Space Dance by Jacques Schnier

THE DANCER'S ENVIRONMENT

E-wm• nnual of Contemporary Dance 1967 t

mi X55- h(,1

Editor: Marian Van Tuyl

Editorial Board: Doris Dennison, Joanna Gewertz, Eleanor Lauer, Rhoda Slanger, Gretchen Schneider, Crystal Miller, Bernice Peterson, Sidney Peterson, Adele Wenig, Dorrill Shad well, Rebecca Puller, Nik Krevitsky, Ann Halprin, Elizabeth Harris, Dorothy Weston

Design: Lilly Weil Jaffe

ACKNOWLEDGMENTS:

Cover: SPACE DANCE — bronze — by Jacques Schneir, 1966 Owner: Mrs. Bernard Kaplan Diagram executed by David Lauer 33 Excerpts from MARY WIGMAN by Rudolf von Delius 7, 8 courtesy of Martha Hill, Juilliard School of Music, New York Excerpts from lecture by Mary Wigman 8, 9 courtesy of Joan Woodbury, University of Utah Repertory Dance Theatre, Salt Lake City, Utah

Photographs by courtesy of: Lyn Smith, Los Angeles 6 Herve Gloaguen, Hamburg, Germany 15 K'o Si Chi, Taiwan 24, 25, 26 Christopher, San Mateo, California 29

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. $3.00 per copy (California residents add 15£ 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.

Copyright 1967 by Impulse Publications, Inc. Contents / THE KINESTHETIC ENVIRONMENT 3 'Allegra Fuller Snyder )S MARY WIGMAN - Five Excerpts 7 Rudolf von Delius SPEAKS ABOUT THE GERMAN MODERN DANCE 8 Mary Wigman THE DANCER'S SPACE 10 Thomas S. Watson FOUR SOUND ENVIRONMENTS FOR MODERN_DAN< 12 Gordon Mumma IODERN I A SCULPTOR TALKS ABOUT DANCE 16 Shozo Sato MUSIC FOR DANCE 18 Norma Dalby Reynolds VIDEO - TAPE: A Medium for the Teaching of Dance 21 Ruth Hatfield A NATURAL PLACE 23 Al Huang A REGIONAL BALLET DIRECTOR SPEAKS 27 Richard Gibson Interview by Gretchen Schneider

NOTES FROM ABROAD

Dorothy Madden DARTINGTON: THE GREEN CLIMATE 30 Drid Williams THE DANCER'S ENVIRONMENT IN GHANA 32 Myra Rigor THE DANCER'S ENVIRONMENT IN CEYLON 37 Renee Renouf AFTERNOON AT YANG JU 44

COMMUNITY ORGANIZATIONS FOR MODERN DANCE 47

Eleanor Wakefield SAN FRANCISCO BAY AREA - 1934-1967 48 Sue Ettlinger REPORT FROM CHICAGO 51 Dorothy Mozen. I'VE PLAYED THAT GAME BEFORE 51

Barbara R. Ginsberg HAPPENINGS ARE 54

CONVERSATION IN MANHATTAN 57 with Jean Erdman and Trisha Brown > YOUNG DANCERS IN SAN FRANCISCO 64 Introductory Note by Bernice Peterson

630508 Preface "What do we mean by 'environment'?" As we worked Gordon Mumma's clear description of differentiated on this issue, we realized that our concern was with sound environments for the choreography of Merce "the individual-as-a-whole-in-the-environment-as- Cunningham; and Norma Dalby Reynolds's discus­ a-whole" — a large order, but it gave freedom to sion of the interrelationships between music and accept a broad range of material. dance. Ruth Hatfield, in her consideration of the uses of video-tape, points out a new possibility It is often easier to describe something by saying of objectivity in dance training: a dancer can really what it is not than by what it is. The economic "see" himself. Al Huang describes his way of com­ problems of the dancer have not been considered. ing to terms with the theatrical proscenium environ­ These have been presented factually and in some­ ment by bringing his past life experiences to bear what discouraging terms in PERFORMING ARTS: on the present choreographic intent. Barbara 1 The Economic Dilemma by Baumol and Bowen, Ginsberg relates happenings to "the continuing although on the positive side there is an increasing development of expressive art." number of unions and organizations working to im­ prove the situation of dancers, choreographers and their companies. Another area of the dancer's Once again, we have essays from other countries: environment which is not included in this issue is Dorothy Madden writing about the idyllic and world- the relation of the dancer to formal education, al­ renowned Dartington in England; Drid Williams though in various essays the important part that describing the dancer's world from earliest child­ education does play in the development of the art hood in Ghana (everyone dances in Ghana); Myra is indicated. A study of Dance in Formal Education Rigor discussing dance and some of the changes will soon be published in a special issue of IMPULSE taking place in Ceylon; and Renee Renouf giving us — The Report of the Developmental Conferences on a vignette of old dances in the countryside near Dance sponsored by the U.S. Department of Health, Seoul, Korea. Education and Welfare. Within a regional framework, Richard Gibson pre­ The observations, convictions, attitudes and per­ sents a picture of a ballet school and company with suasions of thirty-two individuals are presented in his plans and hopes for its development. Eleanor this issue. It is fascinating to realize that even in Wakefield outlines the history of modern dance or­ the most "objective" descriptions, the observer is, ganizations in San Francisco which undoubtedly indeed, inseparable from the environment-as-a- could be paralleled in other communities. The whole. The "milieu interieur" of a person projects major significance of this compilation lies in the re­ outward to relationships with places and other alization that community organizations for modern people, in his own time and historically, and is dance may best achieve their aims through collab­ affected by these interrelationships, constructing oration with recreational facilities and educational a total environment. institutions. After a brief note on dance activities in Chicago by Sue Ettlinger, Dorothy Mozen dis­ In IMPULSE 1967 primary attention is paid to the cusses the problems of such organizations from her here and now. An exception is the excerpts from own experience. MARY WIGMAN by Rudolf von Delius, written in A portion of the book is devoted to the internal 1925, in which he speaks in glowing, romantic environment. Allegra Fuller Snyder, with a terms which are strange and fascinating to the background in both dance and film, stresses the present generation of dancers. Short statements importance of becoming aware of the kinesthetic from her lecture to a woman's club in Berlin in environment in our world today. She feels that 1955 give indication of Mary Wigman's intense there must be a turning inward to a deeper real­ dedication to dance. ization of what fundamentally constitutes dance. The essays cover a wide range of interests and in­ IMPULSE 1967 concludes with two discussions by volvements. The "attendant arts," about which young dancers: one in New York by experienced Shozo Sato speaks in his discussion of sculpture for performers and choreographers; the other in San dance, are the subject of several articles: Thomas Francisco by several who are just starting their Watson's exhortation to the dancer to become knowl­ professional careers. edgeable in the use of the theatrical environment;

1 William J. Baumol and William G. Bowen, PERFORMING We are grateful to our contributors, each of whom ARTS: The Economic Dilemma (New York: The Twentieth is well qualified to address himself to the subject Century Fund, Inc., 1966). of the dancer's environment. MVT The Kinesthetic Environment ALLEGRA FULLER SNYDER

