JEROME ROBBINS DANCE DIVISION INCLUDING JEROME ROBBINS ARCHIVE OF THE RECORDED MOVING IMAGE

ANNUAL REPORT FISCAL YEAR 2013

COVER IMAGES

First row: Her Royal Highness Princess Norodom Buppha Devi; photo by Darial Sneed.

Second row: Robert Farris Thompson, Master T; photo from video shot by François Bernadi for the Jerome Robbins Archive of the Recorded Moving Image. Royal Ballet of Cambodia, 1927; photo courtesy of the National Museum of Cambodia. Maxixé Brésilienne, ca. 1914; postcard by Aimé Dupont.

Third row: Merce Cunningham and Carol Sumner rehearsing Summerspace for New York City Ballet, 1966; photo by Martha Swope. Margot Fonteyn as Princess Aurora in the Royal Ballet’s Sleeping Beauty; date and photographer unknown.

Fourth row: David Vaughan, dance historian. Arcell Cabuag, Clarice Young, Ronald K. Brown, and Otis Donovan Herring; photo by Dance Division staff.

Fifth row: Djoniba Mouflet, Lamine Thiam, Mangue Sylla, Sekou-Dembele Pablo, and dancer; photo from video shot by François Bernadi for the Jerome Robbins Archive of the Recorded Moving Image. Carlota Santana; photo by Victor DeLiso; courtesy Flamenco Vivo Carlota Santana.

Jerome Robbins Dance Division Annual Report 2013 Design by Arlene Yu Printed by GHP (Gist Herlin Press) Printing costs graciously provided by The Committee for the Jerome Robbins Dance Division © 2013 The New York Public Library, Astor, Lenox and Tilden Foundations

Table of Contents

Letter from the Curator 4

1 Profile of the Division 9 1.1 Staffing ...... 9 1.2 Mission Statement ...... 9 1.3 Size of the Collection ...... 10 2 Activities 11 2.1 Overview ...... 11 2.2 Collection Development and Notable Acquisitions ...... 15 2.3 Services to the Public ...... 28 2.4 Processing and Bibliographic Control ...... 36 2.5 Preservation and Conservation ...... 41 2.6 Exhibitions and Public Programs ...... 44 3 Core Supporters of the Dance Division 55 3.1 The Committee for the Jerome Robbins Dance Division ...... 55 3.2 Friends of the Jerome Robbins Dance Division ...... 55 4 Grants, Projects, and Initiatives 58 4.1 Khmer Dance Project with Funding from Anne H. Bass...... 58 4.2 Dance Heritage Coalition ...... 58 4.3 Core of Culture ...... 59 4.4 The New York State Council on the Arts ...... 59 4.5 The National Endowment for the Arts...... 59 4.6 Doris Duke Charitable Foundation Grant ...... 60 4.7 Rockefeller Brothers Foundation Grant for Original Documentations ...... 61 4.8 Dance Historian Is In with David Vaughan ...... 61 4.9 Adham Hafez, of Arc.Hive of Contemporary Arab Performing Arts in Cairo ...... 62 4.10 Dance Prints and Designs Digitization Project ...... 63 4.11 Preserving Dance Division Obsolete Umatic Tapes ...... 64 5 Staff News 65 5.1 Personnel Changes ...... 65 5.2 Staff Development ...... 66 5.3 Committee Activities ...... 67 5.4 Publications, Press, and Social Media ...... 68 5.5 Volunteers, Interns, and Fellows ...... 70 6 Concerns, Goals, and Objectives 72

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 3 Letter from the Curator

In a library, no empty shelf remains empty for long. Like Nature, libraries abhor a vacuum, and the problem of space is inherent in the very nature of any collection of books. This is the paradox presented by every general library: that if, to a lesser or greater extent, it intends to accumulate and preserve as comprehensive as possible a record of the word, then ultimately its task must be redundant, since it can only be satisfied when the library's borders coincide with those of the world itself. The Library at Night, by Alberto Manguel, p. 66

This “paradox,” between comprehensively collecting for the future and the space to hold those materials, has grown exponentially with the addition of photographs, video, and audio to a world that was once only the word. The digital ideal is often considered the answer to this space dilemma for a collection, such as the Dance Division’s, that has the mission to accumulate and preserve as comprehensive a record of dance as possible. To advance in this direction, this year The New York Public Library (NYPL) is working to finalize the Trusted Digital Repository and a delivery system for digital files that now even includes video. For preservation, video is especially difficult because of the size of the files. An hour of video can become about 100 gigabytes of high resolution preservation digital files. For delivery, digital The digital ideal is preservation means no longer relying on a human being to find a videotape on the shelf, put often considered the it in a deck, and pipe up the video signal through cables to the viewer on the Third Floor. As answer to this space materials are migrated to digital files, they will be available to the viewer by a click of the dilemma for a mouse or a touch of a screen. collection, such as the This daring step into the digital realm means that in any single day I am caught in Dance Division’s, that conversations about the differences and usefulness of such things as Fedora, (Flexible has the mission to Extensible Digital Object Repository Architecture); RDA (Open Metadata Registry Project accumulate and Resource Description and Access) and MARC format cataloging; METS to MODS crosswalk (a preserve as new tango step?); 100 gigabyte files and 4 petabyte storage; 10 bit uncompressed files and comprehensive a H.264 files. The complexities and enormity of the digital changes happening today can make record of dance as a person reel with the implications, complications, and rapid change. Innovative today, possible. obsolete tomorrow.

As I spend so much time thinking and talking about present and future digital realities, the very process turns my thoughts to the past, to my last twenty-five years at the Library. In the late 1980s, when I began to work at the Jerome Robbins Dance Division, then called the Dance Collection, at The New York Public Library for the Performing Arts, then called the Performing Arts Research Center, the Library had no online catalog. Books, videotapes, manuscripts, photographs, clippings, and programs were arranged in the exquisite order of the Library's own system invented by John Shaw Billings, typed on cards that were arranged in alphabetical order by title, author, or subject, and in alpha numeric order by call number. These cards were stored in long drawers in beautiful old oak cabinets.

Else Peck, then the head of the Jerome Robbins Archive of the Recorded Moving Image, and I sat at our desks, our backs to each other, a shared typewriter on a metal cart between us. The white out and carbon paper were located handily nearby. The only remnant now of those items is the "cc" in an email that originally stood for "carbon copy.”

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Always ahead of the curve, the Division also had one computer, which we shared to make inventory lists of donations and saved on five-inch floppies. There was one noisy dot matrix printer that spat out its words on paper with holes up the side.

