Maggie Boogaart Choreographer/ Dancer/ Teacher
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Donald Mckayle Papers MS.P.023
http://oac.cdlib.org/findaid/ark:/13030/tf1k400389 No online items Guide to the Donald McKayle Papers MS.P.023 Finding aid prepared by Processed by Laura Clark Brown, machine-readable finding aid created by James Ryan, 1998; edited by Audra Eagle Yun, 2012. Special Collections and Archives, University of California, Irvine Libraries The UCI Libraries P.O. Box 19557 University of California, Irvine Irvine, California, 92623-9557 949-824-3947 [email protected] © 2012 Note Arts and Humanities --Performing Arts--DanceArts and Humanities--Performing Arts --Theater Guide to the Donald McKayle MS.P.023 1 Papers MS.P.023 Title: Donald McKayle papers Identifier/Call Number: MS.P.023 Contributing Institution: Special Collections and Archives, University of California, Irvine Libraries Language of Material: English Physical Description: 19.1 Linear feet(19 document boxes, 5 record cartons, 1 shoe box, 6 flat boxes, and 3 oversized folders) and 12.1 unprocessed linear feet Date (inclusive): 1930-2009 Abstract: Photographs, programs, production notes, music scores, audio and video recordings, costume designs, reviews, and other printed and graphic materials illustrate the eclectic career of world-renowned choreographer and University of California, Irvine Professor of Dance Donald McKayle. Early materials pertain to his youth in Harlem and his performance career in New York City in concert dance, theater and television. The bulk of the collection documents McKayle's career as the choreographer of over fifty concert dance pieces between 1948 and 1998 and as a director or choreographer for theatrical productions both off and on Broadway, including Raisin and Sophisticated Ladies. The materials illustrate the development of individual choreographic pieces, the evolution of McKayle as an artist, and his career as a dance educator. -
CMDE ARTISTIC STAFF Dance Company, and Following That She Choreographed for Shirley Ubell, Founder, Began Teach- Batsheva, Kibbutz Dance Company, and Lyric Theatre
Center for Modern Dance Education 50th Anniversary Gala Celebration! What Is Modern Dance? June 16, 2012 cmde50th.indd 1 6/11/12 11:08 AM ABOUT THE CENTER FOR MODERN DANCE EDUCATION Founded in 1962 by Shirley and Earl Ubell, the Center for Modern Dance Education (CMDE) is a non-profit organization whose mission is to promote modern dance and make it available to everyone; to nurture talent and instill confidence through quality teaching of modern dance and related art forms; and to serve as a resource for the professional dance community. CMDE’s principles of dance training include small classes, highly-qualified faculty, emphasis on the individual, and frequent chances to perform. CMDE believes that a dancer lives within every human being and seek to help every student develop that dancing self. CMDE is dedicated to bringing the joy of dance to everyone, including individuals with disabilities, youth at-risk, older adults, and people from disadvantaged circumstances. In our classes, both serious students and those who dance for fun, fitness, and relaxation can find exactly what they need. Center for Modern Dance Education 29th Annual Danceathon and 50th Anniversary Gala Celebration June 16th 2012 Fair Lawn Community Theatre 10-10 20th Street, Fair Lawn NJ Student Danceathon Performances at 12:00 PM and 2:00 PM Gala Concert and Reception at 6:00 PM Directed by Elissa Machlin-Lockwood Sound & Light Technicians: Bill Otten & Jackie Klein Class photos by Stacy Muir Lespinass Illustration by Marilyn “Mikki” Machlin This program is made possible by funding from the New Jersey State Council on the Arts / Department of State, a Partner Agency of the National Endowment for the Arts. -
Dance & Spectacle