What is today's environment? We are aware, as we If we allow the full implications of today to per­ participate in this moment of history, of a number meate our concepts of dance, then dance, in its of violent and rapid changes taking place. Society current dependency on theatre, will change. The is violent and rapid. Transformations which used full potential of the new environment requires the to take place over years or centuries now happen reorganization of our visual perception so that we overnight. There is not time for evolution, our ap­ see not "things" in space but the relatedness of proach must be more like revolution. We must be events in time-space. This means, not the dancer aware of and anticipate changes in order to be able in the defined space of the stage, but our involve­ to make them meaningfully a part of us. ment with space. (Involvement is a time-space word.) Dance is already going in this direction in Dance, as a living and vital art, must respond to its participation in "happenings" or "total theatre." this new environment. What is this environment These are forms which could only emerge in a in relation to dance, in relation to life? For the relativistic society. environment, affecting life as a whole, must affect dance. It is dominated by major factors, at first Theatre has become a two-dimensional frame, not remote from dance, which bring about changes both an omni-directional experience. In a theatre, the through insight and reaction. New insights arise space has become static. The space of the stage is from Einstein's concepts which lead us to under­ circumscribed as well as the spatial relation of the stand each moment as relative and dynamic, not audience to the dance which is unalterably fixed. fixed and constant, which puts time and space in The spectator cannot leave his seat. Stage space is the forefront of our thinking and gives us an aware­ defined and the audience is outside of that space. ness of time-space as one entity, at the same time making all experiences multiple and omni-direc­ But does stage space really belong to dance ? Is tional—a relativistic concept of society. Reactions dance inherently to be observed? Is this a new con­ set in from the continuous and progressively-wider cept or an old? Perhaps this new era is bringing removal of man from his own physical participation us back to another? in the events of his life. Starting with nineteenth- century industrialization, but continuing through I today, more and more of everything is being done Dance has been predominantly a participant experi­ for us mechanically or electronically, in ever more ence from ritual to folk. Participation has always remote ways — witness the potential effect of the been related toaunited time-space concept/ Early computer today. The next step may well be a ci­ societies were time-space societies of another or­ vilization where major events of life will be totally der. The separation of time from space became out of man's sensorial range — inaudible and invi­ evident during the Renaissance period as our life sible. We are also reacting to the emphasis on the went from the wholistic, which had been the essence written and verbal, a concept that puts books and of the ritual or ritual-religious eras, to a separa­ book-learning as the major measure of success and tion of time and space experiences. And the arts accomplishment, again driving us away from bodily were separated out, time becoming associated with participation in life. some arts and space with others. Music — time, painting, sculpture —space, and at that point dance as a time-space art began to lose its place as an art What are the implications of relativity and the altogether. Practically, the impact did not affect space-time integration on dance? The relativistic dance until well into the history of ballet, about approach has changed our relation to time and space. three hundred years ago, when the separation of Dance is a time-space art in this new time-space observer from participant was fully accomplished. society; potentially it is an art related to now. Yet much of the way we think about dance, understand The implications of a return to a time-space society dance, is left over from other periods of history — go much further for dance than "the happening" or other environments. "total theatre." It would seem to have a more direct Allegra Fuller Snyder, dancer, choreographer and film-maker, is Lecturer and Film Advisor for the Department of Dance, University of California at Los Angeles. This piece, while not directly related to film, has grown out of a comparative analysis of dance and film. Mrs. Snyder directed and wrote the prize-winning film on Bayanihan Philippine Dance. effect on dance itself. It would seem to turn dance from inner responses. If one is seeking a move­ inward. ment experience which is pure, which emerges from an inner center, which is truly kinesthetic, Space, considered and treated as something static it must be divorced from its ties with gravity. and fixed, has been given life, has become a pre­ sence. To participate in space by being a part of A re-emphasis on the personal, inward experience it ourselves, to sense not only bodies which move of dance would be a release from a dichotomy that in space, but space itself, is a kinesthetic percep­ has held dance .v Dance is conceived kinesthetically tion of space. ft and perceived visually. These are two different experiences, and not an active or passive percep­ In our new environment, scientifically, we are al­ tion of the same experience. The painter puts paint ready concerned with this problem as spatial ex­ on a canvas and the audience perceives that paint, plorations have taken us into a weightless state. or the musician works with sound and the audience We must be prepared to ask ourselves how we would hears sound. And because these two experiences relate to a weightless state aesthetically. are closely related, the painter and the musician can sit back and become their own audience, and do The new space-time point of view is a relating to many times in the process of creation — but the space through feeling, not seeing. We now tend to dancer, never, though he sometimes attempts to look at space. We see space in relation to the ob­ through the ersatz use of the mirror. And when jects that are present within the space. We see one has a kinesthetic reaction to a performance, it objects in a linear, vertical relationship. Space is because of similar experiences which are pro­ in itself is non-gravitational. jected on the dancer and not because we know what he is working with at that moment. The dancer's What are the implications of feeling space not see­ own inner response, the essence of his experience, ing it? It is an inner relationship to space. If one is known only to him, not to others. The directions can feel from an inner center, one can relate to of today's environment may change this balance. space in this way. If one can feel from the inner center, then there is no need for a vertical or gra­ Every implication of the new environment seems vitational orientation. The vertical or gravitational to point to the kinesthetic, while, at the same time, comes with perceiving with the eyes. The non- we begin to have a new understanding of the import­ gravitational allows for perceiving kinesthetically. ance of the kinesthetic. The kinesthetic relates dance to some of the most fundamental life experi­ It is a relationship unrelated to gravity. Inner sens­ ences. Various studies now being made indicate ing shuts out the pull of gravity and pulls us to the that the inner movement response is of great im­ center of our own experiencing. We have had a portance to such areas as prime communication, sense of this inner relationship to space. Swim­ fundamental symbol formation, psychology, per­ ming, gymnastics on the trampoline approach this ception, etc. Arnheim's work in psychology and state of inner sensing. In the womb, we may have perception and Rugg's on educational psychology2 had our firs t anti -gravitational experience. Today, have stressed the importance of inner movement in we are going in this direction. Flight has defied the total aesthetic and creative experience. These gravity and sky-diving is a logical outcome. Speed, concepts have been extended beyond the limits of art an essential element of our environment, leads by such works as the book SYMBOL FORMATION toward anti-gravitation with the increase of the by Heinz Werner and Bernard Kaplan.3 In this book centrifugal pull. Speed of the automobile, and the the authors relate so basic an experience as word more personal speed of the motorcycle or the surf­ formation to a kinesthetic experience. board provide examples of our preoccupations and satisfactions. And the psychedelic drugs seem to be 1. Rudolph Arnheim, ART AND VBUAL PERCEPTION (Berkeley and Los Angeles: University of California Press, 1954). anti-gravitational, disorienting space as well as Rudolph Arnheim, TOWARDS A PSYCHOLOGY OF ART (Berkeley time. and Los Angeles: University of California Press, 1966). 2. Harold Rugg, IMAGINATION (NewYork, Evanston, and London: Our own understanding of this kind of sensing comes Harper and Row, Publishers, 1963). readily through the experience of moving with one's 3. Heinz Werner and Bernard Kaplan, SYMBOL FORMATION eyes closed. When vision is shut off we find our­ (New York, London, Sydney: John Wiley and Sons, Inc. , 1963). selves unconcerned with a vertical or gravitational orientation and our movement is motivated entirely The kinesthetic is the clue to our response to a consisting of pulsating, amplified sound, whirling world that is moving towards total inaudibility and multicolored lights and frenetic no-touch dancing." invisibility of prime experiences. Physical self- Isn't Yoga or Zen in this direction? sensing is the only counter-balance to these types of experience. Despite complete intangibility of We are moving towards the kinesthetic. Films are experience on the outside, we, ourselves, within kinesthetic, television is going kinesthetic, art is our bodies, are always in tangible existence, and going kinesthetic. We are moving in this direc­ learning to dig into and hold onto our inner selves tion, but nobody understands the kinesthetic unless always gives us something to relate to. Today's they have moved themselves —have experienced it. aesthetic already begins to reflect this trend. The new elements of the environment are pushing us in this direction and the doors begin to open. We are moving into a new era of physical sensitivity. Environment is both the result of a moving forward We are finally coming to the end of the Christian and a reaction against. In the nineteenth century era with its shame of body, shame of movement, industrialization destroyed almost all kinesthetic shame of dance. But, for most, the numbness, the aspects of doing and making. Today the area has insensitivity of the body is so deep that experiencing widened and it is not just the machine — symbolized the inner source of life, within the movement of the now by the computer — but higher education which is body, can only be achieved by shock treatment, by denying us the visceral experience. The emphasis powerful blows to the viscera, in order to feel any­ in our culture, at the present time, is on experi­ thing — hence the violence of today. The kinesthe­ ences which happen through our eyes and our brains tic experience itself is not violent, in fact, often, but not our bodies. (A boy "won't make it" unless it is soft, quiet, very small. he goes to college and on to an M.A. and Ph.D. The major portion of young adult life is given only But the affect of the Christian ethic hangs heavy on us. While sensing the direction, mosthaven't dared to cerebral activity.) To counter-act this, the new to really try it. One can't really have a visual kines­ environment is related to the urgent search, which thetic or a psychic kinesthetic experience or even an is developing, for visceral experience. This re­ "inner" kinesthetic experience without really sens­ action has led to new forms and emphasis. Films, ing the body —perhaps because what we understand television emphasize action. The "wham," "pow," as the kinesthetic is equated by many with the sexual. "bam" with their accompanying iconographicshock Perhaps it takes the de -sexing of the sexes, the long­ treatment, of BATMAN, which popularly ushered haired males and the Twiggies, in order for real in this new direction, are nothing but kinesthetic participation in the kinesthetic to be acceptable. symbols aimed to affect you like a punch in the stomach. McLuhan calls all this tactile; isn't it But is dance going kinesthetic? Movement as we visceral? "Op" and "kinetic" art, music which is know it, sense it, experience it, can be the environ­ as much movement as sound, even the new women's ment of tomorrow — but we, in dance, have got to fashions, like the pants-dress, are designed for recognize this. We have much to relearn ourselves. mobility, movement, action, physical participation Early man understood it, and Isadora Duncan found with life. The current words "guts," "involvement" it again 2000 years later when she said: "Do you are all indications that we are seeking the physical not feel an inner self awakening deep within you — and the "inner." It is the combination of these two that it is by its strength that your head is lifted, which points the way to the kinesthetic. A kines­ that your arms are raised, that you are walking thetic experience must be "inner" as well as slowly toward the light? This awakening is the first "physical." "Inner" is perhaps the most important step in dancing, as Iunderstand it."4 Butin recent element of the new environment. As one "hippie" years we have been moving progressively away from wrote, in a Letter to the Editor in NEWSWEEK: it — not towards it — primarily trapped by the static "The avant-garde, I think, already has the answer: concepts of the theatre. primarily a swing inward, inside oneself." LSD, the psychedelic drugs have been steps along the way. In order to be translated into today's terms, to But the new environment is moving further towards respond to today's environment, dance should be a deeper, purer, more tangible experience of the approached from the inside. The space of the dan­ kinesthetic. As another NEWSWEEK article said, cer will be through the dancer's inner eye. "All "True adherents of the psychedelic cult now claim 4. Isadora Duncan, THE ART OF THE DANCE, edited, with an that they can turn on without taking anything . . . introduction by Sheldon Cheney (New York: Theatre Arts, Inc., (All they need is) a massive assault on the senses 1928). p. 52. the world's a stage." Dance must be structured If we are to understand dance in terms of these new from the first-person point of view. The results directions, we must realize a new orientation to many times will be space shaped by movement, but dance as we practice it today — at the same time, not shaped by the body in visible movement. We an orientation which is within the bounds that dance will be dealing with more and more inner space, inherently takes. What emerges is not in opposition space that is sensorially perceived, not visually to the basic elements in dance, yet satisfies the new perceived. understanding of these elements. The result of this new orientation would seem to be a heightening of dance rather than a negation of it. Tomorrow's dance will be turned inwardly and felt. The dance will have to do with what the body is Dance, following these directions, responding to feeling, and communicate this. This is a dance this Einsteinian time-space environment, will be a which communicates the visceral feeling within the form not concerned with vision, but inner vision, movement rather than the movement. with feeling not seeing, which will be communicated through the mutual sharing of the experiencing of Since the dance will be first-person and inner, our movement. If we can attain this, society will no concepts of theatre will go. These ideas will apply longer be "non - participant" but participant, and to the audience as well as the dancer. Tomorrow's bring sensorial balance to a non - sensorial age. audience is the dancer, the participant as well as Dance will respond to the needs of now, and in so the observer. doing will become a vital and key part of tomorrow.

Photo: Lyn Smith Mary Wigman Five Excerpts from MARY WIGMAN by Rudolf von Delius

THE FEET She glides along the ground with slow strides, closes her eyes, feeling nothing but the silent rhythm of gliding. Dancers' feet love the Earth. They steal along like captive little animals, with suppressed springing power and repressed anger. They caress the ground, grasping it with their toes, pressing close to it, whispering secrets to it. The Earth answers, returns each pressure, responds with warm mother-love. Each step is a little caress, an endearment. At times dancers' feet become savage; then they rage against Mother-Earth in angry rhythm, beat unloosed fury into the ground, threaten annihilation. Earth, unchanged by their hatred, breathes deeply, peacefully. The raging feet desist, astounded and disconcerted. Then they stretch themselves haughtily, and spin laughingly on their toes. For they can also be frivolous.

THE TURN She spins with small quick steps in THE LEAP She leaps because she would like to the middle of space. She turns faster and faster, fly — she battles against gravity for buoyancy, stretching higher on her toes, increasing the conquers gravity only to be re-conquered by tension in her body. Furiously she whirls about her own axis. Suddenly something unusual occurs: lightness. Each leap is a contest. she stretches her body higher and higher until she Yearning upwards into lightness, light; commanded remains poised in air — quiet suspension. downward into darkness, heaviness — she does not cease longing. A contest with gravity creates Well does she know that she is still turning, but she strength when it concerns flying. Victory brings no longer feels the movement. Exalted, entirely brighter laughter, quickened breath. She catapults free she hovers, transported by great happiness. herself from the floor, flings herself into the air She transmits the vibrant rotation on to dance defiantly, fearlessly. She flies, hovers for one space —the walls spin round and round. They are brief instant between Heaven and Earth. clearly distinguishable at first, then gradually dissolve into one another until they expand endlessly Are you calling, Earth — heavy one, dark one? into one single furious revolution. She flies away from you again and again, leaps in wide arcs, spans the vaulted bridge above you, Had she not become center of the world for one grasps aerial images with distant hands, is instant — focal point of vast universal motion, part permeated with power. of all planetary rotation? Had she not become a symbol ? And in the next moment she realizes that she cannot endure this state of buoyancy, that she must destroy this exaltation, must return to gravity from which she had escaped, — must shatter the flight and destroy this unity with the elements. Now everything totters, reels confusedly, then These five excerpts from the volume MARY WIGMAN by separates into isolated objects. She is conscious Rudolf Von Delius, published in Dresden by C. Reissner in 1925 and translated by Erna Wassell, were made available of her body again — motionless, quiet, controlled. to IMPULSE by Martha Hill, Director of the Dance Depart­ Within, there is extreme desire. The communion ment of the Juilliard School of Music, New York City. with space is ended. THE CIRCLE Her body traces a circle in space — her feet follow its curve with great low strides, always beating in their course the same points of the circle. This circle she has conjured up and is, in turn, enchanted by it. Mysterious power emanates from it, constrains her feet. A second force radiates from its center, drawing her body toward it; her feet, controlled by this center, follow a prescribed orbit. She is a living circle, subservient to a commandment which she herself invoked. Who can liberate her? She has lost mastery of herself. Her feet, driven by a mystic force, dance madly in their tormented orbit. She is afire — her whole being and the floor beneath her become a glowing circle. She cannot find the way which leads outward, — ceaselessly she circles. There: a thought swift as lightning — the center: To become the center herself, and thus to destroy the self-created madness. Stretching out her arms, she inclines her head toward the center — totters. Her feet are freed from their orbit, she falls heavily to the floor, vibrating in the center of her circle which no longer exists.

