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Dance Photograph Collection
http://oac.cdlib.org/findaid/ark:/13030/tf8q2nb58d No online items Guide to the Dance Photograph Collection Processed by Emma Kheradyar. Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html © 1997 The Regents of the University of California. All rights reserved. Guide to the Dance Photograph MS-P021 1 Collection Guide to the Dance Photograph Collection Collection number: MS-P021 Special Collections and Archives The UCI Libraries University of California Irvine, California Contact Information Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html Processed by: Emma Kheradyar Date Completed: July 1997 Encoded by: James Ryan © 1997 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance Photograph Collection, Date (inclusive): 1906-1970 Collection number: MS-P021 Extent: Number of containers: 5 document boxes Linear feet: 2 Repository: University of California, Irvine. Library. Dept. of Special Collections Irvine, California 92623-9557 Abstract: The Dance Photograph Collection is comprised of publicity images, taken by commercial photographers and stamped with credit lines. Items date from 1906 to 1970. The images, all silver gelatin, document the repertoires of six major companies; choreographers' original works, primarily in modern and post-modern dance; and individual, internationally known dancers in some of their significant roles. -
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. -
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. -
Marcus Belgrave, Trumpet Perry Huilhes, Guita Joan Belllrave, Vocals Geor!!Eshirley, T{!Nor' A
HILL AUD ITOR IU M I 100 YEARS ~" \11' UMS PROGRAM BOOK W INTER 20ll I UNI VER SITY O F M I CHI GAN, A NN AR B O R A high quality of life is critical to attract talent, entrepreneurs and business growth. We're partnering with communities to create the kind of places where workers, entrepreneurs, and businesses want to locate, invest and expand. Find your sense of place in Pure Michigan. PUR~ICHIGAN · Michill. Economic Oenlopment Corporation driving a brighter future Ford M Ol or C omp a n y ~ For opening minds and engaging the co mmunity, Ford salutes the Uni versity Musical Society Edu cation and Co mmunity Engagem ent Program . www.comml.lnity.ford.com WELCOME. " Welcome to this UMS performance. Since 1879, the people of southeast Michigan, includinl our students, faculty, and staff, have experienced remar1table moments through UMS's presentations 01 the world's fin est perlormers of music, theater, and dance. This season. we are proud to celebrate 100 years of UMS presentations in Hill Auditorium, a historic and prized venue on our campus. Enjoy the performance." 11\.., k.... dt., • Mary Sue Coleman President, University of MicJtigan " With ellceptional performances, the centenary of Hill Auditorium. and an amazing array 01 events that w e hope will transfOfm, elevate, and transcend. this 134th season of UMS is something truly sp ecial. Thank you for bein. present," Jf~ Kenneth C. Fischer UMS President ~ l ' m deUented to welcome you to this UMS performance as chair of the UMS Board of Directors. We thank you for being here and encoura(eyou to get even more involved with UMS throuah participation in our educational opportunities, by maleinc a elft, or by adding more UMS events to your calendar. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
Library of Congress Magazine September/October 2014
INSIDE Tracing the Music of a Movement Mark Twain & Copyright PLUS Warren Harding's Love Letters Anatomy of a Glass Flute History of an Anthem LIBRARY OF CONGRESS MAGAZINE SEPTEMBER/OCTOBER 2014 DocumentingThe Dance Making of APPALACHIAN SPRING WWW.LOC.GOV In This Issue SEPTEMBER/OCTOBER 2014 LIBRARY OF CONGRESS MAGAZINE FEATURES Library of Congress Magazine Vol. 3 No. 5: September/October 2014 Mission of the Library of Congress Tracing the Music of a Movement 8 From its origins in gospel to its reinvention in folk music, “We Shall The mission of the Library is to support the Overcome” became the anthem of the Civil Rights Movement. Congress in fulfilling its constitutional duties and to further the progress of knowledge and creativity for the benefit of the American people. The Making of “Appalachian Spring” 10 A group of artistic titans collaborated on this archetypical American Library of Congress Magazine is issued ballet, commissioned by and premiered at the Library of Congress. bimonthly by the Office of Communications of the Library of Congress and distributed free of charge to publicly supported libraries and Mark Twain & Copyright research institutions, donors, academic libraries, 4 learned societies and allied organizations in 16 Samuel Clemens fought the good fight for intellectual property rights Glass Flute the United States. Research institutions and that helped protect authors at home and abroad. educational organizations in other countries may arrange to receive Library of Congress Magazine on an exchange basis by applying in writing to the Library’s Director for Acquisitions and Bibliographic Access, 101 Independence Ave. S.E., Washington DC 20540-4100. -
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. -
Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111.... -
LINER NOTES Recorded Anthology of American Music, Inc
