODUCTION. On the first anniversary of his death, this paper is a tribute to my former teacher and mentor, Daniel Nagrin. Nagrin (22 May 1917 – 29 December 2008), actor, Broadway dancer, and minor pioneer of American modern dance, was inspired and influenced professionally by three main people. The first major influence was Russian theatre director Constantin Stanislavski, whose method reached Nagrin through three New York-based acting teachers. The first was Miriam Goldina who studied in Moscow under Yevgeniy Vakhtangov, one of Stanislavski’s best directors and considered his ‘disciple.’ And lastly, through two Group Theatre actors/teachers: Stella Adler who studied with Stanislavski in Paris and married Group Theatre founder Harold Clurman, and Sanford Meisner who taught at the Neighborhood Playhouse. The second major influence was that of his professional partner and modern dance pioneer, Helen Tamiris, who later became his wife. The third were the techniques of Joseph Chaikin’s Open Theatre (Cohen, 1998 Kissel, 2000 Moore, 1984 Nagrin, 1994 Schlundt, 1998 and Silverberg, 1994). It is argued that these individuals and their artistic processes contributed to Nagrin’s worldview and aided in the development of his system of choreography, which I have termed ‘The Nagrin Method.’ As a result, Stanislavski’s system has influenced American modern dance choreography and performance through the praxis of Russian-Jewish immigrants. 2. MAJOR INFLUENCES. Questions are raised as to what extent the Russian acting director Constantin Stanislavski influenced Nagrin’s life and work; how far he unintentionally influenced not only American theatre and film but also modern dance; and the extent of influence that his acting methods had upon Nagrin’s choreographic process.
    [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]
  • An Exploration of the Life and Work of Helen Tamiris (1902-1966) Elizabeth Mcpherson and Joanne Tucker
    Avodah Dance Ensemble performing Tamiris's Negro Spirituals, c. 1996, as staged from the Labanotation score by McPherson. Dancers: Carla Norwood, Lisa Watson, and Kezia Gleckman Hayman, photo by Tom Brazil An Exploration of the Life and Work of Helen Tamiris (1902-1966) Elizabeth McPherson and JoAnne Tucker Introduction by JoAnne Tucker Because of our mutual and overlapping interest in Helen Tamiris, In the summer of 1958, I attended Perry-Mansfield Performing Arts when there was a call for papers/presentations for the “Jews and School and Camp in Steamboat Springs, Colorado, USA where I Jewishness in the Dance World Conference,” it was a natural re- studied with Helen Tamiris and performed her Dance for Walt Whit- sponse for us to propose a presentation on Tamiris. man. Although just a high school student, the three-week experi- ence was life changing. Tamiris had a profound impact on my dance Helen Tamiris: A Biography by Elizabeth McPherson career as founder and artistic director of the Avodah Dance En- Helen Tamiris is one of the great pioneers of American modern semble (1972-2004) and more recently in my work in prisons and dance. A dynamic dancer and choreographer, she explored themes jails and with domestic violence survivors. central to the American experience. Her diverse career included not only work in modern dance, but also in ballet, nightclubs, and Elizabeth McPherson joined the Avodah Dance Ensemble in 1990. musical theatre. Descriptions of Tamiris invariably include the word With her experience in Labanotation as well as having studied and “powerful,” describing her dancing and the force of her personal- performed many dance legacy works of the 20th century, she staged ity that propelled her into a career in which she followed her pas- Tamiris’ Negro Spirituals, which Avodah performed for nine years.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • NOFOD/SDHS Conference Proceedings 2013
    NOFOD/SDHS 2013 Wawrejko, Diane Daniel Nagrin: Dancing Agency in the 1960s Diane Wawrejko, PhD, MFA, CMT Columbia College Chicago Abstract In this paper, I examine the 1960s dances of American choreographer and dancer Daniel Nagrin through the lens of agency. Nagrin privileged choreographic content over form. I argue that his specific images are embodied expressions of social and political actions, which anthropologists Jennifer Hornsby and Drid Williams call ‘agency’. I ask, “In what ways do Nagrin’s choreographic methods of ‘doing-acting’ affirm agency? And how did Nagrin use agency to display, support, and protest cultural issues of this time?” Unlike his contemporaries, I show how Nagrin’s use of specific embodied actions resulted in dances of the human condition that contextually reflected American issues and values during the 1960s. By viewing his dances and tracing patterns that occur in what he calls the “core of X,” I assert that Nagrin re-negotiates content as actions/agency. As a result, my analysis challenges and problematizes ideas of what is American dance modernism. As a former student of Nagrin, I rely upon my chorographic studies with him supplemented by his written books. Other sources include videotapes from him of his 1960’s dances, professional critiques, and reviews. The body-as-culture theories in which aesthetic, social, and cultural moments are constructed and embodied in the act of performance are useful to probe Nagrin’s use of agency-as-action. I adapted post- structural dance analysis models to analyze Nagrin’s choreographic methods. As a result, agentic themes emerged such as racism in “Not Me but Him (1965)”; work ethic in “Path (1965)”; and political protest in “Peloponnesian War (1968)”.
