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CURRENT TRENDS Copyright 1966 by Impulse Publications, Inc m CURRENT TRENDS Copyright 1966 by Impulse Publications, Inc. Index Ernestine Stodelle ffiEVOILPTnOM ©IE EW©ILETII©]S? 6 Roberta Meyer FffiEEHDOMI Tfflffi©lEJ<Gffl BISCnFMISJE ^ 9 Peter Yates Vn»n©KIS OF IBABICE 11 Sidney Peterson ffiUBlIDlLE-lME-TfflEffi 15 NOTES FROM ABROAD Ann Hutchinson 1966 — TfflE EKKGILIISffl SCEME: A Conversation 16 Clover Roope John Graham II WEBRT T© EffiSHLAMlD) 22 Interview by Bernice Peterson Claude Pujade Renaud F-Affilffi ]K©TES 25 Lawrence Halprin fln©TA.Tn©BI & Lorle Kranzler B&EFILECT1I©]BIS HSI M©TI©IBI 34 Hank Kranzler A Photographic Essay Lou Harrison ffiOCEETT, UOHIJ$nCIIA.]BI, M1CE1, MACfflESE— 40 William Bales ©ABBCE A.T BEKISrillBKGTWISJ 42 A Curriculum Statement for a Liberal Arts College Ruth Lovell Murray TOAMCE EK TfflE lD>ETffi©HT ffi<Cffl©©lLS — 1966 46 Gloria Unti PEffiF©ffiMIlSI© AffiTS W©HLKSffl©F 50 Interview by Joanna Gewertz Faith Gulick OQHSBBECTnCimT C©ILILE<GE SEBOMEffi FBR©©BRAM 56 ESI TfflE fflnnffliABnnriiES Eleanor Lauer MIEILS C©EEE(EE " EFWAKED HB©ESnD>" FHR©<GH8A]WI 58 630507 Preface When we chose "Current Trends" as the subject for of the Establishment, and detect a "whiff of change" IMPULSE 1966, it immediately became apparent as they report young professional dance enterprises that it could involve just about anything: avant- in London. garde, anti-dance, regional ballet, subsidization John Graham speaks about the experiences of the (private and public), happenings, non - dancers San Francisco Dancers' Workshop in Finland under dancing, sociology, education, research, profes­ the auspices of university students in Helsinki. sional organizations, standards, arts councils, He gives us insight into the ways this Workshop etc., etc. To attempt to cover such a list is utterly group utilizes movement and environment. impossible, so, as in previous years, we have in­ vited individuals who are working in various aspects Claude Pujade Renaud reviews a modern dance of dance to put into words what they are doing and concert in Paris, bemoaning the fact that more large what they hope to accomplish. IMPULSE , by its American companies don't travel to Paris. very name, communicates a sense of breath, in­ volvement, dedication and "unfinished business." "Motation," a movement notation system developed We put a date on each issue — there is no "last by Lawrence Halprin, landscape architect, is pre­ word." The articles range from report to evaluation. sented as an example of notation which deals with In each case, what is striking is that these contri­ environment. As Mr. Halprin points out, it does butors from across this country and parts of Europe not supercede Labanotation, but, when stages and are individuals, varied as they may be, who are other performing places are composed of moveable concerned with the art of dance and are at the base platforms, ramps and steps, and dancers perform of its growth and the increasing recognition of its on light battens, ladders, nets, etc., a simple floor importance as an art. plan drawing is not sufficient. Motation may provide an answer to the environment aspect of Ernestine Stodelle focuses her attention on the notation. avant-garde group in the New York area (not the "far-outers" she explains) comparing its working The "Photographic Essay" with photographs by Hank methods, idealogy and productions with those of the Kranzler gives us a glimpse of an experimental "traditionalists." She sees an exciting mainstream program "Reflections in Motion" at KQED — The of modern dance. Bay Area Television Station, in which 20 teenage Roberta Meyer, a teacher of ballet with unusual re­ boys and girls participated under the direction of ceptivity to a broad range of dance theater, states Lorle Kranzler. Composer Lou Harrison, one of the case for a strong ballet technique as a founda­ two composers who worked with this project, has tion for experimentation — even in the current put down some of his feelings and attitudes concern­ "anti-dance" manifestations. ing the relationships of music and dance. Although he decries mechanization, he looks forward to the Sidney Peterson, in his short piece, makes crystal possible future of dance in the weightless state. clear the difficulties of thinking and writing about a kinesthetic art. It serves as a warning to the would- William Bales' curriculum statement for dance at be research worker and theorist with tendencies to Bennington College provides other teachers and over -verbal ization. administrators with a model with which to compare Peter Yates looks at three performances in Los their own plans for expansion of dance facilities and Angeles and tells