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Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black
Dance Chronicle ISSN: 0147-2526 (Print) 1532-4257 (Online) Journal homepage: https://www.tandfonline.com/loi/ldnc20 Teaching through Time: Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black Jessica Zeller To cite this article: Jessica Zeller (2009) Teaching through Time: Tracing Ballet's Pedagogical Lineage in the Work of Maggie Black, Dance Chronicle, 32:1, 57-88, DOI: 10.1080/01472520802690283 To link to this article: https://doi.org/10.1080/01472520802690283 Published online: 19 Feb 2009. Submit your article to this journal Article views: 1259 Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=ldnc20 Dance Chronicle, 32:57–88, 2009 Copyright C 2009 Taylor & Francis Group, LLC ISSN: 0147-2526 print / 1532-4257 online DOI: 10.1080/01472520802690283 TEACHING THROUGH TIME: TRACING BALLET’S PEDAGOGICAL LINEAGE IN THE WORK OF MAGGIE BLACK JESSICA ZELLER Maggie Black, internationally renowned for her anatomically based approach to ballet instruction, helped to shape ballet training and coaching in the late twentieth century. In keeping with the widely recognized concept of ballet as an art form that is traditionally passed down by oral means, the focus of this research is on aspects of Black’s pedagogy that are derived from her teachers, Audrey de Vos and Antony Tudor. This essay explores the pedagogical work of de Vos and Tudor, examines how their respective influences affected Black’s methodology, and indicates characteristics of her work that she developed independently. In the world of ballet, lineage matters. -
Alvin Ailey's Embodiment of African American Culture
DeFrantz.00 FM 10/20/03 2:50 PM Page ii Alvin Ailey’s Embodiment of African American Culture 1 2004 DeFrantz.00 FM 10/20/03 2:50 PM Page iii DANCING REVELATIONS THOMAS F. DEFRANTZ DeFrantz.00 FM 10/20/03 2:50 PM Page iv 1 Oxford New York Auckland Bangkok Bogotá Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi São Paulo Shanghai Singapore Taipei Tokyo Toronto Copyright © 2004 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data DeFrantz, Thomas Dancing revelations : Alvin Ailey’s embodiment of African American culture / Thomas F. DeFrantz. p. cm. Includes bibliographical references and index. ISBN 0-19-515419-3 1.Ailey, Alivn. 2. Dancers—United States—Biography. 3.Choreographers— United States—Biography. 4.Alvin Ailey American Dance Theater. 5.African American dance. I. Title. GV1785.A38 D44 2003 792.8'028'092—dc21 2002156670 Credits: Photographs: frontispiece and pages 5, 8, 19, 47, 63, 95, 101 courtesy and copyright by Jack Mitchell; cover illustration and pages 11, 12,courtesy and copyright by J. -
Agnes De Mille Theatre Allet (1905 ~ 1993) Diana Byer, Artistic Directorbexquisite Little Ballets
N EW Y ORK Agnes de Mille theatre allet (1905 ~ 1993) diana byer, artistic directorbexquisite little ballets Agnes de Mille (September 18, 1905 – October 7, 1993) was an American dancer and choreographer. Her accomplishments to the the- ater have left an impression on the growth and resilience of theatrical dance as one sees it today. She developed her own style. She added lyricismN andEW comedy,Y ORK which is perceived as a divergence from the culturalthe dancea formstre of the era. Thosea aspectsll becameet her signature trademarksdiana byer, artistic seen indirector manyb of her best exquisiteknown littleand balletsbeloved works. de Mille was born in the Harlem section of New York City and Marked as her moved to Hollywood with her family. She aspired to become an most extensive phases Photo by Beryl actress, which seemed appropriate being that her uncle was the of dance training, her Towbin illustrious Hollywood filmmaker and