Proceedings Dance & Spectacle Thirty-third Annual International Conference University of Surrey, Guildford and The Place, London, UK July 8–11, 2010 Society of Dance History Scholars Proceedings Dance & Spectacle Thirty-third Annual International Conference University of Surrey, Guildford and The Place, London, UK July 8–11, 2010 The 2010 SDHS conference, “Dance & Spectacle”, was held July 9–11, 2010, at the University of Surrey, U.K. Each presenter at the conference was invited to contribute to the Proceedings. Those who chose to contribute did so by submitting pdf files, which are assembled here. There was minimal editorial intervention — little more than the addition of page numbers and headers. Authors undertook to adhere to a standard format for fonts, margins, titles, figures or illustrations, order of sections, and so on, but there may be minor differences in format from one paper to another. Individual authors hold the copyrights to their papers. The Society of Dance History Scholars is not legally responsible for any violation of copyright; authors are solely responsible. Published by the Society of Dance History Scholars, 2010. Contents 1. Adair 1 2. Alzalde 9 3. Argade 19 4. Briand 33 5. Carr 49 6. Carter 61 7. Cramer 69 8. David 79 9. Daye 89 10. Friedman 97 11. Grau 109 12. Grotewohl 115 13. Hamp 123 14. Hardin 131 15. Holscher¨ 137 16. Kew 145 17. Klein 153 18. Lenart 159 19. Main 169 20. Mathis-Masury 177 21. Mercer 185 22. Milanovic 195 23. Milazzo 201 24. Monroe 211 25. Mouat 217 26. Paris 229 iv 27. -
2016 Scripps/ADF Award
HONORARY CHAIRPERSONS Mrs. Laura Bush Mrs. Hillary Rodham Clinton Mrs. George Bush Mrs. Nancy Reagan Mrs. Rosalynn Carter Mrs. Betty Ford (1918–2011) BOARD OF DIRECTORS Allen D. Roses, M.D., Chairman Charles L. Reinhart, President, Director Emeritus Curt C. Myers, Secretary/Treasurer Jennings Brody PRESS CONTACT Mimi Bull National Press Representative: Lisa Labrado Rebecca B. Elvin Richard E. Feldman, Esq. [email protected] James Frazier, Ed.D. Jenny Blackwelder Grant Direct: 646-214-5812/Mobile: 917-399-5120 Dave Hurlbert Nancy McKaig Jodee Nimerichter North Carolina Press Representative: Sarah Tondu Adam Reinhart, Ph.D. [email protected] Arthur H. Rogers III Ted Rotante Office: 919-684-6402/Mobile: 919-270-9100 Judith Sagan Russell Savre FOR IMMEDIATE RELEASE 2016 SAMUEL H. SCRIPPS/AMERICAN DANCE FESTIVAL AWARD PRESENTED TO LAR LUBOVITCH Durham, NC, January 19, 2016—The American Dance Festival (ADF) will present the 2016 Samuel H. Scripps/American Dance Festival Award for lifetime achievement to Artistic Director and choreographer, Lar Lubovitch. Established in 1981 by Samuel H. Scripps, the annual award honors choreographers who have dedicated their lives and talent to the creation of modern dance. Mr. Lubovitch’s work, acclaimed throughout the world, is renowned for its musicality, emotional style, highly technical choreography, and deeply humanistic voice. The $50,000 award will be presented to Mr. Lubovitch in a brief ceremony on Monday, July 11th at 7:00pm, prior to Lar ADVISORY COMMITTEE Lubovitch Dance Company’s performance at the Durham Performing Arts Center. Robby Barnett Brenda Brodie Martha Clarke “We are exceptionally delighted to honor Lar Lubovitch with this award. -
Making an American Dance
Making an American Dance: Billy the Kid, Rodeo, and Appalachian Spring LYNN GARAFOLA Few American composers had a longer or more intimate association with dance than Aaron Copland. He discovered it as an exciting form of thea ter art in Paris during his student years, which coincided with the heyday of Serge Diaghilev's Ballets Russes and Rolf de Mare's Ballets Suedois. In the Paris of the early 1920s new music and ballet were synonymous. Stravinsky, Prokofiev, and Falla were stars of the "Russian" troupe; Satie, Milhaud, and Honegger of the "Swedish" one. In 1923, like so many other young composers, Copland attended the revival of Stravinsky'S Rite of Spring and the first performance of his Les Noces, as well as the premiere of Milhaud's La Creation du Monde. Copland's first orchestral score, which he began in Paris, was a ballet. Although it was never produced, he recy cled parts of it in his 1929 Dance Symphony, an independent orchestral work, and his 1934 ballet for Ruth Page, Hear lef Hear lef. "Ballet was the big thing in Paris during the 1920s," he told Phillip Ramey in 1980. "One of the first things I did upon arriving in Paris in 1921 was to go to the Ballets Suedois, where I saw Milhaud's £Homme et son Desir."] Copland discovered ballet in the aftermath ofDiaghilev's modernist revo lution. Through his successive choreographers-Michel Fokine and Vaslav Nijinsky before World War I, Uonide Massine, Bronislava Nijinska, and George Balanchine during and after the war-Diaghilev transformed not only what ballet looked lil(e but also how it sounded. -