By the end of the 1990s, barely ten years later, all the staff had their own computers, there were legions of computers for the public, and the Library for the Performing Arts had an Information Technology (IT) staff member, while the Library had a server system with backup and an entire team of technical staff.

Then we got our first work email addresses. At that time, when we sent an email to someone, we had to call them to tell them to open up their email and look at what we’d sent. We gaped at each other in horror at the possibilities: if this email thing ever catches on we will be swamped, and not be able to do any work but answering emails.

Then the Internet began. I would look up a dance company and on its site there would be its contact information, name, address, telephone number. Nothing more. Sure, we thought, the Internet was an expensive, glorified telephone directory.

Gradually, everything changed. We are now, in fact, on email at all times, 24/7 anyone in the world can contact us, ask a question, request an appointment, or discuss a donation. The information in the catalog is fully available on the web. One can search for information about what the Dance Division has, and now, in another quantum leap, for some photographs, old books, and prints, you can see the digital image of the actual artifact. As of fall 2013, with great thanks to the Doris Duke Charitable Foundation, the Dance Division will launch its new Digital Dance Video interface. Most of the materials will only be viewable in the Library, but videos with permissions or in the public domain will be available on the World Wide Web. Some of the materials that will be available via the Web are the 300 hours of dance from the Kingdom of Bhutan created by Core of Culture, and the more than 50 interviews and performances from Cambodia created with the Center for Khmer Studies in Cambodia and Anne H. Bass Foundation. Also available are some contemporary dance performances from the Dance Division’s Original Documentation Program and some videotaped interviews from our Oral History Project.

Dance was an ideal But before all this came about, Genevieve Oswald, first curator of the Dance Division, had subject for begun in 1965 to create the landmark Dictionary Catalog of the Dance Collection, which was experimenting with published ten years later by G.K. Hall, first in print, then on CD-ROM. Dance was an ideal computer technology subject for experimenting with computer technology and with categories, headings, and and with categories, procedures, because it is relatively small. This process was described in an article in Dance Chronicle, "A Bold Step Forward: Genevieve Oswald and the Dance Collection of the New headings, and York Public Library," by Lynn Matluck Brooks, available online: November 7, 2011. procedures, because it is relatively small. Her plan necessitated creation of a broad set of subject headings for the multiplicity of dance and the subdivisions under which dance material could be properly arranged: “I decided that what I would have to do was look at every book…in our collection, at the chapter and section headings and the index, where the load of information was found, and at the way that information was arranged and subdivided. After a while, I began to get a sense of it all, of the richness and variety of dance subjects.” To bring the dance headings into conformity with library practice, she explored other large subject headings, like furniture and visual art, to match formatting and categorization. “I spent six months on it. The library gave me a leave of absence to do these headings and I finally came up with 46,000 subject headings for dance that were indeed the framework or structure for our catalog.” Oswald’s goal was to create an integrated catalog in which all

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 5 material, of whatever sort (text, image, music, film, etc.), would be brought under each subject heading. She explained that “in the Dance Collection, we used dance as a mosaic….We wanted to have the pictures, the prints, reviews, the program, all the books and oral tapes, and everything that is relative to that production, or that person.” Organizing and interconnecting all of this material was a monumental task. Because of the wide range covered by the collection, Oswald had to distinguish different kinds of dances from one another: “To show that they were a folk or a social dance, I put in parentheses the word ‘dance’ after it. That meant that the reference listed had information on a particular folk or social dance. For the title of a ballet or a modern dance work, I put the name of the choreographer after the title of the work. That allowed us to organize choreographic works by choreographers under the title.” All versions of Petipa’s Swan Lake fell under “Swan Lake (Petipa),” and were listed with the work’s films, books, music, reviews, photographs, and libretti.

Computer cataloging was in its early stages and Oswald investigated all options then in process, from a library in Boca Raton, Florida, to IBM in New York. She developed a coding system to identify elements in each type of reference in the Dance Collection. With funding first from Ford and later from the Rockefeller Foundation, Oswald and a creative group of systems analysts and project assistants (first, Barbara Palfy and, later, Dorothy Lourdou) completed the huge job, only to discover, in proofreading, a small glitch: “Ruth St. Denis was left out [of the main catalog]; I couldn’t believe it. It was high tragedy; she would have loved it! A rank on us, perhaps?” Oswald’s system for the Dictionary Catalog was groundbreaking: “If you have at hand twenty-five lithographs of Marie Taglioni – if you put them under the name of the lithographer, which you would, if you were in an art catalog – then every time a reader wanted the Taglioni material, one would have to go through twenty-five different portfolios to bring everything on Taglioni to that reader.” Instead, Oswald cataloged all such prints under the dancer’s name, “Taglioni.” She spoke at meetings of the Special Libraries Association to introduce the field to special needs of dance….“I remember one cataloger who said, ‘Gegi, you can’t do this. This is against library science – treason!’ But we had to.” Oswald’s innovation – thinking of the material from the standpoint of its subject matter – is a practice now standard in the library field.

The Dance Book Catalog was the first such publication in the United States converted into a computer database. It quickly entered the reference rooms of public and university libraries around the world, making the service reach of the Dance Collection as international as is the material it holds. When asked if other dance libraries have adopted the method developed by Oswald and her assistants, she replied, “Oh, yes. Not only that – this is the joyous thing – I learned one day that the director of the Library of Congress was sending a committee to look at our catalog ….The senior committee member came up to me and said that we had created a benchmark in the world of library science. We had successfully invaded the upper reaches of library science.

Just as switching to a computer search mechanism at that time was a huge leap from card catalogs, so now is the jump to linked data and digital delivery of the materials themselves. Internal processes for keeping track of video, from the initial inventory, to its delivery to the Preservation Unit, to its addition to the Digital Repository, to the delivery system, back to

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the cataloger, and finally to the public have all changed. Each file must have an ID (complicated when a video file has multiple files, but are only elements, such as multiple video files and sound, or media and project files, for one title's content), and that ID must be linked with a permanent link to the catalog record that reveals the content on the file and also contains the technical information about the digital file.

The original analog materials will be stored the same way as before in temperature and humidity controlled vaults, but the digital preservation files will be stored in a Trusted Digital Repository (TDR). A TDR is a storage space that not only holds these files, but will also be able to locate the files whenever software and hardware changes, and that includes technology changes to the repository, the catalog, the computers, the servers, and more. The TDR must also be able to migrate those files to the next not-yet-invented file formats and authenticate that the migration was done without errors.