Mary Wigman SPACE She stands in the center of the room, eyes closed — feels the air pressing down upon talks about the her limbs. Her arm moves upward, timorously feeling its way — pierces through the invisible German Modern Dance substance of space, then penetrates forward. The feet follow: direction is born. Now space clutches at her, forces her backward on a newly created path, — counter-direction. Motion up and down, To me dance is a very vital language, spoken by forward and back, inner conflict, —battle in space one human being to another one, communicating for space — dance. Sensitive quietude and violent its visions and ideas, its motives and its meanings turbulence. through the organized movements of the human Inspiration flashes upon her. Space, invisible, body. This language I would like to call a "poetic" transparent, formlessly surging, is prostrate one, as it is, like poetry, lifted above every day's before her. One lifting of the arm alters it, gives life. It is not spoken in terms of realistic banal­ it form. Designs — large, impressive — emerge, ities, is not copying or imitating nature. But, by submerge again. Decorative arabesques trip by some indescribably creative proceedings, it is and fade away. A leap squarely into the center and raised up to a higher level, to the artistic level, patterns explode with angry detonation. One rapid where it becomes symbolic. turn and walls crumble. Just WHY it is dance and nothing else, you cannot She lowers her arms, stands motionless again, say. The real, the essential thing seems to escape beholds empty space, the domain of the dancer. the very moment you want to grasp it. If this were different — if the dance, and what it has to give us, could be expressed in any other art in exactly the same way — maybe there would be no dancing at all.

This material from a lecture by Mary Wigman, delivered in English before a women's club in Berlin in 1955, was made available to IMPULSE by Joan Woodbury, Artistic Director of the University of Utah Repertory Dance Theatre, Salt Lake City, Utah. In developing, in refining, and even in changing the visible expression into definite form and a different style, it must never lose the vital connection with its origin, and that has been and will always be: Life . . . and the human breath of it.

The poetic or the artistic language of the dance has developed and follows its own laws. Though deeply and naturally related to music and acting, Whatever the dancer has to say and wants to it is in itself an independent art. By inspiring the express, he has to make it visible. As long as other arts and being inspired by them as well, the you are led on by the artistic idea, by the motive dance joins the vital circle, formed by all the you have chosen for your dance composition, as different arts together, a circle which would not long as you are carried away by the emotional flow be complete nor fully alive without the dance. awakened by this motive, it is all very wonderful. But the inevitable moment comes when you have to stop dreaming and have to face reality. A peculiar reality this is indeed! Sometimes you are nearly Never in my life have I met a real dancer who did not torn to pieces, the pressure between two poles — love the hardship of his profession, adoring it even your own artistic idea and the artistic deed you in the moments of his greatest bodily exhaustion. want to achieve — becoming so strong that you hardly know how to face, how to harmonize, and how to master it. And when you have done it all, you must start all over again, that is: You have to learn your own work by heart — and after that, and only then: YOU HAVE TO DANCE IT.

Sometimes you know that a dance has become what you have been striving for: LIFE, caught in a work of art. Sometimes you do not know this at all. And whether it may become a public success, you never can tell in advance. It is up to your dance audience to decide upon this.

As long as the creative mood lasts, as long as you work on the dance, giving it all your love and all your strengths, it is kept safe within yourself; it is your own. But after you have danced it on the stage for the first time, it does not belong to you anymore. You have merely become a vessel, the medium, through which the "poetic" language of the dance is spoken, as purely and as convincingly as your own capacities as a dancer and as a human being permit. Because these qualities cannot and must not be separated, if you look at the dance not only as a means of entertainment, but as a symbolic mirror of life. 10 The Dancer's Space THOMAS S. WATSON

What youthful dance student is not made aware, by Needless to say, at the moment we do not have it, his teacher, of his relationship to physical space — except in two or three isolated schools or colleges. that occupied by his body and the space surrounding it? Yet, it is distressingly evident that many of Before you read any further, I can say with some our young dancers and choreographers — and all certainty that you may already be putting the too frequently their older counterparts — seem un­ question, "Why?" Why should the dancer be a stage aware of the ways in which masses and volumes, electrician, a theatrical designer, a costumer or a light and shadow, and even a source of sound, can carpenter ? He has enough to do! He has daily tech­ reinforce, assist, and in a certain sense, amplify nique class, he has choreographic sessions, he has what the dancer is doing in three dimensional space. his individual work. I have no argument with any There are notable exceptions — Martha Graham of this. I just believe that the dancer, who makes and Alwin Nikolais come to mind immediately — so much more on the stage than most other perform­ but many established performers and, in particu­ ers , and with far less to assist him, needs to be lar, young dancers have little knowledge of how fully conversant with all of the support at his scenic and lighting design can support a choreo­ disposal. graphic concept and help their own work. For example, too many young dancers are com­ As an artist, the good dancer knows of the bene­ pletely unaware of how much good lighting can aid ficial practice of studying some of the other arts. them in creating a complete dance work. The He may work as an actor, he may be a Sunday seeming complication of all those cables, spotlights painter or he may even compose his own musical and dimmer boards is beyond them, they say. They scores. The point involved here is just this: the may be overlooking the fact, in their rejection of dancer must be aware of what happens in the something that appears to be very complex, that creation of art in media other than his own. Al­ basically stage lighting is a fairly simple process. though he may not sculpt, he should be familiar After all, that electrician is no smarter than they with the media and methods of the sculptor. Al­ are. If he can master the craft, why can't the though he may not compose, he needs a working dancer? The answer is that the dancer may not knowledge of rhythm, harmony and musical form. want to bother; he does not have the time to master Of tremendous importance is a good background in the principles, he believes that he can leave the architecture. Buildings are made for people to do problems to the lighting designer or the electrician. something in. Good architecture achieves its aesthetic in part through the provision of physical The fallacy in this sort of reasoning is borne out spaces best suited to certain human functions. by the difficulties that occur when the dancer and electrician try to communicate and there is no To recapitulate: Lou Harrison stated in a recent common meeting ground. I make no excuses for issue of IMPULSE, "Dancers should move on toward the electrician or lighting designer who is unwilling literacy — reading and writing dances. Labanotation to extend himself. He is just as guilty of a lazy is the best and most practical form of dance literacy approach as is the dancer who cannot be bothered. today." I believe we should add something to Mr. Harrison's plea for literacy. Can we not expect the What happens when the dancer composes with a dancer's basic schooling to cover the fundamentals basic idea of the lighted space in which he and his of all the fine and performing arts and an extensive dancers move ? What occurs when the choreogra­ working knowledge of the principles and crafts that pher can articulate the cubic volume of the stage are used in direct support of his own art ? Of course space in terms of movement and actual volumes ? we can! The resultant work will have a unity and complete­ ness that too many dance works never achieve. It The major premise of this piece is that we ought to is necessary that the movement function — either have this kind of educational process for the dancer. for solo or group works — be put together with a. Thomas S. Watson is chairman of the Department of Dramatic Arts and Speech at the University of Delaware. He has worked extensively with dancers on problems of production, and has been a member of the faculty of the Connecticut College School of Dance. 11 set and lighted stage in mind. This is not to say the advanced class in lighting. He is a little better that a rigid and complete design must always be off, but not much. The time for experimentation, worked out on paper and adhered to. Although we for trial and error, for making some good, big have all seen how intuition and flashes of creative mistakes just isn't there. energy can burst forth on occasions when a pre­ pared idea suddenly goes flat, the choreographer's At this point some of you will stop reading and think, familiarity with the total design of his three dimen­ "Okay, but where do we — in the colleges — find the sional space will assist him in many ways. He may scenic, lighting and costume designers who have actually create the semblance of the set and light­ worked with dancers?" First, go have a long talk ing in the studio. Alwin Nikolais composes many with the theatre people in your school. Arm your­ of his works on the Henry Street Playhouse stage. self with a copy of A DANCER'S WORLD and a Admittedly, he is in the fortunate position of being 16mm. projector! Any theatre man with sensitivity able to do so, but the important thing is that he to movement who has not yet been converted ought does work on the stage rather than in the studio. to succumb quickly when you show him the film. There, surrounded by various intensities of colored Talk about dance with him and his design staff. — oruncolored — beams of light, he and his dancers Good dance is theatre and if they — the theatre achieve a totality based upon dance movement in a faculty — have not realized it yet they have some lighted space. immediate catching up to do. After your prelim­ inary discussions — during which it is to be hoped Today the resources available to the scenic and you will stir their imaginations — give them both lighting designer have led some of these artists to barrels with APPALACHIAN SPRING and NIGHT overwhelm the performer. Ever aware of their JOURNEY! own reputations and eagerly latching onto new, and sometimes spectacular, effects, they tend to see Now, when you have them reeling, propose the the results of the choreographer's vision only in following: if they still feel insecure about tackling their own terms. This is an unhealthy situation the production of your next dance performance, ask anditcanbe rectified by the placement of emphasis them to share the fees with you that will enable you where it belongs: in the hands of the choreographer. to hire some good professional people you both re­ spect. Get Jean Rosenthal, Tharon Musser, Nick Now in order for the creator of the totality to be Cernovich, or Tom Skelton in to light your work able to see the work as a whole, he must have and hold some associated seminars for the theatre training in those production crafts that are a sub­ staff, their students, and your entire group. This ordinate, but vital, part of the entire work. The way you all profit. The designers mentioned all curriculum of a good dance program in a university have the necessary status. The theatre staff and or in a good studio should contain course work in students respect them and will see at first hand lighting, in stage design and in costume design. what you are doing and the respect you enjoy from These courses should be taught by working pro­ the professionals. fessionals who have had considerable contact and experience in work with dance. The curricula In the following year make it very clear that you should be inclusive. Students should study the hope the local designers will want to take on your crafts in the same sequential way that they acquire production design and, most important, create a a good technique. By the end of a certain period production curriculum for your students. Impress of study — two to four years — they should be upon them that you will all be learning together and entrusted with the complete production of a large that you hope for as much collaboration as their dance work. The developmentof the understanding busy schedules will allow. After you have created that must accompany the acquisition of knowledge a good rapport and a solid working arrangement, cannot be forced! It takes time to grow. Asking offer your services as choreographer for their a studentwhohas had six months to a year of work musical works. You may never have pulled off a in lighting perhaps twice a week to light a production musical comedy, but the chances are that you can is foolhardy. He is not ready yet. I have taught bring more style, skill and artistry to MY FAIR dancers stagecraft in the six week session of the LADY than the tap-dance instructor they have to Connecticut College School of Dance for a number bring in from downtown. of years. The problem is always the compression of learning into too short a time period. Occasion­ As you get your collaboration working smoothly, ally a student returns for a second year and takes carefully prepare the ground for the big break- 12

through. This is, of course, the move out of the word is the end once again aware of movement, of physical education curriculum into a combined the physical body and its amazing capabilities for department — theatre, opera and lyric theatre, communication without words. dance — of the performing arts. That is where you, the dancers, belong. Not only that: we theatre The foregoing may all sound easy. It is not. It people badly need you. Most of our students cannot will take much energy and even more time. It is walk across a stage without perpetrating a physical particularly true in academe. You will find that blunder or two on the way. you will have to write proposal after proposal justifying everything. Have courage. It is worth In short, we all need much more involvement with, the fight and we will eventually see the results: and exposure to, each other's work. The dancer trained artists who know what they are doing, not needs the knowledge of design and physical space in one but in several areas of performance and pro­ orientation that all student directors have been duction, who are truly aware of all the facets of learning as a matter of course for years. In return, "their space." To use once again a very good line, you, the dancer, can make all of us who think the "Tis a consummation devoutly to be wished."