director, Cecil B. de Mille. work with Marie Rambert at As it turned out, her desire to perform for the camera wasn’t Ballet Club proved to be highly significant. It was there that fully realized. She was told that she wasn’t “pretty enough.” she met emerging choreographers Frederick Ashton and Antony So, she studied and performed the piano and also staged drama Tudor who she’d later work with at American Ballet Theatre. productions. She then began studying dance, including ballet. Classical ballet was the most widely known form of dance at Throughout the 1930’s de Mille spent much of her time train- that time, but she lacked the physical attributes needed to have ing, but was never able to support herself as a dancer or cho- a career in classical ballet. -
Restaging the Ballets of Antony Tudor A
PRESERVING A LEGACY, PRESERVING BALLET HISTORY: RESTAGING THE BALLETS OF ANTONY TUDOR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF ARTS AND SCIENCES BY CHRISTINE KNOBLAUCH-O’NEAL A.B., M.A.L.S. DENTON, TEXAS MAY 2013 [Type a quotei from the document or the summary of an interesting point. You can position the text box anywhere in the Copyright © Christine Knoblauch-O’Neal, 2013 all rights reserved iii DEDICATION To Grant and Kathleen Knoblauch, they were the best parents. iv ACKNOWLEDGEMENTS I would like to gratefully acknowledge the many individuals who have contributed to this dissertation. I would like to thank my committee chair Dr. Linda Caldwell for her continued interest in this research. I want to thank Sally Bliss executor of the Tudor will and Trustee of the Antony Tudor Ballet Trust for allowing me full access to the Trust and to the Répétiteurs of the Trust who participated in my research. The research could not have been completed without her continued interest and support of this project. I am grateful to both Dr. Janet Brown and Betty Skinner for their continued encouragement and guidance during my beginning efforts to create a document worthy of the topic. In particular, I want to thank my sister Karen Brewington for her continued support and encouragement throughout my doctoral studies. All scholars should be fortunate enough to have sisters like Karen. And, finally, I want to thank Mike Lang for being there for me during every moment of my doctoral studies, listening to me, challenging me, and encouraging me to feel confident in my work. -
Hit a High Note in Savings. D the DIME SAVINGS BANK of NEW YORK MEMBER FDIC
DIME SAVINGS BANK- FLOWERS of . Music sues (Sill Brooklyn Academy 66 1 1/41-74...01;74:111,;1;; en7J7 0 iiA4 I ' - - tit*t oNIM IMAM 0 (Po/resets/1)ns - pm_ Ira& {461 ii , ' , 1 1 1 1 .t , i V ,- _ r fr Fr r 1'' - 111111 sags NIP 24 if is km, tawe .a --_ Lz.C.N-LLL: - - 16/tL SrAerc (20)1 Y = - -7" 0 0 0 ptricuiti S7DPS UlIVI64.5 )1 / 1 1 / ,___, I kri:172 J GOMM!. i a A (en) y , d 1:. t .1 ) 53 gtet .; / ) 'Err=r=r . y, cu ' '(ha lige ROWER OPP" J Ave Lose 374 35f / I I / mormwmpirra.---rect= avow -Num 'HAT, 0 I (lAP. 006=) I. cos (42°) I You hear this music when you watch the Dime TV commercials. @ Ron Lockhart, Inc. used by his permission Hit a high note in savings. D THE DIME SAVINGS BANK OF NEW YORK MEMBER FDIC ' - 1171(-[ 0 ABRAHAMc The Brooklyn Academy of Music ci) presents the L" fC Pennsylvania - , k - 074,1 011 1k Ballet 1 , 1 with guest artists Mikhail Baryshnikov and Gelsey Kirkland Sandra Applebaum Dana Arey Karen Brown Alba Calzada Joan Cooper Joanne Danto Marcia Darhower Gregory Drotar Kimberly Dye Tamara Hadley Mark Hochman David Jordan David Kloss Dane LaFontsee Barry Leon Sherry Lowenthal Michelle Lucci James Mercer Edward Myers Anya Patton Leslie Peck Reva Pincusoff Lawrence Rhodes Constance Ross Barbara Sandonato Janek Schergen Jerry Schwender Gretchen Warren Robin Welch Missy Yancey Linda Zettle Barbara Weisberger Benjamin Harkarvy Executive Artistic Director Artistic Director Robert Rodham Maurice Kap low Regisseur Music Director Fiona Fuerstner Nicholas Cernovitch Ballet Mistress Lighting Designer with the THE Pennsylvania Orchestra BIG CAPE The Brooklyn Academy of Music gratefully acknowledges the assistance of % WHIRL the Doll Foundation for making possible the appear- . -