…the amount of Over the years, the dance community learned to trust that the Library would safeguard their materials offered in a materials, providing good storage conditions, preservation, and access, and not allowing single donation has their usage outside our walls. The result of those years of trust and outreach is donations are exploded with the on the rise. At the same time, the amount of materials offered in a single donation has lowered cost and ease exploded with the lowered cost and ease of creating records of performances and rehearsals. Large companies have videos in the thousands, smaller companies in the of creating records of hundreds. How is the Dance Division to remain comprehensive in this age of proliferation performances and and abundance? How can the Library preserve all these valuable records, catalog them, and rehearsals. Large make them accessible? How can we keep the library's borders from coinciding with those of companies have videos the world itself? in the thousands, smaller companies in These are the questions that haunt us at night. I have even had friends exclaim, while the hundreds. How is passing the rows of manuscript boxes, "Why haven't you digitized all these papers?" I am the Dance Division to struck dumb at the question. How do I begin to explain the issues? First of all, there are remain comprehensive hundreds of collections in the Dance Division alone, with millions of pieces of paper. Each piece of paper has to be carefully digitized to create high resolution, good quality images. in this age of These are unique and often fragile collections that have special handling needs and can't be proliferation and put through a copier. And this is still the easy part: the storage, file naming, migration, and abundance? file serving of un-indexed archival collections have complicated and long term issues. Every single page needs an identifying number that must be related to that page only. Every single identifying number has to be described in order to be located. For example, ID #12333333 may be the digital page two, of box four, of folder twenty-five, of Such and Such Archive. That information has to be linked to the catalog record or finding aid in a way that can't be lost when the catalog is upgraded. This creating and recording of metadata and links takes time if you want to be able to find your material in the future. And if the file is ever lost or corrupted, where are you?

This still won't make the materials accessible on the website. Why? Rights! The Library has the rights to only a small percentage of materials that came to it with rights attached or that have gone into the public domain. With video the rightsholders on any performance are numerous, and complicated by the music.

Nevertheless, we do keep moving forward into this new age. In thinking about the importance of libraries I return to another quote from Alberto Manguel.

Libraries, in their very being, not only assert but also question the authority of power. As repositories of history or sources for the future, as guides or manuals for difficult times, as symbols of authority past or present, the books in a library stand for more than their collective contents, and have, since the beginning of writing, been considered a

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 7 threat. It hardly matters why a library is destroyed: every banning, curtailment, shredding, plunder or loot gives rise (at least as a ghostly presence) to a louder, clearer, more durable library of the banned, looted plundered, shredded or curtailed. Those books may no longer be available for consultation, they may exist only in the vague memory of a reader or in the vaguer-still memory of tradition and legend, but they have acquired a kind of immortality.

The Library at Night, by Alberto Manguel, p. 123

This quote made me think of our talks with Adham Hafez, of Arc.Hive of Contemporary Arab Performing Arts (Arc.Hive) in Cairo. The Dance Division, other divisions of the New York Public Library for the Performing Arts, and Arc.Hive are in the process of creating a partnership to act as a second preservation source and an access point for these contemporary performing arts materials. In conversation, Adham Hafez spoke about the horror of the burning of the Egyptian Institute in 2011 and the loss of so many books. This project gained urgency with this knowledge of how a difficult political situation can spark such a cultural calamity.

Along with working on acquiring the contemporary dance works from the Arab nations, in a two-month period of this last fiscal year, the Dance Division, with the Library for the Performing Arts, hosted three African dance programs, three Flamenco programs, the opening of exhibits on Flamenco, Latinos in U.S. popular music, and glass plate photographs from 1927 of Cambodian dancers, a program with the Princess of Cambodia talking to Peter Sellars about the Royal Ballet of Cambodia, and the Friends of the Jerome Robbins Dance Division event on The Sleeping Beauty. On another front, the Dance Division began processing the Mikhail Baryshnikov Archive. The Manuscripts Processing Unit finished the paper cataloging with a finding aid, while the video materials have all been preserved by the Preservation Unit. The Special Formats Processing Unit is now in the process of cataloging those videos one by one. We have also received funding to process the Merce Cunningham Archive from the Merce Cunningham Trust. The Dance Division’s prints and designs backlog has been cataloged, as has most of the manuscript backlog. Next year we hope to focus on photographs, films, and obsolete U-matic videos.

Thinking about the past of the Dance Division and of the past the Dance Division is trying to preserve for future scholars, researchers, and restagers, another often repeated quote gains an extra meaning for me. George Santayana wrote in Life of Reason I, "Those who cannot remember the past are condemned to repeat it." The “paradox” here is that, while preserving materials to help the world remember, the object for the Dance Division is not necessarily to help people to avoid repeating the past, but actually to help people to restage the past. We at the Dance Division work to ensure that when someone repeats the past, they are, at least, repeating it accurately. While it is both exhausting and exhilarating to live and work in the constantly shifting technological world, we are enjoying the challenge while we blog, tweet, and email about it.

Jan Schmidt Curator

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1 Profile of the Division

1.1 STAFFING

Executive . Curator: Jan Schmidt . Assistant Curator: Danielle Castronovo . Senior Administrative Associate: Amy Schwegel (shared with Theatre Division)

Jerome Robbins Archive of the Recorded Moving Image (Film, Video, and Audio Archive) . Director: Tanisha Jones . Original Documentation Producer: Daisy Pommer . Oral History Coordinator: Susan Kraft (PT) . Moving Image Specialist: Arlene Yu (made permanent on July 13, 2013)

Paper-Based Collections . Photo Orders: Alice Standin (PT) . Paper-Based Collections Coordinator Librarian: VACANT

Staff Providing Reference Desk Service . Danielle Castronovo . Tanisha Jones . Daisy Pommer . Susan Kraft (PT) . Arlene Yu . Alice Standin (PT)

Temporary Staff on Grants . Cataloger: Crystal Rangel (three-year temporary, funded by The Jerome Robbins Foundation) . Prints and Designs Cataloger: Susan Au (two-year temporary, funded by Friends of the Jerome Robbins Dance Division, ended February 14, 2013) . Jerome Robbins Audio Processor and Cataloger: Imogen Smith (temporary, funded by The Jerome Robbins Foundation, ended 2012) . Oral History Project: Imogen Smith (temporary, funded by Anne H. Bass for oral history project Speaking of Dancing) . Oral History NYSCA processor, Jerome Robbins Audio Processor: Cassie Mey . Mikhail Baryshnikov Archive Processor and Cataloger for Film and Video: Tara Kelley (temporary) . Metadata and User Testing Coordinator: Eugenia Kim (temporary, funded by Doris Duke Charitable Foundation for Digital Dance Video project)

1.2 MISSION STATEMENT The Jerome Robbins Dance Division connects artists, scholars, and dance lovers to the world of movement. Our commitment is to preserve and provide free access to our unequaled collections of resources, ranging from multi-camera recordings of dance performances to rare manuscripts. As the active memory of the dance community, the Dance Division honors the past and offers inspiration for the future.