Four Sound Environments for Modern Dance

GORDON MUMMA

Ordinarily one does not think of modern dance as Earle Brown, Morton Feldman, Toshi Ichiyanagi, a generating ground for memorable music. Those Christian Wolff, and La Monte Young, all of whom few years of the Diaghilev Ballet when Stravinsky, have composed for the Cunningham Dance Company, Ravel, and Prokofiev produced the basic literature are important figures in the music of our time. of Twentieth Century ballet music do not seem to have a parallel in the world of modern dance. With Merce Cunningham has not followed the curious and a few exceptions, like the Martha Graham —Aaron rather prevalent practice of glueing a new modern Copland APPALACHIAN SPRING, it is difficult to dance to an old musical chestnut. (What, after all, recall who did the music for any modern dance. might have become of Diaghilev's PETROUCHKA had it been set to Schumann's CARNIVAL?) Mr. Perhaps the most important exception is the col­ Cunningham's concern for appropriate and con­ laboration of Merce Cunningham with composer temporary integration of all aspects of his modern * John Cage. Still thriving, though already legend­ dance production is consistent, as indicated by his ary, this collaboration has also stimulated the collaboration with the artists who have produced work of several composers besides John Cage. his decor: Robert Rauschenberg, Remy Charlip,

Gordon Mumma, composer and performing musician with the ONCE Group Theatre Ensemble, the Sonic Arts Group, and the Merce Cunningham Dance Company, was one of the founders of the Cooperative Studio for Electronic Music (1958) and the ONCE Festivals of Contemporary Music in Ann Arbor, Michigan (1961). His articles on the contemporary performance arts have appeared in numerous magazines, and he is author of the article on John Cage in the new E. P. Dutton Musical Encyclopedia. 13

Frank Stella and Jasper Johns. other, to the proximity of the dancers from the an­ tennas, and to the number of dancers on the stage. Among the many reasons for the success of Merce Cunningham's work with modern composers, one The changes of light intensity on the photocells, and is outstanding. Mr. Cunningham has expanded the the capacitive responses of the antennas, are both concept of music for modern dance. He has en­ transmitted as electrical signals to electronic- couraged the function of music as an environment music "trigger" equipment in the orchestra pit. for choreography, and has avoided making dance The musicians operate an "orchestra" of tape re­ subservient to music. His choreography exists for corders , phonographs, and radio receivers which its own reasons, for the theatre of human move­ contain the sound materials composed by John Cage. ment in space, and does not have to be driven by Before these sounds are heard by the audience or set to anything. The application of this aesthetic they are fed into the electronic-music "trigger" has not only given new dignity and possibility to the equipment. The sounds are then released to loud­ "meanings" of modern dance, but has also created speakers in the audience by the triggering action the invigorating atmosphere in which so many musi­ of the dancers' movements on the stage. cians and artists have fruitfully collaborated. Because the functions of these two separate sensor The four most recent pieces in the chronology of systems overlap, the correspondences of the dan­ Merce Cunningham's work are VARIATIONS V cers' movements on the stage and the sound move­ (1965), HOW TO PASS, KICK, FALL, AND RUN ments in the auditorium are extremely complex. (1965), PLACE (1966), and SCRAMBLE (1967). Only on occasion are they perceived as direct re­ Each work represents a special application of sound lationships . environment for dance, and deserves separate consideration. The counterpoint of activity of VARIATIONS V is enhanced by elaborate lighting, which includes film VARIATIONS V was commissioned for the French- and slide projections designed by Stan van derBeek, American Festival at Philharmonic Hall in July and by on-stage props which are wired for direct 1965 at Lincoln Center. The music is by John Cage, sound by special microphones. The visual and and the choreography, for seven dancers, is by choreographic events of the performance, which Merce Cunningham. The costumes were conceived occur both in sequence and simultaneously, con­ by the dancers themselves and executed by Abigail front the attention of the audience with ever-chang­ Ewert. The special electronic music apparatus ing points of engagement: like the spectator at a used in performance was built by William Kluver circus. and Robert Moog. The title of the dance is the title of the music: it is one of a series of "Variations" Compared with the technical extravagance of (now seven in number) on which Mr. Cage has been VARIATIONS V, HOW TO PASS, KICK, FALL, at work since 1958. The entire series, as it con­ AND RUN is simplicity itself. HOW TO, choreo­ tinues to grow, appears to be one of John Cage's graphed for eight dancers in practice sweaters and major projects, and a fundamental contribution to tights, is performed in a sound environment of the Twentieth Century music. * spoken voice: John Cage reads from the witty, minute-long stories of his collected writings .2 The What is unique about VARIATIONS V is that the dancers perform an exquisitely ebullient choreog­ dancers on the stage share responsibility for the raphy inspired by the movements of sports and outcome of the music with the musicians in the pit. games. The dancers articulate the sound environment of the auditorium as well as the spatial environment The choreography of HOW TO is characterized by a of the stage. prominence of "parallel" movement. The dancers move in parallels rather than unisons, at shifting The stage contains two systems of electronic sen­ tempos which, from one dancer to another, are sors . The first is a set of focused photocells, the constantly changing phase over short periods of second is a group of five-foot-high vertical an­ time. Over the longer sequences of the dance — tennas . As the dancers move about the stage they in­ from one merging section to another — the contrasts terrupt the light which falls on the photocells. The of tempo are extreme, moving from the effect of vertical antennas are capacitance devices which slow-motion to ensemble activity faster than the eye respond to the distance of the dancers from each can follow. 14

John Cage's reading is a performance in itself. An important aspect of the sound articulation is its Seated at the side of the stage in full view of the locus or "place" in the environment of the listener. audience, Mr. Cage begins with the careful ritual This "place" is not simply the actual origin of the of opening a bottle of champagne, dispensing him­ sound in the auditorium, but rather is an apparent self a glass, and preparing a cigarette. Depend­ source as perceived by the listener. This is ing on how firmly the cork is seated in the bottle, achieved by deploying inharmonically-related por­ the dancers may well be into their part of the per­ tions of the electronic Bandoneon sound through formance before the stories begin. different loudspeakers in the auditorium. These dispersed sounds mix inharmonically through each Regardless of the number of words, each story is listener's two ears in various spatially disorienting read within the duration of one minute, with pauses ways. Not only is the "place" of the sound artic­ between the stories for lighting another cigarette, ulated by this means, but the apparent size of the sipping some champagne, or refilling the previously sound space is continually changed. emptied glass. Because of their uniform duration, the stories (like the dance itself) occur at varying On occasion some listeners mistakenly blame the tempos from extremely slow to very rapid artic- uneasy effect of inharmonic spatial disorientation lation. on extreme loudness. Nonetheless, this aural sense of spatial disorientation is an appropriate The sound environment for HOW TO is equally as condition of the sound environment of PLACE. engaging as the dance, and operates in parallel to the dance. The focus of the audience is continually SCRAMBLE, the most recent work of the distracted, from the dancers to the raconteur, from Cunningham repertoire, was premiered at the the raconteur to the dancers. Ravinia Festival in Chicago in July 1967, and sub­ sequently presented at the American Dance Festival PLACE 3 is a drama of human anxiety, the anxiety in New London, Connecticut. 5 The decor of artist of failure to establish identity. Some people have Frank Stella, horizontal bands of brightly colored seen PLACE as a clinical panorama of the schizo­ fabric which are held taut at different altitudes by phrenic experience, the narrative of a degenerative aluminum frames, emphasizes the vertical as well syndrome which culminates in stark, outright with­ as the horizontal perspective of the stage. The pos­ drawal . In this work, performed with eight dancers, itions of these bands are scrambled by the dancers Mr. Cunningham has a rather predominant solo during performance of the dance. role: an individual who repeatedly attempts and fails to establish relationships with the people and The music commissioned for SCRAMBLE is from events of his world. ACTIVITIES FOR ORCHESTRA by the Japanese composer Toshi Ichiyanagi. The musicians (a min­ The decor, by Beverly Emmons, is made of modern imum of three) each perform multiple activities: urban materials: plastic costumes, newspaper- either several instruments simultaneously or a embellished grids, and an onstage geodesic light single instrument with complex electronic sound source, all projecting a sense of alienation. The manipulation. Though scored for western instru­ sound environment reinforces an atmosphere of ments (French horn, Bandoneon, piano and celesta, isolation. and percussion), the music for SCRAMBLE has a sound texture reminiscent of Japanese classical The music for PLACE is Gordon Mumma's MESA. theatre music. Quiet, transparent bands of sus­ MESA is performed by David Tudor and the compos - tained sound, some steady and some sliding, are er with a Bandoneon, an accordion-like Argentine punctuated with abrupt percussive timbres. The instrument. 4 For MESA the Bandoneon is electron­ score is composed in cued sequences which are ically modified to produce sustained, inharmonic scrambled by the musicians in performance. clusters of gradually changing sound-color for long periods of time with extreme changes of loudness. The sound environments of all four works make The continuity of MESA alternates between a quiet use of electronic means. This is electronic music backdrop of sound and brief, transilient impositions for modern dance, but it is not "canned" music. of considerable sound pressure. The music seems It is live electronic music which requires live to float free of coordination with the articulation of performers. the dancers, and avoids establishing any sense of rhythmic propulsion for the dance movement. The simplest application is that of HOW TO: the 15 stories read by John Cage are heard via a public means, which establishes far-reaching precedents address system. The sound environment of PLACE, for interrelating the responsibilities of performers accomplished with one musical instrument and a from different media, was commissioned for and single (though complicated) electronic configu­ premiered on a music rather than a dance festival. ration, is also heard via loudspeakers. For SCRAMBLE several conventional instruments are 1. VARIATIONS IV has already been issued on a long-playing re­ used, and the sounds of each are manipulated with cord, and VARIATIONS II is forthcoming on Columbia in November separate electronic configurations. The audience 1967. A special production of VARIATIONS V, performed by the Merce Cunningham Dance Company for television, is available from hears the music of SCRAMBLE directly from the Norddeutscher Rundfunk, Hamburg, on videotape and film. instruments as well as their electronic manipula­ 2. These stories are published, in part, in SILENCE (Wesleyan tion from loudspeakers. University Press, Middletown, Conn. ) and are the basis for a Folkways recording called INDETERMINACY. In many respects VARIATIONS V is the most com­ 3. PLACE, including music, decor, and preparation, was produced under a grant from the National Endowment for the Arts. The world plex work. Several electronic music configurations premiere was given at the Fondation Maeght, St. Paul de Vence, are integrated with the performing dancers and France, in August 1966. musicians into an elaborate super-system of human, 4. A recording of MESA, performed by David Tudor and the com­ mechanical, optical, and electronic components. poser, is forthcoming on Columbia in November 1967. It is, in fact, this super-system which comprises 5. A German documentary crew directed by Klaus Wildenhahn of the NDR Studio Hamburg made a film of the preparation of SCRAMBLE John Cage's composition VARIATIONS V. It is at the Merce Cunningham Dance Studio in New York City during the interesting that this work of diverse theatrical Spring of 1967.