National Endowment for the Arts Annual Report 1976
1976 Annual Report National Endowment National Council ior the Arts on the Arts National Endowment National Council 1976 on the Arts Annual Report tor the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended June 30, 1976, and the Transition Quarter ended September 30, 1976. Respectfully, Nancy Hanks Chairman The President The White House Washington, D.C. April 1976 Contents Chairman’s Statement 4 Organization 6 National Council on the Arts 7 Architecture ÷ Environmental Arts 8 Dance 20 Education 30 Expansion Arts 36 Federal-State Partnership 50 Literature 58 Museums 66 Music 82 Public Media 100 Special Projects 108 Theatre 118 Visual Arts 126 The Treasury Fund 140 Contributors to the Treasury Fund, Fiscal Year 1976 141 History of Authorizations and Appropriations 148 Financial Summary, Fiscal Year 1976 150 Staff of the National Endowment for the Arts 151 Chairman’s Statement In recognition of the great value to the public of the cans felt the arts to be essential to the quality of life for country’s arts, artists, and cultural institutions, the National participation, many cultural institutions face mounting themselves and their children. Similar attitudes have been gaps between costs and earnings which must be filled by Endowment for the Arts was established in 1965 to help expressed in resolutions of the National Association of to strengthen the arts professionally and to ensure that additional contributions. -
The Strange Commodity of Cultural Exchange: Martha Graham and the State Department on Tour, 1955-1987
The Strange Commodity of Cultural Exchange: Martha Graham and the State Department on Tour, 1955-1987 Lucy Victoria Phillips Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Lucy Victoria Phillips All rights reserved ABSTRACT The Strange Commodity of Cultural Exchange: Martha Graham and the State Department on Tour, 1955-1987 Lucy Victoria Phillips The study of Martha Graham's State Department tours and her modern dance demonstrates that between 1955 and 1987 a series of Cold Wars required a steady product that could meet "informational" propaganda needs over time. After World War II, dance critics mitigated the prewar influence of the German and Japanese modernist artists to create a freed and humanist language because modern dance could only emerge from a nation that was free, and not from totalitarian regimes. Thus the modern dance became American, while at the same time it represented a universal man. During the Cold War, the aging of Martha Graham's dance, from innovative and daring to traditional and even old-fashioned, mirrored the nation's transition from a newcomer that advertised itself as the postwar home of freedom, modernity, and Western civilization to an established power that attempted to set international standards of diplomacy. Graham and her works, read as texts alongside State Department country plans, United States Information Agency publicity, other documentary evidence, and oral histories, reveal a complex matrix of relationships between government agencies and the artists they supported, as well as foundations, private individuals, corporations, country governments, and representatives of business and culture. -
Paris Marais Dance School Presentation of Disciplines Taught