The mission of The New York Public Library is to inspire lifelong learning, advance knowledge, and strengthen our communities.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 9 1.3 SIZE OF THE COLLECTION

Format Total size FY 12 Added in FY 13 Total size FY 13

books 43,460* 198 43,658

photographic prints and negatives 345,323 2,756 348,079

reels of film and videotape 64,721 716 65,437

linear feet of manuscripts 2,376 59 2,435

performance programs 113,194 1,447 114,641

lithographs and engravings 6,447 530 6,977

scenic and costume designs and artworks 2,753 985 3,738

linear feet of clippings 301.4 11.4 312.8

subscriptions to dance periodicals 131 0 96

indexed magazine articles/reviews 103,285 0 103,285

oral history titles 3,249 92 3,341

scrapbooks 1,082 4 1,086

microfilm/fiche 3,116 1 3,117

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2 Activities

2.1 OVERVIEW Under the leadership of Curator Jan Schmidt, the Jerome Robbins Dance Division collects materials in both paper-based forms and moving image records. With Assistant Curator Danielle Castronovo, the Division works to acquire, conserve, catalog, arrange, and often loan out paper-based materials, such as manuscripts, photographs, programs, art works, and designs. The Jerome Robbins Archive of the Recorded Moving Image (Moving Image Archive), under the directorship of Tanisha Jones, collects, preserves, arranges, catalogs, and maintains film, audio, and videotape and digital files. The Moving Image Archive also includes the Oral History Project of audio recorded oral histories and interviews, led by Susan Kraft, and the original documentation of dance works on film, videotape, and digital files led by Daisy Pommer. Many collections come in with both moving image and paper-based materials. This fiscal year no large collections containing both types of materials were acquired, though there were many smaller collections comprising both moving images and paper-based materials.

Jerome Robbins Dance Division – Paper-Based Materials The Dance Division has continued its ongoing scrapbooks, and photo albums. In the course of the last commitment to collecting new paper-based material, year, 58 items were cataloged, making them available on meeting with donors and accepting collections ranging in the shelf for the first time. In addition, many items from size from a few photographs to a hundred boxes. These the backlog have required conservation work before collections consist of a diverse set of materials including reaching the shelves. The Division has worked closely correspondence, business records, choreographic notes, with the Conservation team to provide necessary programs, photographs, prints, and designs. Through our treatment. collaboration with the Library’s Manuscripts and Archives Division, we are also beginning to collect electronic With the backlog of prints and designs completely records. cataloged, we proposed a project to digitize those that are in the public domain. The Digital Oversight Danielle Castronovo, Assistant Curator, manages all of Committee accepted our proposal, and we have begun the paper-based materials for the Jerome Robbins Dance the initial stages. This year, we developed the workflow Division, including manuscripts, archives, prints, designs, for the project and chose a set of 175 prints as a test. rare books, photographs, programs, clippings, and Each item has its catalog record transferred into our ephemera. Part-time staff member Alice Standin handles Metadata Management System (MMS). Once the all of the photography research and processes metadata is entered, registrar paperwork is created for digitization orders. the item to be transferred to the Digitization Imaging Unit (DIU). The DIU then makes high-resolution, This year the Dance Division continued to coordinate with preservation-quality digital photographs of each item. Manuscripts and Archives to prioritize the processing of the For this project, all items chosen are in the public backlog of manuscript material. While the processing itself domain, so once the item is digitized, it appears online is done by Manuscripts and Archives, we select and and is available to the public. Finally, the physical items prioritize collections, arrange transport to and from offsite are returned to the Division, checked in, and returned to facilities, and integrate the collections upon their return. the shelves. This project represents a major test case for This year 15 manuscript collections comprising 58.45 linear the functionality in the Library-developed MMS system, feet were processed and made available to the public. See and so we have been working closely with the MMS team section 2.4 for more detail. in order to provide feedback from a specific use case.

A two-year project in which retired staff member Susan As noted in Section 2.2 Paper-Based Acquisitions: Au fully cataloged the backlog of prints and designs was Auction Purchases, the Dance Division participated in a completed (see section 2.4 for further details) in fiscal record number of auctions during the past year. The year 2013. A total of 4,348 objects were cataloged and Division is supported in this effort by The Committee for are now accessible to the public. We have also begun to the Dance Division, in particular Hubert Goldschmidt. work with Elisabeth Elkind from Special Formats Suggested purchases are researched for value to the Processing to catalog our backlog of rare books, Division, noting importance of the work, whether it is

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 11 already held by the Library, the number of available local family members, authors, and the general public. Staff copies, and the price. members assist patrons with searching the catalog, locating photographs, and navigating our wide range of During the past year, the Division has loaned paper- materials. based materials to five institutions and participated in NYPL exhibitions at the Library for the Performing Arts Working with the Assistant Curator, Photographs (Performing Arts Library) and the Stephen A. Assistant Alice Standin handles reproduction orders for Schwarzman Building (SASB). Once curators select items photographs, designs, and other graphics. If possible, the for exhibition, the Division contacts Conservation to material is scanned here at the Performing Arts Library. If evaluate condition and determine any necessary the material is original art work, lithographs, or bound treatments. For external loans, once the condition material requiring the use of an overhead camera, it is evaluation is complete, Assistant Curator Castronovo sent to the Digital Imaging Unit. The Photographs represents the Division to the Loan Committee for Assistant is responsible for obtaining valuations for approval. Once approved, the Division assesses insurance insurance purposes and filling out required paperwork values and writes paperwork for transfer to the registrar, for material to be transported. The Photographs who handles the remainder of the loan process. See Assistant is also responsible for entering metadata into section 2.3 for a description of specific loans. the MMS for all new scanning of Dance Division material whether it is scanned here or at DIU. Finally, the The Division receives daily reference inquiries through Photographs Assistant does image research for clients on email, phone, and in person. Patrons range from a limited basis and more extensive research for Dance students, faculty, dancers, choreographers, designers, Division presentations as the need arises.