John Cage's VARIATIONS V, in the television production of August 1966 at NDR, Hamburg. At the left is dancer Carolyn Brown, manipulating an amplified potted plant. The duo among the capacitance an­ tennas is Barbara Lloyd and Merce Cunningham. In the foreground is part of the electronic "orchestra," with musicians David Tudor (left) and Gordon Mumma. Photo: Herve Gloaguen 16 A Sculptor Talks About Dance SHOZO SATO

Most certainly all of the fine arts are related, but the arts and facilitates self-expression. This men­ to me one of the most interesting correlations is tal, artistic exercise is as important to the dancer between sculpture and dance. Creative dance can as the physical exercise necessary to keep his body be viewed as living, moving sculpture formed by the at peak condition. human body, while an art such as flower arranging is an immobile form of sculpture. The art of sculp­ In the United States, at the present time, it appears ture crystallizes the moods and emotions produced that most preparatory dance classes at the college by the movements of the dance. Not only are dance level are included in the Department of Physical Ed­ and sculpture organically interrelated; they also ucation for Women, rather than in the Fine Arts. derive inspiration from other fine arts. The brush Department. For the high school student, dance movements of the art of calligraphy and the essence classes are also under the Department of Physical of decorative Japanese painting, with its concept of Education, and any other courses in the fine arts are empty space, lend spirit to both my dance and my necessarily elective. For the very young, creative sculpture. dance classes are seldom available in the schools, and the fine arts are not stressed. Thus, as my Being both a sculptor and a dancer, I was moved to experience with teaching for the past two years in attempt to create a musical sculpture for the dance, American universities has shown, students of dance thus bringing in a third art — music. I strove to at the university level may only have an elementary combine the frozen form of the sculpture with the understanding of attendant fine arts. evanescent movement of the dance. The success of this coalescence was dependent upon the addition It is for this basic reason that I believe that in the of sound, for the sculpture is like amusical instru­ university program the dance and theater depart­ ment to be played by the dancer to accompany him­ ments should be setup under a School of Fine Arts. self.

My educational background in Japan, with its great stress on the fine arts, has allowed me to move naturally from my work as a dancer and sculptor to the arts of music, painting and flower arranging, Every performing artist, especially the creative dancer, should have a knowledge of the fundamen­ tals which underscore all of the fine arts (color, texture, composition, etc.). No dancer can afford to overlook the evidence of color, form or harmony, whether it be in a painting or a poem. Such a groundwork both enhances one's understanding of

A construction of trees and branches and different sizes of piano wires which create a harp-like sound. The entire structure is on wheels so that it may be easily moved by the dancers, and turned to show different faces and moods to the audience. The piece measures approximately 4x10x10 feet. For the Walker Art Center, Minneapolis, Minnesota, for use by Miss Joan Skinner. IT

Each performing student in this school should then Shozo Sato, sculptor and dancer, educated in Tokyo, with a be required to take at least two years of general rich background of experience in several Japanese art forms, study in all fields of the fine arts, including such has taught and lectured extensively in this country. In addi­ tion to numerous exhibitions of his work, he has prepared technical courses as scenery design, lighting, stage five programs for National Educational Television. At properties and costume design. present, Mr. Sato is Visiting Lecturer in Japanese Fine Arts at the University of Wisconsin, Milwaukee. He is the author Effective choreography and its successful execution of ART OF ARRANGING FLOWERS - "Complete Guide to stem from a completeness of self-expression. A IKEBANA," New York: Harry N. Abrams, Inc., 1966, and dancer can only be successful in his role if he is the forthcoming HISTORY OF JAPANESE PERFORMING ARTS, Vol. I, New York: Harry N. Abrams, Inc. , 1968. truly aware of the subtleties of other arts, so that he may call upon this knowledge the moment it is needed. This knowledge is the dancer's greatest tool and strength. Only years of study in all the fine arts will provide this tool. There are no short­ cuts if the dancer wishes to perfect his art and create the moods and emotions he wants to convey through dance.

A construction of sheets of metal combined with steel rods. A variety of percussion instruments are incorporated within the sculpture, espe­ cially on the exterior surface. Inside the sculpture is space enough to conceal one or two dancers who can then move the sculpture about on the stage. Three sets of piano wires are also used on the inside to create lovely harp­ like tones or, by loosening the wires slightly, to produce unusual, haunting vibrations. All the wires can be tuned and played by dancers who are concealed in the sculpture. This sculpture measures about 4x6x6 feet. It was con­ structed for the Dance Divi­ sion, University of Illinois, Urbana, Illinois. 18 Music for Dance NORMA DALBY REYNOLDS

After one season, consisting of five major concerts speed — sometimes to exist with the orchestra or with orchestra, about 40 school lecture-demonstra­ just with the dance. tions and concerts with some live music (usually, myself with piano, percussion, and taped music), For GO ELEVEN, a new dance to music by John it is now happening! University of Utah Repertory LaMontaine, I worked out percussion introduction Dance Theatre just gave three very successful con­ and interludes, including voice chants, with Joan certs at Kingsbury Hall with 41 excellent musicians Woodbury, choreographer. The dancers listed conducted by our brilliant new conductor, Ralph G. several pages of current "hip lingo" for me, from Laycock. which I selected material for the chant in the finale. We played back and forth between the dancers' It was my ideal of being part of totally live theater voices and two microphone voices off-stage. that attracted me here. I have found that this is not only possible, but as I knew must be the case, there As an example of a session on music problems with are talented, skilled musicians here, who are in­ the dancers, I wanted them to experience intervals, terested in and excited by the opportunity to play just dealing with the basic principles of consonance varied and challenging music for a lively, talented and dissonance in terms of early music. We used company of dancers. Really fine, competent con­ the unison, octave and fifth as the most consonant, ductors are rare anywhere, but to have, when the with the dissonant ones going against them. Be­ lights go down, complete confidence in the man with cause dancers aren't musicians, there are advan­ the baton is a great thing. We all felt that — the tages: they are willing to try anything, and I also musicians and the dancers. The music was ex­ wanted their natural voices and abilities in impro­ tremely varied in style and instrumentation, which visation. I wanted them to discover the experience never fails to enhance the dance, and really inter­ themselves, not through someone else's music. I ests the musicians, who play better and contribute structured problems for duets, and each couple had in a very satisfying way to an exciting theater event. to focus on consonant and dissonant intervals. Each Music for these concerts was composed by Vivaldi, couple started in unison, octave or fifth as begin­ Stravinsky, Ned Rorem, John LaMontaine, John ning point. One voice was to keep a pedal point while Cage, Lou Harrison, and myself. the other voice moved. The moving voice had a different problem, either to work with microtones Each project of choreography and music has given around a certain pitch or to intersperse this with me a means of probing something interesting to me wider intervals. On their predecided cue, they as a composer. My score for SUMMER CANTICLE, would shift roles so that the other voice became the which is written for 14 solo players and electronic held voice on a different pitch. Some had certain tape, and in which I performed the piano part, was syllables to sing, some had to deal with a very premiered last April and revised for this perform­ limited range, some with a wide range. Then I had ance. The same vitality and versatility the dancers four couples working together, and I decided where show on stage exists in their ability and delight in to cue them in to overlap. All of this was done in tackling any music problem I give them. They made a very studied way, but I knew I would always have fascinating, musically interesting sequences for four tones which would be held with varying degrees me, using voices, playing what I termed raucous of dissonance and consonance with the other voices and delicate bells, and doing breathing-treading moving around them. It really turned out to be very compositions — and even a breathing canon. I was beautiful. Their complete concentration, just sit­ able to record many of these sound events and ting facing each other, focusing on the sounds and compose with them for the tapes in CANTICLE. measuring the intervals by their voices, and feeling This score also contains my gamecon, a new mi- the beats and smoothness, was totally absorbing. crotonal instrument which Lee Deffeback, Salt Lake artist, built for me. The gamecon is used live as I am grateful to Norman Lloyd of the Rockefeller part of a large percussion section. I also played Foundation for ensuring that the structure of this and recorded sections, which I then altered in company provided for live music and commissioned Norma Dalby Reynolds, composer and performer, is Musical Director for the University of Utah Repertory Dance Theatre. She worked extensively with Virginia Tanner, was on the staff of Cornell University, and has taught at Connecticut College School of Dance. 19

• •;. &w*Q^?*r Joan M. Butler, Kay Clark, Loabelle Mangelson, Christine Ollerton, Richard Rowsell, Linda C. Smith, Tim Wengerd, and Dee Winterton-dancers of the University of Utah Repertory Dance Theatre

\ new music. I really believe that dancers and mu- With the accessibility of recorded music and the \. sicians and audiences respond better to totally live difficulties in financing live music which can be re­ \ theater. If we can get a good level in all aspects hearsed well enough to be really an asset, more and i of the performance, that is the more exciting ex­ more schools, and even companies, have compro­ perience for everyone concerned. Music for the mised with taped music. Besides lacking the ex­ Repertory Dance Theatre is selected from the point citement of live performance, I find that dancers of view of its supportive qualities for the dance. who work constantly with a particular "frozen" 20

performance of music on tape which the same mu­ citing is the interplay between dancers and musi­ sicians could not duplicate exactly, do not gain the cians, where the roles can be shifted. They can performing skill and assurance necessary and gra­ both be very active and display virtuosity, or one tifying for the making, moment by moment, of a can be static and the other play against it. These truly live performance. Also, the choreographers are the things that really capture an audience. in such cases are more and more prone to make The movement counts ("dancer's counts") may dances of "reacting to sounds," which, although relate as a singing line that creates a delicious usable at times, tends to make for dances lacking form over the music, but basic work is needed in in rhythmic vitality and structure, plus the fact that order to relate to the music. If the movement is this leaves the musician in the impossible position saying the same thing as the music, it's dull. If of trying to duplicate someone else's performance rhythmic skill is lacking, the result is dull. exactly, instead of fulfilling the music itself for the dance, using his own artistry and the same kind of Dancers work very hard to reach the goal of adjust­ nuances of freedom which the dancers have. ability and spontaneity, which can only be achieved through discipline. My advice to them is to take I think it is very unfortunate if a person gets the every opportunity to know about music to help them idea that it isn't necessary to have highly developed in performing and in their choreography. rhythmic or choreographic skills. One cannot go along just responding to sounds — it is wasteful of I don't know quite how to take this era of "It's great time and a real disservice to the dancer, himself. to be bored." Of course, I don't have to deal with Contemporary music is so highly developed rhyth­ that attitude with the dancers in the Repertory Dance mically that it is ridiculous for a dancer to ignore Theatre. They are very adventurous — happy to that aspect. It helps a dance if the choreographer try anything, any choreographic idea or any kind of can work with music intelligently. I do find there is sound accompaniment for dance. I like working less and less interest on the part of dancers in do­ with this company very much. I admire them and, ing this, because of happenings — and this is also together, we are making something happen. true of musicians, unless they are jazz musicians. Then, of course, they still have to buckle down and do it. In my opinion, lack of rhythm is one reason that choreography is often very dull, although there are other reasons, too. The sense of "when" things are happening, not just "how" ("This feels good" or "It has a beautiful or interesting nuance of movement") is tremendously important. As one gains strength in rhythm, the dance movement "appears." Dan­ cers do not realize this and, often, they are not trained to realize it. Currently, there is a great enthusiasm for making tapes for one's own choreography. This interest, coupled with acute awareness of "fresh" sounds, plus scissors, splicing tape and tape machine are not sufficient to make a good sound composition. After one gets an "interesting sound," one must make something with it. Making tapes for dance belongs in music composition class. Many dancers need to be reminded that no artist likes to have his work taken out of context, sliced up, changed, covered up — in short, murdered. But, then, this opens up another vast area for discussion.