Paris Marais Dance School BALLET & CONTEMPORARY -GRAHAM Presentation of disciplines taught 1. Classical and neo-classical Ballet 2. Classical and neo-classical Partner work 3. Contemporary dance – Graham technique 4. Flow – release- contact 5. Improvisation 6. Contemporary Floor barre www.paris-marais-dance-school.org 21/10/2014 Contact : Maggie Boogaart – [email protected] - +33 6 37 90 99 80 1 Dance practice with Paris Marais Dance School Introduction • All classes are taught in French and English • What studying dance with us can offer you? For dance lovers Dancing gives freedom to your inner voice and helps you to express your own identity, increase your freedom of expression and share your passion for dance with others, while gaining elegance, soupleness, poise and mental and physical strenght. Regular dance practice increases overall health, well being and confidence. The discipline that dance will bring you will help you succeed in your studies and your life! For young talent preparing a career in dance We help you to pass your auditions and enter a dance company of international level • Personalized program & individual COACHING • High technical and artistic standards • Unique combination of techniques: BALLET, GRAHAM • Paris Marais Dance School The school is located in the Centre de Danse du Marais, the oldest and largest center in France, in the historic heart of Paris, close to Notre Dame and the Pompidou Centre. It offers classes open to all as well as an undergraduate professional training program preparing for entry -
Martha Graham Legacy Archive
Guides to Special Collections in the Music Division of the Library of Congress MARTHA GRAHAM LEGACY ARCHIVE Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu2007.wp.0001 LIBRARY OF CONGRESS WASHINGTON 2007 Table of Contents Introduction ........................................................................iii Biographical Sketch ..................................................................iv Scope and Content Note .............................................................. v Container List ...................................................................... 1 STUDY VIDEOTAPES ........................................................ 1 PHOTOGRAPHS ............................................................. 1 TRANSCRIPTS .............................................................. 2 MONOGRAPHS ABOUT MARTHA GRAHAM .................................... 2 PROGRAMS ................................................................. 2 ii Introduction The Martha Graham Legacy Archive is a collection of materials that illuminate the life and career of the pioneer of American modern dance and enhance the Martha Graham Collection, which is held in the Music Division, Library of Congress. The Archive consists of materials relating to Graham and the Martha Graham Dance Company that have been donated to or purchased by the Music Division. The Archive is an ongoing collection and it is expected that it will be enhanced by future donations or purchases. The videotapes and photographs that were elements of the Library of Congress Doris -
Blood Memory￢ﾀﾔan Autobiography
Martha Graham’s Gilded Cage: Blood Memory—An Autobiography (1991) Victoria Phillips Dance Research Journal, Volume 45, Number 2, August 2013, pp. 63-84 (Article) Published by Cambridge University Press For additional information about this article https://muse.jhu.edu/article/523989 Access provided by Columbia University (23 May 2017 07:16 GMT) Copyright © 2013 Congress on Research in Dance doi:10.1017/S0149767712000241 Martha Graham’s Gilded Cage: Blood Memory—An Autobiography (1991) Victoria Phillips “I’m only a bird in a gilded cage, a beautiful sight to see.” —Martha Graham, in a taped interview for Blood Memory1 istorians and dance critics alike have used phrases from Martha Graham’s Blood Memory: An Autobiography (1991) as though it were written in her own hand, despite H concerns about the degree of her authorship expressed upon the book’s publication and repeated complaints from those who danced with her (Garafola 1993; McDonagh 1992).2 With little else to go on, scholars (including myself) have quoted Blood Memory as evidence to support their arguments. In Creating Minds: An Anatomy of Creativity (1993), Howard Gardner uses the book to unpack the mind of Graham as an innovator. Susan Ware, in her study of twentieth-century women, quotes Blood Memory as part of her analysis of those “who shaped the American century” (1998). Victoria Thoms deploys theories of “ghosting” to investigate Blood Memory (2008). Yet between 1989 and 1991, when Blood Memory was being prepared for publication, Graham’s health rapidly deteriorated.3 Indeed, these years mark a period in which Graham would have been little able to manage the rigors of crafting an autobiography. -