Jerome Robbins Archive of the Recorded Moving Image The Jerome Robbins Archive of the Recorded Moving With Director Tanisha Jones, the permanent staff Image is led by Director Tanisha Jones and supervised by members of the Moving Image Archive are Daisy the Division’s curator. The Moving Image Archive has Pommer, producer of Original Documentation and Susan continued to acquire, preserve, and make accessible Kraft, producer of the Oral History Project interviews materials about dance from all over the world in all (part-time). Tanisha Jones came to the Division in July styles. With funding from Rockefeller Brothers 2007 after completing a master’s degree program in Foundation, National Endowment for the Arts, New York Moving Image Archiving and Preservation at New York State Council on the Arts, The Jerome Robbins University. Daisy Pommer started in the Dance Division in Foundation, and the endowment from Jerome Robbins, January of 2007 after having spent several years as the the Dance Division’s Moving Image Archive has also archivist, librarian, and producer at Thirteen/WNET. She continued to create digital and videotaped recordings of has a Masters in Library Science from Pratt Institute dance performances and oral history interviews in record School of Information and Library Science. Susan Kraft numbers. Acquisitions continue to be both diverse and has been coordinator of the Oral History Project since comprehensive, and the Moving Image Archive has been 1993. She has written for a number of publications, able to process, preserve, and catalog these materials including MSNBC Online and The Staten Island Advance. using archival best practices. Because of the great care She has a Masters degree from New York University. the Moving Image Archive takes with the materials, donors – and the dance community in general – have Also working on a three-year grant for the Jerome come to rely on the Archive to preserve film and video Robbins Archive of the Recorded Moving Image, with materials, so that they will be available for the future, funds from the Jerome Robbins Endowment, was Arlene and to process and catalog them to facilitate access. Yu, specialist for moving images. She began on July 19, Video content can be searched in a number of ways, 2010. She earned her Master’s degree in Information and including by dance title, dancers, choreographers, and Library Science from Pratt Institute (in January 2010), venue. In addition, the master recordings are stored and with certificates in Museums and Archives, and received tracked so that donors, the community of documentary a Bachelor's degree in Social Studies from Harvard filmmakers, and exhibition curators who make footage College. Once again we are indebted to Jerome Robbins requests can obtain high resolution materials for for his vision in creating these endowment funds. Arlene appropriate, cleared uses. has been an invaluable staff member, who has, in addition to her work with collections and footage requests, given many demonstrations to classes from

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grade schools to graduate schools, created blogs and the . Rights Clearance Office, who track rights Dance Division’s Facebook page and Twitter feed, helped information for the Metadata Management with the Baryshnikov exhibition, and worked tirelessly System and the Dance Division with rights issues. The Dance Division is thrilled to have . Performing Arts Library Audiovisual Playback, her as a permanent staff member of the Dance Division who provide the public with access to the as of July 13, 2013. Moving Image Archive . Information Technology Group, who maintain Moving Image Archive digitization workflow the Audiovisual Playback stations at the development for the preservation, processing, and Performing Arts Library and ensure that the cataloging of moving image records has completely digital access tool is available on those stations changed this fiscal year. Funded by the Doris Duke . Performing Arts Library Administration, who Charitable Foundation, the Library is creating a new coordinate all public services at the Performing digital preservation and access portal for the retention of Arts Library high resolution preservation files and the playback of digital access files. Moving image digitization is a complex As part of the planning for the new workflow, the Moving proposition, demanding the coordination of multiple Image Processing Flowchart below was developed by divisions across the Library as they pass both materials staff member Arlene Yu to demonstrate, for all of the and information back and forth to properly identify, teams involved in the digitization process, the need for track, digitize, store, catalog, curate, and serve up film coordination and sharing of both materials and and video which often arrive unlabeled, in either physical information. Beginning at the upper left hand corner, the or virtual formats. The Moving Image Archive has worked Flowchart outlines the ingest portion only of the Moving with each of these divisions, including: Image Archive’s processing workflow. It illustrates that . Library for the Performing Arts’s Digital Curator, identifying information on archival moving images is Doug Reside, who coordinates with the digital sometimes only determined as the material moves groups through the process, since labels are often incomplete, . Preservation, who preserve both physical and inaccurate, or nonexistent. Thus, as noted, the Moving digital items and track and check the integrity of Image Archive may need to make curatorial decisions at the resulting files, links, and server locations any of several points in the process, since we can confirm . Special Formats Processing, who work with the content only after digitization has occurred. Moving Image Archive to inventory, catalog, and track the processing of larger collections Questions in the ovals involve decision points in the . Repository, who administer the Library’s Digital process – for example, the first question asked when Repository, where digital preservation files are confronted with a moving image is whether it is a securely held possible addition to the collection or a reformatting of . Digital Labs, who developed the new web existing collection material on an obsolete format. The interface and tools for digital video access arrows leading from the questions are green for Yes . Metadata Management, who develop and answers and red for No. Text in black outlined boxes administer the database of information on shows the cataloging information that is gleaned from digital files for the Repository and the new that particular step in the process, and the background Digital Dance Video interface, including colors of the steps in the process correspond to progress cataloging information from Special Formats points, which are shown in the second diagram below, Processing and contractual and rights the Moving Image Processing Outline. information from the Moving Image Archive

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 13

The Moving Image Processing Flowchart details the to process these materials and make them accessible to complexities of digitization workflow development, the public. In addition to this work, the Moving Image although, as mentioned above, the Flowchart does not Archive continues to fulfill other core work such as reflect the entirety of the processing workflow. This handling footage requests, hosting classes, and development is an ongoing endeavor in which we strive coordinating screenings and public programs. to create and implement efficient and effective methods

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2.2 COLLECTION DEVELOPMENT AND NOTABLE ACQUISITIONS

Jerome Robbins Dance Division Paper-Based Materials Acquisitions This year, under the supervision of Curator Jan Schmidt, with the direction of Assistant Curator Danielle Castronovo, acquisitions of manuscripts, books, programs, and photographs continued at a rapid rate. Most materials are donated, but a few are purchased, mostly with funds provided by The Committee for the Jerome Robbins Dance Division.

Paper-Based Acquisitions: Gifts Robert Pagent collection of Col. De Basil’s Original Lionel Freedman Merry-Go-Rounders Dance Ballet Russe de Monte Carlo 1941 strike in Cuba Company photographs On July 2, 2012, William Schneider donated the Robert Laurie Freedman donated three envelopes of her father Pagent collection of materials about Col. De Basil’s Original Lionel Freedman’s photographs, contact sheets, and color Ballet Russe de Monte Carlo 1941 strike in Cuba. This transparencies of the Merry-Go-Rounders Dance Company, consists of 3 folders of originals and photocopies of 1953 – 1960. The images will be added to existing collection correspondence, programs, and photographs about the *MGZMD 211 Merry-Go-Rounders Records. 1941 strike. Rebecca Lepkoff dance photographs Sandra Genter ballet silkscreen-lithograph gift Rebecca Lepkoff donated one folder of her photographs, On August 24, 2012 Sandra Genter donated 8 ballet negatives, and collages for Mobility Performance 1994 – silkscreen-lithographs that are signed and numbered by 1998. She also donated photographs of works by Steve artist Ilya Shenker. Paxton and Simone Forti, as well as one folder of photographs of Nancy Topf’s Space Walk.