I champion the time when the dancer and the music can be together or apart by choice — then we have freedom. One can only reach that plane through Norma Dalby Reynolds with Gamecon, a microtonal instrument understanding of the tools. The thing that is so ex­ 21 Video-Tape—a Medium for the Teaching of Dance RUTH HATFIELD

In spite of Marshall McLuhan's characterization of recording) and as a receiver when playing back re­ television as a "cool" medium necessitating a corded tapes; and a good deal of cable to be correct­ greater involvement of the viewer than does a "hot" ly connected if the setup is to work. Once she has medium, this extension of the human nervous system mastered the setting up process, it is simple enough seems to invite a passive, or at least unconscious, for any teacher to use without technical assistance response as it most commonly functions as part of and special lighting. our environment. When the tape is played back the student sees him­ But, whatever else it is, television can be an self so clearly and vividly that he can make his own extremely useful tool for the student and teacher, corrections to a startling extent. Seeing his own particularly the student and teacher of dance. Four back curved when he wants it straight seems to be months' use of a portable video-tape recording unit far more effective than seeing what someone else's in a wide range of classes (both as to age level and round or straight back looks like and being told that type of class) has convinced me that this equipment his is still round or arched. can be a valuable and flexible tool in the learning and teaching of dance. In these past four months, using the equipment in a variety of situations, I have found any number of Wherever dance has stepped across the line from a ways in which it can contribute to the learning purely participating to a performing activity, the process. Perhaps the most obvious is, as indi­ dancer has needed to be aware of and to control his cated above, the correction of technique. Closely movements — to have a clear idea of what the viewer allied with this use is the correction of movement sees. A strong kinesthetic awareness takes care of in preparation of choreography and rehearsal for this in part, especially for the highly skilled and performance. Here it also gives the individual experienced dancer, but not entirely even for him. dancer a chance to see the whole of which he is a Therefore the studio mirror — only completely part, and especially it gives the choreographer satisfactory for the dancer who is never going to who is dancing in his own work a chance to see and turn his face away from the audience. And there­ evaluate what he has done. Finally, in this fore the director, who by demonstration and/or connection taping can be used to record the finished verbal communication tries to explain to the dancer work, if there is a reason to keep such a record. what is happening. And the motion picture film, an expensive medium and one which has value as a Another function has been its use in a course in recording device, but no possibility of immediate theory and teaching of dance, in addition to, or even play-back for in-class or in-rehearsal use. as a substitute for, sending students to observe classes. Because the equipment is so portable and Thevideo-tape recorder does offer a method of re­ simple to operate, I have been able to carry it out cording picture and sound simultaneously, and to classes in nearby schools, record the teaching playing back immediately what has been recorded. and classwork, bring it back to the college, and The equipment with which I have been working is a present the tapes to my own students. This means small, simplified portable edition of the equipment that we can watch as a group, stop the playback used in the television station to record programs where we wish, and replay parts we wish to see for later broadcast. It consists of a television cam­ again, thus permitting discussion of the teaching era and lens to pick up the picture; a microphone techniques in considerable detail. It also gives to pick up sound; an 18"xl5"xll", 45 pound record­ me, as instructor, opportunity to see the material ing unit with reels and reusable 1/2" magnetic tape before meeting my class, and to prepare for the for recording and playing back picture and sound; discussion, making possible a thorough use of the a television receiver to be used as a monitor (en­ observation. abling the operator to see what the camera is

Ruth Hatfield, director of dance at College of the Holy Names in Oakland, California, has had a con­ tinuing program in creative dance for children at the Live Oak Recreation Center, and has directed the Teen Dance Workshop in Berkeley, California. 22

These few months of use have given me a sense of have a tendency to be embarrassed — perhaps if only scratching the surface of the possible uses of the equipment could be permanently set up in the an exciting new tool — also a sense of the need to studio, used enough to be taken for granted as part use it with discrimination. So far we have used it of class work, available for use when the right mainly as a self-evaluating tool, and as such it moment for evaluation happened, these students seems to me that care must be taken to use it only could make better use of it. At the senior high and when students and their work are ready for eval­ college levels, the students make immediate and uation. In technique this can be as soon as they valuable use of it. I have never seen posture and have begun to master the simplest and most basic basic technique corrected so quickly or by such a exercises. large proportion of a class as has happened in our sessions with the video-tape. In creative work, I have waited longer. Some stu­ dents who have had little or no dance experience, Like any other new way of doing things, it takes particularly with exploring movement and impro­ time and thought to use this tool creatively — both vising, find it difficult to gain enough freedom to in the planning and in the actual use. And when both become involved in what they are doing. Such a your own time for preparation and time with your student is not ready either to be watched by other students for teaching and rehearsal are limited, students or to see himself on tape. On the other this must be considered. It is noteasy to work the hand, the student who moves more freely and with productive use of this equipment into an already more confidence and skill can find tapes of his crowded schedule — finding the time to plan where improvisations very useful. it fits into the lesson, where it fits into rehearsal, where it fits into evaluation of performances —re­ For the student who is making a dance, valid use membering in the planning that the playing back of the video-tape depends upon choosing the point takes an amount of time equal to the recording time in the creative process at which he is ready to test and that time must be allowed for discussion and his work critically. Seeing a tape of it gives him evaluation of what the students see. But the vivid­ an opportunity to study carefully what he has done ness of what is seen and heard, the self-evaluation and seemingly to be much more objective in his by the student, and stimulating discussions which evaluation than is otherwise possible. result seem to me more than worth this time and effort expended. And it may be that in the process I have experimented with my unit in my own classes of trying to fit the use of such a learning into our of all age levels, from five year olds through col­ curriculum, we will get a new perspective on how lege. The very young children are intrigued and well we are making use of the time spent in the excited at seeing themselves dance. The pre-teens studio.

L — lens C — camera M — microphone R — receiver V — video-tape recorder E — electric plug 2:>> A Natural Place AL HUANG

Every dancer-choreographer dreams about the me. I knew I had to do something with this inspira­ perfect environment for dance, a place where he tion so I began work on a three-part dance entitled finds no boundaries for his visions. And yet he is "Chinese Suite." At the time I was unaware of any constantly frustrated, helplessly rebelling against theatrical effects. The dance was simply costumed the tyranny of the theatre proscenium with its ob­ and lighted, and yet it created a magical environ­ vious space and visual limitations. So often, dances ment — everyone saw the sky and the flight of the are born in the studio or on the stage, and stay within bird. The actual performance is now vague and the the delivery room. Many acquire a look of super­ setting of the stage has been forgotten. What I can ficial glossiness and false glamour. The dances still remember is Colorado's green fields, the blue inspired by nature, or springing forth from the sky, the clouds, and the feeling of myself as the labyrinth of the mind, will always appear stifled and crane. misplaced on a stage. Modern theatre designers have made tremendous effort to break the monotony My second dance originated that same summer. of the regular proscenium stages. Choreographers Camping on top of the Rockies, looking at the stars have also experimented in arenas, on outdoor decks, within arms reach, recreated the fantasy in my on split-level stages and on an assortment of various mind of an Oriental star legend. One night a year the arrangements of audience-performer relationships. estranged lovers were allowed to cross the sky river However, we still are far from finding that magical on a bridge, formed by the fluttering good-will place to satisfy the initial hunger of every creative magpies. On countless summer nights, lying on choreographer. the mat of our roof gar den in Foo -chow, I remember my grandmother telling the lovely story. The magic As one who has had exposure to both the plastic and of Colorado's stars, so bright, so near and dazzling, temporal aspects of the arts, I find it even more made my head lighter and my imagination soared. difficult to be restricted to the conventional theatre I became the lovesick water buffalo boy, and with a environment. By frequently returning to the source cast of eager young dancers, built "Bridge of the of my invention, relying on the vast scope of nature Seventh Moon" on the Milky Way. and the fascinating human mind, I have been able to make satisfactory adaptations for the theatre Anyone who has grown up in a rural countryside will audience. remember the distinct pleasure of bare toes in cool grass and on small paths in summer heat. Last During the summer of 1959, at Perry-Mansfield year it led me to choreograph a solo for Suzanne. Theatre, I was struck with my first desire to create While searching for a title, we kept returning to dances. The beautiful mountainous environment of "Dandelions and Sunflowers." Their glowing op­ Colorado brought back my childhood in China. There timism and simple pride seemed to parallel the were green valleys and open land reminiscent of shared joys of both our youths. rice fields and shady marshes where I used to watch the dwelling of the cranes. There were, of course, And beyond the flowers, we borrowed the wind to fly no cranes in Colorado, but the trees, the grass and "Kites," to take our thoughts and hopes and our the open sky brought the winged creatures back to unknown fantasies higher and higher. I imagined

Al Huang, a member of the dance faculty at the University of California at Los Angeles, completed his undergraduate work in Architectural Design before taking his Master's Degree in Choreography at Bennington College. He is director of the Al Huang Dance Company with Suzanne Pierce (Mrs. Huang) as designer and leading soloist. The company has performed in many parts of the UnitedStates including the Festival of the Arts of This Century in Hawaii. Recently, under a Ford Foundation Research Grant, the Huangs spent a year in Taiwan working with the Classical Chinese Theatre, where Mr. Huang was also professor of Drama and Dance at the College of Chinese Culture.

K'o Si Chi, a prominent photographer in Taiwan, studied art in Japan. Winner of numerous Asian photo contests, including the International Photo Salon held in Tokyo, 1959. Mr. K'o is the founder of theKao Hsiung Photo Society. New Photo Group, and has had four major exhibitions in Taiwan and other parts of the Far East. His exhibit of photographs of Al Huang and Suzanne Pierce brought him to the United States as part of the Festival of the Arts at the University of Hawaii in the summer of 1967. 21

Al Huang Photo: K'o Si Chi

myself as a kite, up high where I could see the whole universe, and I felt safe because I knew at the other end of the string a hand was holding me steady, and that hand belonged to myself. I alone was in control of my fate.