    [Show full text]
  • Dance History – a Brief Overview
    Dance History – a brief overview French Court spectacles of the 16th & 17th centuries existed to glorify the state and the monarchy. They were essentially a mixture of art, politics and entertainment – plays, with musical interludes. Courtiers and noblemen wore heavy ornate costumes and masks and any dancing consisted largely of groups of people moving in intrictae patterns around the space. Women’s roles as such, were invariably played by men. Dancing was considered to be a very social activity and at the end of these evenings in court, the audience joined the noblemen and danced a long dance, often led by a royal or state official. During these centuries, ballet in France gradually progressed from this sort of entertainment for the court noblemen (who had little or no formal training,) into a professional art form. This was definitely helped along by Louis X1V, who started the process of the creation of the ‘Academie Royale de Danse’ in 1661. The purpose of the academie was to train dancers to perform in the King’s opera ballets. (Ballet & opera had not yet evolved into separate art forms.) The 18th century saw the age of the brilliant dancers, technical elements of dancing were inproved by the sheer raise in standard of the dancers. This century saw the rise of the so called ‘ballet d’action,’ in which stories unfolded purely through the dancers’ movements. In 1760, a dancer and choreographer, Jean Georges Noverre published his ‘Letters on dancing and ballets’ – which were very influencial on choreographers right across Europe. Noverre shunned the use of masks.
    [Show full text]
  • ADF-Timeline.Pdf
    Timeline 1934 • ADF, then known as the Bennington School of Dance, is founded at Bennington College in Bennington, Vermont. The first six-week session attracts 103 students (68 of whom were dance teachers) from 26 states, the District of Columbia, Canada and Spain. Their ages range from 15 to 49. • Martha Hill and Mary Josephine Shelly are Co-Directors. Martha Graham, Doris Humphrey, Charles Weidman, and Hanya Holm, also known as "The Big Four,” are recruited to be faculty. They each teach for a week in succession. 1935 • Martha Graham premieres Panorama with Alexander Calder mobiles (his first dance collaboration). • Doris Humphrey premieres New Dance. • The "Big Four" overlap teaching during the six weeks. 1936 • Betty Ford (Elizabeth Bloomer) is a student. • Humphrey completes her New Dance Trilogy with premiere of With My Red Fires; Weidman creates Quest. • World debut of Lincoln Kirstein's Ballet Caravan. Kirstein delivers lectures on classical ballet. 1937 • Anna Sokolow, José Limón, and Esther Junger are the first Bennington Fellows. • Premieres of Holm's Trend, Limón's Danza de la Muerte, Sokolow's Facade-Esposizione Italiana. • Alwin Nikolais is a student. • Graham premieres two solos. 1938 • Premieres are Graham's American Document, Holm's Dance of Work and Play and Dance Sonata, Humphrey's Passacaglia in C Minor, and Weidman's Opus 51. • Anna Halprin and Alwin Nikolais are students. 1939 • Bennington School of Dance spends summer at Mills College in Oakland, CA. • Merce Cunningham is a student. • Limón premieres 5-part solo, Danza Mexicanas. • John Cage gives concert of percussion music. 1940 • School of Dance returns to Bennington and is incorporated under The School of the Arts to foster relationships with the other arts.
    [Show full text]
  • Dance and Politics: Moving Beyond Boundaries
    i Dance and politics ii iii Dance and politics Moving beyond boundaries Dana Mills Manchester University Press iv Copyright © Dana Mills 2017 The right of Dana Mills to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing- in- Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging- in- Publication Data applied for ISBN 978 1 5261 0514 1 hardback ISBN 978 1 5261 0515 8 paperback First published 2017 The publisher has no responsibility for the persistence or accuracy of URLs for any external or third- party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset in Minion by Out of House Publishing v In song and dance man expresses himself as a member of a higher commu- nity: he has forgotten how to walk and speak and is on the way forward flying into the air, dancing. Friedrich Nietzsche You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive. Merce Cunningham vi For my father, Harold Mills, who taught me how to love dance, books and the world.
    [Show full text]
  • Massachusetts Arts Curriculum Framework
    Massachusetts Arts Curriculum Framework November 1999 Massachusetts Department of Elementary & Secondary Education 350 Main Street, Malden, MA 02148 Phone 781-338-3000 TTY: N.E.T. Relay 800-439-2370 www.doe.mass.edu Massachusetts Arts Curriculum Framework October 1999 October, 1999 Dear Colleagues, I am pleased to present to you the Massachusetts Arts Curriculum Framework that was adopted by the Board of Education in June, 1999. This second edition of the Arts Curriculum Framework presents the new statewide guidelines for learning, teaching, and assessment in dance, music, theatre, and visual arts for the Commonwealth’s public schools. Based on scholarship, sound research, and effective practice, the Framework will enable teachers and administrators to strengthen curriculum and instruction from PreKindergarten through grade 12. I am proud of the work that has been accomplished. The comments and suggestions received on the first edition of the Arts Curriculum Framework of 1996, as well as comments on subsequent working drafts, have strengthened this new edition. I want to thank everyone who worked with us to create a high quality document that provides challenging learning standards for Massachusetts students. We will continue to work with schools and districts in implementing the Arts Curriculum Framework over the next several years, and we encourage your comments as you use it. All of the curriculum frameworks are subject to continuous review and improvement, for the benefit of the students of the Commonwealth. Thank you again for your
    [Show full text]