Hubert Goldschmidt gift Hubert Goldschmidt donated Return to Eden: The Rehearsal Drawings of Michael Arthur, a Martha Graham Dance Company signed poster, and an Hommage à Jerome Robbins poster.

Martha Jean Tepsic papers Sarah Timberlake donated the Martha Jean Tepsic papers, comprising three boxes of class notes, correspondence, research files, grant applications, school transcripts, awards, and exhibit notes.

Raymond Cwieka Mazurka research materials Robert Denvers collection of Balanchine techniques Raymond Cwieka donated 30 folders of his Russian and Marian Horosko donated one box of material including a German translation and working notes on the Mazurka. binder from Robert Denvers titled Outline for Positions, Steps and Principles. Balanchine’s Teaching of Classical Coppelia lithograph Ballet and one binder titled Positions, Steps and Principles Miriam Duncan (on behalf of Hester Miller from Decades outline for a book on Balanchine’s teaching of classical LLC) donated one Coppelia lithograph of Janet Reed by Max ballet. Pollock, circa 1939. James Duffy correspondence with Lincoln Kirstein Susan Terry photographs James Duffy donated one folder of his correspondence with Susan Terry gifted one linear foot of her photographs and Lincoln Kirstein. negatives from the Hollywood Bowl in the 1970s and 1980s including images of Edward Villella and Allegra Kent.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 15 Robert Kovich Company materials The Legacy of Hanya Holm: Don Redlich Remembers Jay W. Swanson donated two boxes of photographs, Don Redlich donated The Legacy of Hanya Holm: Don clippings, press kits, and manuscript material from the Redlich Remembers, which contains 14 DVDs and 4 booklets Robert Kovich Company. of accompanying material.

George Barbier renderings Deena Burton papers, additions From his own collection, Franklin White gifted two plates Skip LaPlante donated one box of Deena Burton Indonesian from a book of costume designs by George Barbier, titled dance research materials to add to *MGZMD 263 Deena Vingt-Cinq Costumes pour le Théâtre (Paris: Camille Bloch & Burton papers. Jules Meynial, 1927). The first, dated 1919, is a costume for Alexandre Volinine as Le Bohémien in Amarylla, Ballet de Claudia Gitelman papers Glazounow, and the second, dated 1921, is a costume for The Gitelman family donated one box of Claudia Gitelman Une Ombre in La Dernière Nuit de Don Juan. photographs, correspondence, and professional materials.

PBS/Dance in America Judy Kinberg donated one box of press kits, photographs, and clippings from PBS/Dance in America.

Barbara Anello Balinese and Javanese dance Barbara Anello gifted 0.1 linear feet of negatives of her Balinese and Javanese dance photography. These negatives complement *MGZKD 02-926 which are slides of Anello’s Balinese and Javanese dance photography.

Elizabetta Menzeli scrapbooks An anonymous donor gifted four scrapbooks of dancer, instructor, and school of dance director Elizabetta Menzeli Society of Dance History Scholars records of New York. Menzeli, who was born in Germany in 1850, Linda J. Tomko gifted one box of material including toured the United States with several companies, created fundraising records from 1999, vital letters of the ballets in Europe, and opened a dance school where she Educational Board, and correspondence regarding taught ballet technique. monographs and the American Council of Learned Societies. American Ballet Theatre programs Continuing their ongoing donation of programs, American Ballet Theatre gifted the 2012 – 2013 season programs.

Paper-Based Acquisitions: Purchases With funds generously contributed by The Committee for the Jerome Robbins Dance Division, and in consultation with the Committee's Chair Elizabeth O’Brien and Committee member Hubert Goldschmidt, the Dance Division purchased: . Queen Elizabeth I & Sir Christopher Hatton: The . From Golden Legend, a rare book on dance Dancing Chancellor by Alice Simpson, an art history published in Russia in 1882: Skal'kovskii, book that is limited to 60 numbered copies and Konstantin Apollonovich. Balet,” ego istoriia i autographed by the artist. Every aspect of The miesto v" riadu iziashchnykh" iskusstv. [Ballet Its Dancing Chancellor was created by hand. History and Role in the Fine Arts]. St. Petersburg: . A rare Hungarian Dance/Art Movement book Tipografiia A. S. Suvorina, 1882. Only edition. from Michael Laird Rare Books. The book, titled There are only two known copies in the world. Tánc. M Mozgásmuvészet Könyve, was written . From Melvin Dwork (founder of the John Butler by choreographer Olga Szentpal and published Foundation and friend of Rouben Ter- in Budapest in 1928. The English translation of Arutunian), 16 original costume and set designs the title is Dance. The Book of Art Motion. This by Rouben Ter-Arutunian. As the Dance Division book is one of 30 numbered copies. has the Rouben Ter-Arutunian Collection, these designs are a good fit to add to our collection.

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Myrtha Queen of the Wilis dancer noble kind.” Goldschmidt also bid on Lot 263, a letter from dancer and choreographer Pierre Gardel (1758 – 1840), written late in his life, where he asks for a performance in his benefit because he has no money. Hubert Goldschmidt won the bid for both of these items.