DAVID TAYLOR New World Record 80494 Bass Trombone MOONRISE WITH MEMORIES Frederic Rzewski: Moonrise With Memories was commissioned by and written for David Taylor in 1978. Taylor specifically requested a piece for bass trombone, a piece that could not be played on a tenor instrument. He also suggested an accompanying ensemble of bass (or other low-range) instruments, but I chose instead a different arrangement. The soloist is accompanied by any six instruments that can play in the soprano range (more or less that of an oboe), so that the customary relation of melody and supporting parts is turned upside down. The form is an arch, ascending and descending on either side of a central song, which is based on a short poem, "World War II," by Langston Hughes. The thinking behind this simple piece was influenced by, perhaps more than anything else, my reading of Colin Turnbull's book on Pygmy culture, The Forest People (Simon and Schuster, 1962). Without knowing a great deal about Pygmy music, I nevertheless felt strangely in tune with it, and in fact, used some heterophonic techniques, especially in the central semi-improvisatory section, that refer to the tradition. The bass trombone could be heard as the molino of Pygmy ceremony, a kind of long trumpet that is used to imitate the various voices of the forest, but above all to wake up the forest, to keep it awake, to make sure it continues its benevolent function of provider and source of life. It is usually brought out and played when something big goes wrong, or when somebody dies, and an optimistic answer to a threatening situation is needed. -
DANCE MAKE-UP WORK When You Are Absent You Lose Participation Points
DANCE MAKE-UP WORK When you are absent you lose participation points. If your absence is excused, please choose one of the following assignments to make-up your points. To complete this assignment you will need to select a dancer, choreographer, or dance company to research. A list of acceptable artists and companies you may choose from is located below. Option 1: Write a brief (1 page typed, 12 pt. font, double-spaced, your name, class period, date of absence) research paper of a dance company, a dancer and/or a choreographer. The paper should contain information about the artist’s life and career, or company’s background and progress. Write in paragraph form and be sure to use complete sentences, correct spelling, and proper grammar, punctuation and citations. Be sure to include a reference page of at least 3 sources you used. You may use information from the internet, magazines, or books. This assignment can be emailed to your teacher as well as printed out and submitted in class. Option 2: Create a dance poster detailing your research on a dance company, dancer and/or a choreographer. The poster must be creative, legible and neat. You must use standard poster board, and should include the following: 5 quality pictures of the dancer/choreographer/company 5 factual details about the dancer/choreographer/company Title including the dancer/choreographer/company’s full name Works Cited attached to back of poster Your name, class period and date of absence on back of poster Due Dates Make-up work must be turned in at least two weeks after your absence. -
Martha Graham Collection
Martha Graham Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2007 Contact information: http://hdl.loc.gov/loc.music/perform.contact Catalog Record: http://lccn.loc.gov/2010561026 Finding aid encoded by Library of Congress Music Division, 2010 Finding aid URL: http://hdl.loc.gov/loc.music/eadmus.mu010008 Latest revision: 2012 July Collection Summary Title: Martha Graham Collection Span Dates: 1896-2003 Bulk Dates: (bulk 1926-1991) Call No.: ML31.G727 Creator: Graham, Martha Extent: 350,100 items ; 398 containers ; 590 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Martha Graham was an American modern dancer, choreographer, teacher and company director. The Martha Graham Collection is comprised of materials that document her career and trace the history of the development of her company, Martha Graham Dance Company, which became the Martha Graham Center of Contemporary Dance, and school, Martha Graham School, later to be called the Martha Graham School of Contemporary Dance. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Barber, Samuel, 1910-1981. Copland, Aaron, 1900-1990. Dello Joio, Norman, 1913-2008. El-Dabh, Halim, 1921- Emmons, Beverly. Graham, Martha--Archives. Graham, Martha--Correspondence. Graham, Martha--Photographs. Graham, Martha. Graham, Martha. Hindemith, Paul, 1895-1963. Horst, Louis. Hovhaness, Alan, 1911-2000. Karan, Donna, 1948- Lester, Eugene. -
Exploring the Modern Dance Technique Class As a Somatic Practice
EXPLORING THE MODERN DANCE TECHNIQUE CLASS AS A SOMATIC PRACTICE by MELANIE J. MEENAN A THESIS Presented to the Department of Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Fine Arts June 2013 THESIS APPROVAL PAGE Student: Melanie J. Meenan Title: Exploring the Modern Dance Technique Class as a Somatic Practice This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Fine Arts degree in the Department of Dance by: Dr. Steven J. Chatfield Chairperson Mary Seereiter Member Shannon Mockli Member Dr. Jenifer Craig Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2013 ii © 2013 Melanie J. Meenan iii THESIS ABSTRACT Melanie J. Meenan Master of Fine Arts Department of Dance June 2013 Title: Exploring the Modern Dance Technique Class as a Somatic Practice This movement project investigates principles of modern dance technique and pedagogical practices which emphasize the inherently somatic nature of dance. Through designing, implementing, and evaluating an experimental modern dance technique course, my research considers: how dance can be inherently somatic, how teaching dance as a somatic practice differs from authoritarian dance pedagogy, and how implementing a somatic teaching philosophy affected my teaching strategies and practices. The catalyst for this project emanates from the personal belief that dance is somatic. The overarching aim of the experimental course was to promote deeper embodiment and ownership of modern dance experiences.