what he sees. Along with percep­ programs which are growing all over the country. tive observation he uses a wide frame of reference The last four essays present situations and projects that moves the essay into the field of aesthetic which are subsidized, wholly or in part, by private evaluation. or public funds. Ruth L. Murray reports on dance A conversation between Ann Hutchinson and Clover in the Detroit Schools. Current recipient of federal Roope on current trends in England is the first of and Ford Foundation grants, Detroit has a long three "Notes from Abroad." They consider the history of important and exciting dance in the public prospects of a "new" dance succeeding in the face schools. Here, again, we find that dedicated work of individuals has been the means by which pro­ tunities for boys and girls throughout the country. grams are developed and recognized. In this instance, as well, dance is included as an integral part of the curriculum. Gloria Unti describes the Performing Arts Work­ shop in San Francisco. This cultural program is We are proud to dedicate this issue of IMPULSE to funded under the Office of Economic Opportunity. Martha Hill, whose continuing devotion to dance is recognized and valued throughout the dance world. A Rockefeller Grant made possible the Connecticut William Schuman, President of LINCOLN CENTER College Summer Program in the Humanities with FOR THE PERFORMING ARTS, has said of Martha William Meredith as director. Faith Gulick reports Hill, "The entire focus of her distinguished career the first session. It is significant that dance is in­ has been one of service. Her role as educator has cluded as a part of the program along with other been marked by an understanding of artistic goals arts. The projected federally sponsored Upward which were never diluted for educational exigencies. Bound Program at Mills College, described by It is not often that the two masters, artistic excel­ Eleanor Lauer, provides another example of the lence and educational validity, are so completely growing number of educational and cultural oppor­ fused in one individual." MVT Editor: Marian Van Tuyl Editorial Board: Doris Dennison, Joanna Gewertz, David Lauer, Eleanor Lauer, Dorrill Shadwell, Dorothy Weston, Bernice Peterson, Adele Wenig, Rhoda Slanger, Ann Halprin, Elizabeth Harris, Rebecca Fuller-Walton, Rhoda Kellogg, Nik KreviUky Design: Lilly Weil Jaffe ACKNOWLEDGMENTS: Cover: Dancers — Marc Ozanich (top) and Clyde Morgan Bennington College Dance Group Photo — Matthias Tarnay Hand lettering — David Lauer Translation of "Paris Notes" by Virginia Bosche 25 Labanotation Score: Ann Hutchinson, LABANOTATION (New York, 27 New Directions, 1954, p. 60) Musical Score: Morton Subotnick 28 Photographs by courtesy of: Blackstone-Shelburne, New York 4 Daniel E. Lewis, New York 8 Hank Kranzler, Palo Alto, California 23, 35, 36, 37, 38 39, 40 Matthias Tarnay 42, 45 Detroit Public Schools — Audio-Visual Service Department 47, 48 Jimmy Tafoya, Detroit Free Press 49 Alvin Davis, San Francisco 51, 53 Gefcheidle, San Francisco 52, 54 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, California 94114 $2.50 per copy (California residents add 10£ state tax per copy). Make checks payable to Impulse Publications, Inc. Printed by Chapman Press, San Francisco. 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. "Martha Hill has always created a 'magneticfield' in which dancers confidently experiment — warmed by her generosity and personal understanding — as well as her complete empathy with the struggles and mysteries of the creative process. "Martha Hill's American roots are tuned to a Whitmanesque uni­ versality and integrity. Her span is tremendous — from earthy practicality and humor to utmost flights of vision and experiment." Barbara Morgan 1966 is dedicated to MARTHA HILL All expressions of indebtedness to Martha Hill are likely to be intimate as well as collective. Private kindness has been the means by which she has added to those public benefits which the present award seeks to acknowledge in the name of contemporary Dance and Dance Education in America. Though the effectof her untiring surveillance of Dance over the years is literally massive, and may be measured in terms of institu­ tions — The Bennington School of Dance (Winter and Summer), The Connecticut College School of Dance, the Department of Dance at two Juilliards, American Dance Festivals everywhere —her touch has remained the dancer's touch, spacy and visionary rather than enclosed, exploratory rather than peremptory, confidential rather than managerial. Nothing is more characteristic of Martha Hill than her capacity to magnify talent in the actof serving
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