Hubert Goldschmidt successfully bid on behalf of the Dance Division, at the Koller auction of March 23, 2013 for Lot 568. He was able to purchase an album with 14 watercolor costume designs for the ballet La Pastorella Svizzera, choreography by Giovanni Briol, performed in 1839 at the Teatro La Fenice, Venice. Stage set design by Rouben Ter-Arutunian for New York City Opera production of La Cenerentola

Four costume designs by Rouben Ter-Arutunian for John Butler ballet In the Beginning

Auction Purchases De la collection musicale André Meyer Hubert Goldschmidt, Chairman of the Acquisitions Committee, identified items from the Collection of André Meyer at auction at Sotheby’s in Paris on October 16 – 17, 2012. At auction, Hubert was successful in the bid on the Maximilien Gardel portrait, Hubert Goldschmidt bid on lot 401 in the May 15, 2013 Lot 409. The Gardel portrait is Tajan Paris Auction on Ballet du Roy, des Festes de Bacchus. reproduced in F. Lesure, Paris, Robert Ballard, 1651. This is the 1651 original edition Collection Musicale André of a libretto by Isaac de Benserade for the Ballet des Festes Meyer, Abbeville, 1961, plate 118 (with an attribution to de Bacchus, one of the three major ballets in which Louis Eugène Isabey). XIV danced and which was well documented at the time of its performance. At the Ader auction in Paris on February 28, 2013, Arts du Hubert Goldschmidt bid on a rare libretto at the Ader Livres Spectacle – Collection d'un Amateur Belge, Hubert Anciens – Collection Szapiro on May 22, 2013. He Goldschmidt bid on Lot 243, a letter from Jean Coralli successfully bid on Lot 269 for TOULOUSE – Impression de (1779 – 1864), dancer, choreographer, and ballet master Relation du grand balet (sic) du Duc de Savoye, avec la from Paris Opera. Written barely a month after the creation Duchesse son épouse, où est représenté tout ce que la of the ballet in Paris (June 28, 1841), the letter says: "the role Nature a sceu inventer de plus curieux, & de plus artificiel. of Giselle belongs to the half-dancer character, that of the Tolose, Boude, 1668.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 17 Jerome Robbins Archive of the Recorded Moving Image and Audio Acquisitions This past fiscal year, under the leadership of Tanisha Jones, Director of the Jerome Robbins Archive of the Recorded Moving Image, with the help of the Special Formats Processing Unit and the Library’s Preservation Unit, the Division processed 539 titles, with 716 reels of preservation and viewing copies. In addition to these new publicly accessible materials, the Moving Image Archive also acquired over 2,000 films, videotapes, and digital moving image files that await processing and cataloging by the Special Formats Processing Unit. The Moving Image Archive now has over 24,000 titles and 65,000 reels in its collection. Among the newly processed materials are the Ronald K. Brown, Janis Brenner, and Gilda Navarra Video Archives. The Division works with Collections Strategy and the Rights and Clearances Unit to write Curatorial Reviews prior to acquisition and to obtain Deeds of Gift for donations.

The following is a selection of moving image material acquired by the Jerome Robbins Moving Image Archive in Fiscal Year 2013, all of it donated: . Robert Greskovic Video Archive. Robert Remembered, about Ms. Doubrovska’s prolific Greskovic is a renowned dance historian and life as a ballerina in Serge Diaghilev’s Ballets critic who has been writing about dance since Russes and other renowned dance companies, 1973. His extensive credentials include covering as well as her years as a teacher at the School of dance for The Wall Street Journal and authoring American Ballet. the book Ballet 101: The Complete Guide to . The Joyce Theater donated several videos of Learning and Loving the Ballet (Hyperion). He Erick Hawkins Dance Company performances at has taught dance history and aesthetics at the Joyce from the mid 1980s. Princeton University, Sarah Lawrence College, . Works & Process at the Guggenheim donated City College of New York, and Hunter College. 31 videotapes to be added to the hundreds in This archive contains approximately 2,000 the collection, including Metropolitan Opera: videotapes spanning from the 1930s through The Tempest, Second Stage Theatre: The Last the early 2000s of dance performances and Five Years, and Wendy Whelan: Restless interviews from all over the world, including Creature. Europe, Russia, and Japan. The recordings . Claudia Gitelman Video Archive. The Claudia feature dance companies such as Miami City Gitelman Archive is comprised of over 75 Ballet, the Royal Danish Ballet, the Paris Opera moving image items and approximately 2 linear Ballet, New York City Ballet, American Ballet feet of paper materials, documenting the career Theatre, Hartford Ballet, and various touring and works of the late dancer, choreographer, groups with star guest dancers. Mr. Greskovic teacher, and writer, Claudia Gitelman. built his videotape archive over many years, Ms. Gitelman was Professor Emerita of Dance at which he used as source materials for his writing Rutgers University, and an Alwin Nikolais and teaching. Mr. Greskovic donated his archive scholar. In 2010 she curated an exhibition on to The New York Public Library on July 31, 2012. Alwin Nikolais at The New York Public Library for . Filmmakers and producers Colleen and Therese the Performing Arts titled Alwin Nikolais: Total Laeger donated a master copy of their Theater of Motion. The archive was donated to documentary AROVA, about the world The New York Public Library by her daughters renowned Bulgarian ballerina Dame Sonia Lisa Gitelman, Alix I. Gitelman, and Hilary Arova. Gitelman on April 15, 2013. . Filmmaker Paul G. Sanderson III donated a copy of his documentary I Can Dance: Four Stories In the 2013 fiscal year over 256 items were added to the about the world of Pro-Am ballroom dancing as Oral History Archive, over half of which were from the seen through the eyes of two amateur and two recently-donated Howarth Gurdjieff Collection. The new professional dancers. items also included six interviews conducted by Selma . Filmmaker Virginia Brooks donated a copy of Jeanne Cohen with (among others) Erik Bruhn, Violette her documentary Felia Doubrovska Verdy, and Edward Villella.

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Original Documentations of Dance Performances As part of its Original Documentation program, led by Moving Image Archive producer Daisy Pommer, the Division documented 17 performances and 6 panel discussions/interviews/lecture-demonstrations during Fiscal Year 2013. The total recordings for the year number 23. Since the Dance Division’s Original Documentation program began in 1967, 2,556 works and 109 (approximate) interviews or panel discussions have been recorded. They ranged across dance styles and were recorded in a wide variety of venues. As part of this program, the Dance Division, when permissions are cleared, gives copies to the companies and choreographers for restaging and promotion. Original Documentations of dance recorded this year are listed below.