A dancer concerned with truth must always be aware of himself and the people around him. On the street, in rooms, wherever there is more than one person, there is a relationship. In our time, anyone more sensitive to the heart and soul than to numbers and machines, is faced with alienation, heartaches and loneliness. There is so much craving for love and a sense of belonging, and such thirst for mutual understanding. Yet, within each one of us, there seems always to be present that strange solitude to which we resign ourselves and the loneliness in which we indulge ourselves. We fling ourselves into the world in quest of a love that we are never really wise enough to nurture. "O, Vaporous Heart!" is a dance about this emptiness. The three parts, subtitled "Cry Want, Inner Monologue, Rush-Perishable!" take place in a crowd, on an empty street, and in a small room where two lost hearts can find a moment of contact, with passion­

YING YANG — Al Huang and Suzanne Pierce Photo: K'o Si Chi ate urgency that will inevitably vaporize into thin air. 25

Completely opposite to reality is the world of come forth with the mystery and drama of an un­ dreams. With its unfathomable intrigue and depth, known psyche in the human mind. Searching for an its patternless time span and dynamics , I find an appropriate title, I found aline by Goethe: "Sleep's environment for constant search and exploration. a Shell, To Break and Spurn." And, as is true of Within an illogical cycle of reason, it reveals vivid dreams, the dance today is still unfolding meanings three dimensional structures, and ever-changing that had previously gone unnoticed. phantom landscapes. This, together with the Chinese ghost fantasies I heard asayouth, formed When there is a lack of actual environment to absorb, the basis of an earlier untitled quartet. As we imagination becomes a wonderful helper. It has began work, the four bodies somehow replaced the convinced me, in "Fathoms," that I was on a deep- forms in my dream; and I, the dreamer, began to sea expedition with Captain Jean Jacques Cousteau, and caught up somewhere between the void lands of "Limbo." But not until I staged "Circus Bits and Bites," in a real tent with sawdust on its dirt floor, did I stretch my friend, Imagination, to its fullest and most challenging shape. As the temporary stage began to slide apart, one by one, my dancers fell into the cracks between the roped- platforms. It was certainly not one of our more successful performances, but the experience inspired me enor­ mously. I proceeded to find myself a beach tent and to build a small orches­ tra of cymbals, drums, whistles, etc. inside. Moving within the tent, con­ fined with the manipulation of all the suspended instruments and brightcos- tumes, I found a new world before my eyes, a world where the surrealistic duel between man and his own image is constantly taking place. A sense of immediacy was always present inside the tent. Execution and creation hap­ pened simultaneously. I thought I had found the answer, but the venture, alas, turned out to be far less reward­ ing for the spectators than for myself. Once again, I reluctantly retreated back to my proscenium box, wrack­ ing my brain to think of newer costume ideas and more imaginative settings

Al Huang and Suzanne Pierce A CLOUD PASSED Photo: K'o Si Chi 2(i

to bring my dances' various environments to the the hills; and at night, in the busy street corners stage. and dark, desolate alleys. With his innate feeling for movement and our mutual understanding of Then one day, while Suzanne and I were in Taiwan dance imagery, our task became a joyful and most on a project for comparative studies of Eastern rewarding endeavor. Everywhere we went we Theatre, a Chinese photographer, K'o Si Chi, came wished we could seat an audience right there. The to us and asked to watch our rehearsals. He was a thought of having to go back to the rectangular stage most sensitive man, and the photos he took that day grew more and more disheartening. Andyet, having were amazingly impressive. We marveled at his this experience of reliving the scenes that first sense of movement, and the structures he was able prompted my creativity, has kept my dances new and to achieve in his compositions. As news release alive. Our performances thereafter have had added photographs, they were superb. But Mr. K'o was dimension and freshness. not satisfied. He felt they were a weak and insig­ nificant record of the dances. He was anxious to Looking back on my choreographic development, know more about each dance and especially the I can see that I am deeply indebted to the elements inspiration for them. Aiming to capture the essence of nature and the inventions of the mind. Now I of the dances, he felt that theatrical lighting and am even more convinced that every dancer-chore­ studio background lacked the proper content. We ographer must be in constant communion with his finally came upon the idea of taking the dance photo­ dance environment. He must try to get away from graphs in natural surroundings, similar to my orig­ the stage and the studio mirrors as often as he can. inal concepts. For three weeks we looked for places In our minds, at least, we can tear away the theatre in Taiwan for our project. We danced by the ocean, roofs, break the walls of the proscenium box and on the rocks, on the golf green, in the trees, over find a better place to dance in, a more natural place.

Al Huang and Suzanne Pierce Photo: K'o Si Chi 27 A Regional Ballet Director Speaks RICHARD GIBSON

Interview by Gretchen Schneider Pioneering in any field naturally presents difficul­ ties, but, at the same time, has many appealing Question: Mr. Gibson, do you find it difficult to divide your factors. I have taught in New York, and enjoyed time between teaching many hours a day and building a the stimulation of its "professional atmosphere," performing company ? but, frankly, I found myself repairing instead of Answer: My primary interest, to begin with, was in creating. The majority of ballet students arrive teaching. I have only been in San Mateo, California, in New York with several years of training behind for three years, which is a short time. Therefore, them, which, in most cases, is not of the highest relatively speaking, we are still in the formative caliber. Classes are, of necessity, large, and stages. I feel strongly, and I think many people do filled with students with such varied backgrounds, not realize this — the basis of a company is the that good, sensible grading is almost impossible. school. Too many people see only the company. I enjoy, immensely, the luxury of creating a dancer It is so important to have dancers strongly trained from the basic grades, and having advanced classes and disciplined in one school, which is why the idea in which the dancers' identical backgrounds put them of accepting dancers from many different schools in on one level, all with a homogeneous style. the area (as appealing as it must sound to civic- How much time do your Company members devote to minded individuals) does not appeal to me. A dancer the Company? with previous training, ordinarily, will attend my The dancers in the Company have nine required daily schedule of classes for at leastsix months or classes a week. These include a technique class a year before entering the Company. Look at any every day, a pointe class twice a week for the girls, great company — the Russian Companies, The Royal a men's class and a pas de deux class. Anyone who Ballet, the Danes, our own New York City Ballet — cannot take these classes cannot be in the Company. there is a strong school behind each one. When we are in rehearsal, we rehearse daily, in­ cluding Saturday and Sunday. Of course, for some­ What methods are you employing to make your school the one outside the area, these demands would be hard strong basis for your Company? to meet. Presently, we have two departments in our school — modern dance and ballet. I direct the ballet de­ Do you feel that guest artists are beneficial to a Regional partment, but my dancers receive instruction in Ballet Company? modern dance as well. Since there are a number I am in favor of having guest artists — really dis­ of students who are not aiming to become profes­ tinguished dancers performing leading roles with sional dancers, our ballet department is divided my Company, occasionally, I feel that this is a into two sections. I try to see that the students valid procedure, because it invariably enhances without professional aspirations get as much satis­ the performance. It is important, first of all, to faction as they can from dance — both physically show the best for the audience, which may be in the and emotionally — and I encourage them to take period of being educated about dance. Our own modern dance classes if their interests lie in that dancers can learn a great daal from dancing with direction. The students who are capable, who have such fine artists. Of course, it is important that the physique required for classical ballet, and the the company does not become dependent upon the desire, are placed in a specialized program which visiting dancers. Acompany must be strong enough offers them an ideal schedule of classes, but, nat­ to stand on its own, to do fine performances without urally, makes great demands on their time — es­ guest artists, and not to look ridiculous with them. pecially since the student must keep up his regular Guest dancers and dancers from outside of the com­ school work at the same time. One of my aims, munity can enhance the company. And if anything and I definitely want to move in this direction, is enhances it, do it! to have an academic school with the ballet school. There will be, of course, ballet classes plus aca­ Do you have a large turnover amongst the members of your demic subjects, and also subjects related to dance. Company? When I feel that one of my dancers is ready to enter Do you find it difficult working in an area far from the the professional world, I encourage him or her to cultural center of your art? go. Inever send any of them until they are finished

Richard Gibson, artistic director of the Peninsula Ballet Theatre Company and School in San Mateo, California, has had extensive experience in both performance and choreography. He danced with the Robert Joffrey Ballet Company and taught at the Joffrey American Ballet Center. 2 c-

with high school, and are sufficiently mature. Last Does the City of San Mateo offer you assistance of year, I had a dancer leave for Ballet Theatre. Al­ any kind? though there was still much I could give him, he So far, we have received no financial assistance had reached the age (he was 18 years old) at which from the city, but they are offering us moral sup­ a dancer should begin a professional schedule, not port, which is a step forward. For instance, the only of classes, but of performing. At the present, mayor has proclaimed one week in October "Ballet our Company averages 15 performances a year, Week," in honor of our performances at that time. while a major professional company will have more The leading department stores in the community are than 10 times that number. In the future, I hope carrying out the theme in their window displays; that I will have more to offer in the way of per­ the library is featuring ballet books and films. A formances, in addition to the classroom training local cinema will show dance films. All of this is to which I can offer them. What I would like, and bring ballet and our Company, in particular, into what I think is necessary in order to keep our dan­ the public eye. cers and not have to send them away, would be to have four weekends in succession three or four Will you tell us something about the developments in the times a year. That would be a start, and then we Regional Ballet organization? would add, perhaps, a four-week tour of colleges Regional Ballet is a movement to decentralize and universities. To answer your question more ballet, to give the smaller towns a ballet life for directly, I would say that I lose, on an average, their dancers and an artistic life for the audience, two dancers a year, but there are three to take lam associated with our own particular region, the their places. Pacific-Western Regional Ballet Association.

The majority of your Company's repertoire is your own I think it is impossible for a dancer to go from choreography. Is there any particular reason for this? school into a professional company. Filling this It is important for the repertoire of a young com­ gap between the classroom and the professional pany to suit its capabilities as well as to challenge company involves training that can only be achieved it to further growth. Every ballet that I have cre­ on a stage before an audience. Regional Ballet ated for my Company, so far, has been done with provides a way of meeting this need. Eventually, both of these things in mind. We do have works many companies, which are presently "Regional by other choreographers in our repertoire, and I Companies," will grow to professional status, as definitely think this is important for my dancers. the Atlantic Civic Ballet has recently done. Certainly, I wouldn't be ridiculous enough to think that in our world a dancer can learn only from me Each year, the regional organization brings together and my choreography. As a director of a young ballet groups from the area for three days of per­ Ballet Company, I must offer as broad an artistic formances, classes, adjudication, etc. Of course, range as possible, but stay within its capabilities. our Pacific-Western Association has only been in existence for two years, so we are still evolving Does your Company receive aid from a guild or any such our procedures. We have had some programs for organization? which the groups were screened beforehand, others Yes, we have a guild composed of residents of where they were not. We have had excellent ad­ San Mateo and the Peninsula, and it represents the judicators , and visitors from metropolitan areas, community. The purpose of the guild is to support who have proved very helpful. I think it is most the company. It has social functions such as fash­ important that these events be constructive, learn­ ion shows, dances — to raise money. The guild ing experiences for the participants. This means operates separately from the Company, with its own that the atmosphere should not be one of competi­ board of directors and officers. Therefore, there tiveness , nor should this be a time of auditioning is no interference with artistic policies. for future company positions. The young dancers should have a chance to learn as much as possible Where does your Company perform? about every aspect of performance. They can learn Our performing facilities are provided by San Mateo about appropriate stage behavior and efficient re­ Junior College, and since we are a non-profit en­ hearsal methods, as well as the many problems of terprise we pay just a nominal fee. At first, I did performing for an audience. Classes with the pro­ almost all the backstage work myself, but now we fessionally oriented teachers can point up the ne­ have our own stage manager andsome others of our cessity for technical excellence attained through own people backstage in supervising positions with daily work. Discussion — and I believe that there some help from the students. should be a great deal of discussion — can clarify 29