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NEW YORK STORY: JEROME ROBBINS AND HIS WORLD Donald and Mary Oenslager Gallery The New York Public Library for the Performing Arts Exhibition Curated by Lynn Garafola March 25 – June 28, 2008 The labels, wall exits, and reflections that follow are an effort to revisit an exhibition that did not, alas, have a published catalogue or a robust website. Exhibitions are like performances. When they close, they are dismantled, and the objects, their magic gone, sent back to their boxes. In revisiting this material, I wanted to evoke the experience of walking through the Donald and Mary Oenslager Gallery of the New York Public Library for the Performing Arts, with the reader enjoying by suggestion and as an act of imagination the numerous objects on display tracing the remarkable career of Jerome Robbins as an artist of the ballet, Broadway, and concert stage in mid-twentieth-century New York. This is the second of three exhibitions I have curated about ballet in New York City from the 1930s to the late twentieth century. As such it complements Dance for a City: Fifty Years of the New York City Ballet (New-York Historical Society, 1999) and Arthur Mitchell: Harlem’s Ballet Trailblazer (Wallach Art Gallery, 2018). To revisit these exhibitions digitally, see “Dance for a City” Revisited (https://academiccommons.columbia.edu/catalog/ac:qrfj6q5763) and the Mitchell exhibition website (https://exhibitions.library.columbia.edu/exhibits/show/mitchell). In preparing this material for publication on the Columbia University Commons, I have modified some of the labels, adding explanatory text when it seemed necessary as well as excerpts from letters and telegrams that exhibition visitors could read for themselves. -
Curriculum Vitae Kathleen Byrne
Curriculum Vitae Kathleen Byrne Texas A&M University Department of Health and Kinesiology 4243 TAMU College Station, TX 77843-4243 E-mail: [email protected] Phone: (979)862-4404 Fax: (979) 847-8987 Education Master of Fine Arts in Dance Choreography and Performance, Florida State University; Tallahassee, FL, 2008 Bachelor of Fine Arts in Ballet, University of Utah; Salt Lake City, UT, 2000 Employment History Instructional Assistant Professor- August 2008-Present, Texas A&M University, College Station, TX Instructor- January 2006-April 2008, Florida State University, Tallahassee, FL Dancer- February 2007, November 2007- The Suzanne Farrell Ballet, The Kennedy Center, Washington D.C. Dancer- August 2000- May 2005, April 2007 New York Theatre Ballet, New York, NY Teaching Texas A&M University August 2008- Present Spring 2011 Movement Lab: Ballet I, Beginning Ballet I, Pilates Mat, Dance History Online Writing Intensive, Ballroom Dance Fall 2010 Ballet I, VP Ballet II, Beginning Ballet I, Pilates Mat, Dance Composition, Jazz Dance II, Ballroom Dance Summer 2010 Health and Fitness Yoga Spring 2010 Beginning Ballet I, Ballet II, VP Ballet II, VP Ballet III, Ballroom Dance, Pilates Mat, Jazz Dance III Fall 2009 Dance Pedagogy, Beginning Ballet I, Ballet II, VP Ballet II, Ballroom Dance, Pilates and Props, Pilates Mat Summer 2009 Health and Fitness Yoga Spring 2009 Dance History, VP Ballet III, Ballet II, Ballet I, Ballroom Dance, Pilates and Props, Pilates Mat Fall 2008 Beginning Ballet I, Ballet II, VP Ballet II, Pilates Mat, Jazz Dance