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Rendering of Living Room Fashion Show (KA0026_kOSxx2_08_02) Village Scene (KA012201_000009) (PIC04002_b02_f29_0506_01) Opera Performance at Mannes College of Music (MA040101_000058) Fashion Show Fashion Show Fashion Show Fashion Show (PIC04002_b02_f29_0506_02) (PIC04002_b02_f29_0506_03) (PIC04002_b02_f29_0506_04) (PIC04002_b02_f29_0506_05) Fashion Show Fashion Show Fashion Show Fashion Show (PIC04002_b02_f29_0506_06) (PIC04002_b02_f29_0506_07) (PIC04002_b02_f29_0506_08) (PIC04002_b02_f29_0506_09) Page 1 of 235 Fashion Show Students Observe Man Making a Garment Student Working on Garment Students Observe Donald Brooks Working (PIC04002_b02_f29_0506_10) (PIC04002_b02_f29_0506_12) (PIC04002_b02_f29_0506_13) with Garment on Model (PIC04002_b02_f29_0506_14) Student and Man Working with Garment on Fashion Show Student Croquis with Swatches Model (PIC04002_b02_f29_0506_15) (PIC04002_b02_f29_0506_17) (PIC04002_b02_f29_0507_01) Fashion Show (PIC04002_b02_f29_0506_16) Student Croquis with Swatches (PIC04002_b02_f29_0507_02) Student Croquis with Swatches Student Croquis with Swatches, Designer Student Work (PIC04002_b02_f29_0507_04) of the Year Award (PIC04002_b02_f29_0507_08) (PIC04002_b02_f29_0507_06) Page 2 of 235 Student Work (PIC04002_b02_f29_0507_10) Student Work Student Work Student Work (PIC04002_b02_f29_0507_09) (PIC04002_b02_f29_0507_11) (PIC04002_b02_f29_0507_12) Student Work (PIC04002_b02_f29_0507_14) Student Work Student Work Student Work (PIC04002_b02_f29_0507_13) (PIC04002_b02_f29_0507_15) (PIC04002_b02_f29_0507_16) Student Work Student -
2012 Samuel H. Scripps/American Dance Festival Award Presented to Distinguished Choreographer William Forsythe
HONORARY CHAIRPERSONS Mrs. Laura Bush Secretary of State Hillary Rodham Clinton Mrs. George Bush Mrs. Nancy Reagan Mrs. Rosalynn Carter Mrs. Betty Ford (1918–2011) BOARD OF DIRECTORS Allen D. Roses, MD, Chairman Charles L. Reinhart, President, Director Emeritus PRESS CONTACT Curt C. Myers, Secretary/Treasurer F.V. Allison, Jr. National Press Representative: Lisa Labrado Mimi Bull [email protected] Richard E. Feldman, Esq. Pamela M. Green Direct: 646.214.5812/ Mobile: 917-399-5120 Roger W. Hooker, Jr. Martha Myers, Dean Emeritus Jodee Nimerichter North Carolina Press Representative: Corin Kane Ted Rotante Barbra B. Rothschild [email protected] Judith Sagan Office: 919-684-6402/ Mobile: 919-724-2269 Sebastian Scripps Charles J. Weinraub FOR IMMEDIATE RELEASE 2012 SAMUEL H. SCRIPPS/AMERICAN DANCE FESTIVAL AWARD PRESENTED TO DISTINGUISHED CHOREOGRAPHER WILLIAM FORSYTHE ONE OF WORLDS FOREMOST CHOREOGRAPHERS WILL RECEIVE $50,000 LIFETIME ACHIEVEMENT AWARD Durham, NC, February 14, 2012 -- The American Dance Festival (ADFa) will award renowned American born-choreographer, designer, and filmmaker,William Forsythe with the 2012 Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement, the most prestigious award for lifetime achievement in modern dance. The Award will be presented to Mr. Forsythe by former Forsythe Company dancer and collaborator, Jill Johnson, in a special ceremony on Saturday, June 30th at 8:00pm, prior to the Hubbard Street Dance ADVISORY COMMITTEE Chicago performance at the Durham Performing Arts Center. The performance by Hubbard Robby Barnett Street Dance Chicago will include Mr. Forsythe’s 1993 work, Quintett. Brenda Brodie Trisha Brown Martha Clarke Chuck Davis Established in 1981 by Samuel H.