Kristine Elliott and Kenneth Delmar in THE DOOR Photo: Christopher Choreography — Richard Gibson Music — Ralph Vaughan Williams Set Design — Dorothy Sovinsky

standards, and help the students understand the should begin at the age when one normally enters whole field of dance more thoroughly. a university, I feel that there should definitely be facilities for younger students. What is your opinion regarding the university as an environment for ballet? As far as any place as an environment for ballet is I think that the university can be the ideal environ­ concerned, I believe that what it really comes down ment for ballet if directed properly, with a depart­ to is the director. If the director is a genius, such ment run along the lines of some European state as Balanchine or Joffrey, he is going to "make it supported schools. Since a ballet dancer's career happen" anywhere. 30 From England—Dartington: The Green Climate DOROTHY MADDEN

Space is not everything — but necessary. of gardens, walks, woods filled with rare trees, Spirit is not everything — but necessary. resting places within these areas, so that the mere Time is not everything — but necessary. presence of the estate opens one out to all aspects of beauty. Additional buildings, when added, fit When the three are present, the tangible of space into the general architectural spirit although they comes alive with the intangibles of time and spirit, are modern in concept. A Henry Moore "reclining and a green climate is ready for the dancer. figure" rests on the upper terrace of the gardens, To speak of the dancer's environment as being and from there extends a long vista of the park- "space" is obvious and primary. I want to speak lands. Mrs. Elmhirst designed the gardens to of environment as part of the ecology of an at­ "emphasize form and composition," so that, even in titude which permeates the whole Dartington con­ walking or in contemplation, one is subtly injected cept. Space is encompassed in this attitude, but with this ecology of art. only part of a greater philosophy regarding the In this setting of incredible beauty there prevails encouragement of the arts in everyday life as well a thoroughly modern encouragement of the arts and as a profession. ideas. Within the castle walls there is little Dartington College of Arts is located on an estate patience with old-fashioned modern dance (of what­ of some 4000 acres in south Devon in England. It ever nation, including the United States) and was purchased in 1925 by Leonard and Dorothy thorough encouragement of the avant-garde. Merce Elmhirst, and is now controlled by a Board of Cunningham, to speakof one of the most recent per­ Trustees. formers in the Barn Theatre, said he would be de­ lighted to return for another performance (although If I use space as the touchstone to an attitude, then I am certain he could clear the width of the stage all that follows brings into focus the psychological in one leap, as Clive Thompson has also done.) environment of the dance along with the other arts at The Barn Theatre, by the way, was built in 1936 Dartington. When first askedwhich studios Iwould and opened for Michael Chekhov. It also became like to have available for the "Course on American the theatre for Kurt Jooss, and for all drama and Modern Dance," and a modest apology inferred in the dance performers now, as well as in the time of the additional statement that by next year there would be refugee artists. yet a fourth dance hall for a student body of some 300, I found swallowing difficult, but managed to I do not mean to imply that the concept of Dartington answer steadily that we would need whatever was is foreign to us. However, we are only now be­ available for the 21 members of the course. If there ginning to realize the breadth of it. Mrs. Elmhirst is such a thing as a B 1 shot for the psyche, space is a member of the Whitney family, and was one of does it for the dancer, and lack of it infects one the first supporters of Bennington College. Her with malaise of spirit. interests in the arts, supported by her Yorkshire husband, have made Dartington possible. Their The atmosphere opened out from there. Every aim was restoration in the broadest sense: not only possible encouragement was given to present a point the resources of the town, but also providing op­ of view — or several, because surely there is no portunities for enjoyment of the arts. All of the one point of view in America on dance. It is no risk arts are present and encouraged, although some, to say that this psychological climate is a dancer's through misfortunes of war, and the death of lead­ need, if it makes us happier to sheathe "spirit" in ers, have sometimes fallen behind a step or two. that word. New ideas are encouraged to evolve from whatever The Elmhirsts have provided this spirit since the has been traditional, with a constant desire to for­ founding of Dartington in 1925. The estate is a ward the arts in new directions. War may have restored medieval castle complete with courtyard, deterred, but not arrested those goals. Prior to surrounding buildings which are studios for music, the war, Jooss and Leeder established a school of art, dance, living quarters, a Barn Theatre, a dance at Dartington, and from 1934 to 1939 many tilting ground, an extens ive arrangement of 35 acres ballets were created in this environment. Jooss Dorothy Madden, teacher and choreographer, is Director of Dance at the University of Maryland. 31 had always wanted an academy of arts in a rural world of education, is encouraged. setting. Rudolf Laban also became part of that dance world and worked closely with Jooss. One Into this green climate, then, each summer since of their most famous pupils, Birgit Culberg has 1965 has come a highly selected group of teachers of just written an excellent article on dance in a re­ varying backgrounds. Their attitude of eagerness, cent issue of DANCE PERSPECTIVES. quick responsiveness and talent made my environ­ ment as a teacher and choreographer a most ex­ citing one. I have not gone unchallenged, mind In this wealth of space and spirit, for three sum­ you — every day! That is part of the excitement. mers I have been given time and privilege to work There is a desire to exchange ideas; a great will­ with dance teachers in England. The hope has ingness and capacity to work; at times, a breathless been that American dance and choreography would look at the discipline expected; many times balking help to promote the dance generally. As Ann at the idea that a dance, or study, is planned to Hutchinson mentioned in her article in IMPULSE the last inch (but they return another summer for 1966, that hope envisions the encouragement of more); a search to find where materials can be a style of dance native to England. The wish is used; hot arguments. A clarity results — not set not to impose the American dance as the only an­ patterns — and a healthy respect for the time that swer, despite rumblings to this effect. This would should go into choreography. In my reflections, I only encourage an attitude similar to that which has existed in the past — that there is only the Laban am educated by them to further clarity, and through point of view. This is a false premise in any art, them to find further answers. I think our artists and one which I am sure the great man himself perform as much in England as they do here; one would never embrace. There are many approaches has to run fast in order to keep up with the con­ to modern dance. This has been one of its riches. stant question of "What do you think of so and so's Through exchange of ideas, dancers and choreog­ concert?" raphers evolve their own particular way. I have The Art Department, having worked one summer profited much in this exchange myself. As the ed­ with the dance course, now seeks for more exchange itor of IMPULSE indicates,". . . there is no last with the group, and vice versa. Even the long and word." well-established Summer School of Music put out tentacles of inquiry and welcome this past summer. Members of the course have come from a variety Since dance is said in the same breath as theatre of schools, colleges, and one or two studios. The at Dartington, to work in the small theatre with co­ predominating note has been the use of the American operation from its technician is a matter of course. dance in education, and as such it has had the sup­ Here again, the pervading attitude of the multiplic­ port of the Ministry of Education as well as of the ity of the arts opens up that psychic environment. Elmhirsts. The vitality in carrying out the goals lies in the wise guidance of Peter Cox, the princi­ Found space, of course, is as available as at a pal, and his vice-principal, Ruth Foster. It is Dubrovnic Festival. . . the studios, the Great Hall, through the efforts of Miss Foster, soundly backed the Courtyard, the tilting grounds, the terraces. by Mr. Cox and the Elmhirsts, that the recent Indeed, in the early days it was the found space courses in American dance have been encouraged. that made performance possible. It is only fair to note that it was due to Miss Foster's efforts, prior to her coming to Dartington, that If it sounds all cakes and ale, it is, for the most Joseph Gifford and I taught in another college in part. Wherever there are human beings involved, England, and made our first informal visit to there are ups and downs. Wherever there is the Dartington. atmosphere of art it is "upper and downer." But what emerges from this special environment is a There has also been a close relationship with the constant impulse toward an art. To be at Dartington efforts of Robin Howard, who has established the is to "walk in beauty,"as the Navajos put it, to be London School of Contemporary Dance, a branch involved in dance, ideas, art, and to be involved of the Graham studio. Each summer session at realistically even though in the setting of aCamelot. Dartington has had a guest from that school for a master class; such close ties also exist during the winter, when Flora Cushman, an American, is If I may paraphrase an old Latin grammar rule, teaching at Dartington. In this fashion, a close it (Dartington) is "from, with or by, in, on or at, connection between the professional and the young sometimes around," and certainly always "for" the student, who may enter professional dance or the dancer's environment. 32 From Ghana —The Dancer's Environment DRID WILLIAMS

The African dancer's environment is based upon sense is developed very highly and very soon. Few, earliest postnatal experiences. The Ghanaian child, if any, African children are bottle fed. Of all his until age two or two and one half, experiences little senses, it is safe to say that the visual is last to be or no separation from its mother and little or neg­ developed and the least vital to his early survival ligible isolation in physical space. Heshares these needs. two facts of life with all West African children. Familiar paraphernalia connected with an American When he does begin to become more or less inde­ baby: cribs, baby carriages , nurseries, spaces on pendent physically, when he "comes down to earth" the floor set apart by baby blankets, all of which as it were, he is again introduced into an entirely isolate the baby in physical space, are virtually different world from that which we know. Plants, unknown in Ghanaian life. This-baby's world is his stones, earth, water, furniture, light and fires, mother's back. buildings and everyday activities are similar in some ways. It is the territories, the social dis­ The little one is slung in a most ingenious fashion tances, the personal distances; all of those things just above the mother's waist in her cloth (an article pertaining to the non-verbal communication system of clothing in the Ghanaian woman's wardrobe that of his environment that are utterly different. He is has a fascinating number of uses). Only the baby's introduced into a world which consists primarily of head or his head and arms stick out. His funda­ communal spaces. These spaces are territories mental body position, in dancerly terms, is best called courtyards, compounds, villages, roads, described as a wide second position plie. He is fields, gardens, bodies of water and forests. None merely shifted dextrously around to the front for of these contains any space which he calls his meals, often with no appreciable interruption of own. He will acquire this upon adulthood — activity on the mother's part. He is removed oc­ never before, unless he was born in a definitely casionally for an equivalent to a diaper change, "Europeanized" town or community. and if for some reason his mother does not carry him, he will find himself similarly placed on another He finds these spaces inhabited by all kinds of female relative's back. His space, his home, his fascinating creatures and things besides people: environment for 85% of the time is here. It is hard animals, birds, insects, winds, rain, sun. He to conceive of the vastly different and incredibly does not live "inside" in the sense that people in rich' sensory universe this child inhabits, and temperate or cold climates do. He lives outside; equally difficult, without considerable exercise inside a compound. He will learn to live, play, of the imagination, to grasp his totally different I work, eat — everything, in what most Americans spatial orientation. _l would describe as a "public" place. There are always other people around — and sound — and Perhaps all babies' worlds are primarily tactile, rhythm. He never loses his basic tactile and move­ but the West African baby's world is tactile, kines­ ment relationship to his world. thetic and, above all, motion oriented to an extra­ ordinary degree. He is nearly as much a part of By age eightor nine, the Ghanaian child has devel­ his mother's body after birth as he was before. oped certain characteristics which will define any There are no intervening cradle boards, baskets, environment that he inhabits or creates regardless or heavy wrappings of any kind. It is hot in Ghana. of what he does. These characteristics are es­ The baby's auditory space is defined by all of the pecially apparent in the dancer, the dances or the impressions he receives from the outside world choreography. He has an extraordinary sensitivity through his own ears; this is not unusual. What is" to subtle emotional changes. He has a highly devel­ unusual are the felt-vibrations and sounds of his oped, positively uncanny sense of rhythm, motion mother's voice, body rhythms, muscular tensions and changes in muscular tension. He has an acute and emotional states. The impacts of these are sense of physical space as place but difficulty in con­ constant owing to the proximity. His olfactory ceiving of it as edges or lines. He has imperturbable

Drid Williams, dancer and teacher, is a member of the faculty at the'Institute of African Studies, Dance Division, University of Ghana.