Evidence: A Dance Company kind. What we want from her is more of the same. And Choreographer Ronald what’s amazing is how she always delivers” (September K. Brown’s company 21, 2012). Recorded in high definition video with two returned to The Joyce cameras, by Gerrit Vooren at The Joyce Theater, New Theater for a program York City, September 27, 2012. Funding provided by the that featured the New Rockefeller Brothers Fund. York company premieres of Roseanne Spradlin Gatekeepers, a After a sold out run at The Chocolate Factory in 2011, sensitive statement Roseanne Spradlin’s beginning of something returned to about caring for loved New York for a limited engagement. beginning, lauded in

ones and dealing with Metro New York for “broaden[ing] the definition of Photo: Kurt H. Leggard their passing, and dance,” (Elizabeth Zimmer, May 2011), explored the Everybody at the Table, Act II of On Earth Together, set to female image and music by Stevie Wonder, performed with a live band. psyche, and was “Mr. Brown must be a modern-dance savior,” said Gia appropriately Kourlas, dance critic for The New York Times (July 10, performed by a 2012). The performance was recorded in high definition strong, high video by Robert Penn, at The Joyce Theater, July 14, intensity female 2012. Funding provided by the New York State Council on cast that included the Arts and The Jerome Robbins Foundation. Rebecca Serrell Cyr, Natalie Noche Flamenca Green, Rebecca The world-renowned artist Soledad Barrio and her Warner, and Rebecca Wender. Dance critic Gia Kourlas company of flamenco dancers and musicians presented noted after Spradlin’s 2011 installment, “…her cast an evening of authentic and passionate performance moved with impassioned fervor. It requires a certain through the vivid interplay of palmas, song, guitar, and power to express one of Ms. Spradlin’s specialties: taking dance. Ms. Barrio has been recognized by The New York human nature and slicing it to shreds” (The New York Times’s chief dance critic, Alastair Macaulay, as “[O]ne of Times, May 13, 2011). Recorded in high definition video today's great with two cameras, by Nel Shelby at New York Live Arts, dancers of New York City, September 27, 2012. Funding provided by any genre” The Jerome Robbins Foundation. (September 28, 2011). Regarding her 2012 season, Brian Seibert of The New Photo: Andres D’Elia York Times declared, “There are artists from whom we expect novelty, development. We want to see what they’ll come up with next, how they’ll grow. Soledad Barrio is not that

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 19 Keith Hennessy/Circo Zero Trajal Harrell Choreographer Keith Choreographer Trajal Harrell took a new critical position Hennessy called his on postmodern dance aesthetics originating from the Turbulence (a dance Judson era with his new work, Judson Church is Ringing in about the economy) “an Harlem (Made-to-Measure), also known as (M2M), a experimental hybrid of custom made “size” in his ongoing Twenty Looks or Paris contemporary dance, is Burning at the Judson Church project. For this improvised happening, presentation, part of Danspace’s Judson Now Platform, and political theater” Harrell inverted his original proposition to imagine a new (New York Live Arts). crossroads: "What Conceived as a would have happened “collaborative failure,” if one of the early the piece strives to postmoderns from illuminate modern Judson Church had economic and gone uptown to ecological fallacies and perform in the voguing Photo: Ian Douglas forces the audience to ballroom scene?" Critic engage in a rethinking of the contemporary perception of Claudia La Rocco wrote, “The emotion was both charged debt, exchange and, most importantly, value. Recorded and bittersweet; I’ve grown attached.” She continued to in high definition video with two cameras, by Charles commend the performance by noting, “Much of the Dennis at New York Live Arts, New York City, October 6, work’s power lies in all of the places it doesn’t go, and all 2012. Funding provided by the New York State Council on of the space it gives its audience to ponder and question. the Arts and The Jerome Robbins Foundation. Restraint and minimalism can be just as sexy and intriguing as vivacity and flair. Combined, they present a Doug Varone and Dancers seduction impossible to resist.” (The New York Times, To celebrate their 25th anniversary, the company October 14, 2012). Recorded in high definition video with honored their past by performing Aperture, two cameras, by Mark Robison, Character Generators, at choreographed originally in 1994 to Schubert, and Ballet Danspace Project in St. Marks Church-in-the-Bowery, Mécanique, a dance which premiered in 2001, set to New York City, October 13, 2012. Funding provided by George Antheil’s 1925 score. In addition, they premiered the New York State Council on the Arts and The Jerome Robbins Foundation.

David Gordon/Pick Up Performance Co(s) The Matter/ 2012: Art & Archive featured lighting by Jennifer Tipton, the Pick Up Performance Co(s) dancers, and students of New York University’s Tisch School of the Arts. Original movement, music, archival projection, and newly choreographed sections premiered in Carrugi, which was danced along side of sections of the fall of 2012 Mozart’s La Betulia Liberata. In The New York Times, Gia as part Kourlas praised veteran dancer Eddie Taketa for “the way Danspace he creates clear lines within the movement’s forceful Project’s Judson flow” and his ability to take the choreography “to a more Now Platform. mysterious place” (October 10, 2012). Recorded in high The cast definition video with two cameras, by Mark Robison, included Valda Setterfield, Scott Cunningham, Karen Character Generators, at The Joyce Theater, New York Graham, Leslie Cuyjet, Lauren Kelly Ferguson, Andrew City, October 11, 2012. Funding provided by the Champlin, David Irwin, and Jeremy Pheiffer. Gia Kourlas Rockefeller Brothers Fund. of The New York Times lauded Mr. Gordon, who she

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noted “has reinvented himself yet again in a breathtaking moment,” he explained. The movement vocabulary evening of dance that pays homage to his early days as a suggests “a playful dialogue with other dance genres” as founding artist of the experimental collective Judson a “complex, subtle sense of rhythm” keeps the meter of Dance Theater” (October 26, 2012). Recorded in high both poetic pieces. Recorded in high definition video definition video with two cameras, by Johannes Holub at with two cameras, by Mark Robison, Character Danspace Project in St. Marks Church-in-the-Bowery, Generators at New York Live Arts, New York City, on New York City, October 26, 2012. Funding provided by November 28, 2012. Funding provided by the New York the Rockefeller Brothers Fund. State Council on the Arts.

Abraham.In.Motion Sally Silvers & Dancers Kyle Abraham’s Premiere of Silvers’s latest work, Bonobo Milkshake, a latest work, masterful mash-up of soundscape and Sondheim, danced Pavement, looks with carefree virtuosity by Dylan Crossman, Elisa to the film Boyz Osborne, Miriam Parker, Jeremy Pheiffer, Veraalba n the Hood for Santa, Christopher Williams, Carolyn Hall, Jonathan inspiration. Set Kinzel, Edisa Weeks, Rebekah in Pittsburgh’s Windmiller, and Obie winning historically black actor David Greenspan. Bruce neighborhoods, Andrews’ original soundscape and Homewood and the Hill District, Pavement aims to create text are paired with the work of a strong emotional chronology of a culture conflicted the experimental composer, with a history plagued by discrimination, genocide, and a Michael Schumacher. Claudia La constant quest for a lottery ticket weighted in freedom. Rocco of The New York Times Brian Seibert, dance critic for The New York Times, rejoiced at the choreographer’s acclaimed Abraham’s style, one “in which the body – and work: “Sally Silvers’s dances are by implication, the psyche – is pulled in multiple the best kind to write about and to directions, out of the ground and into it. Sourced in watch. Ideas radiate everywhere, in dizzying vectors from contemporary dance and the street, twisting together continual movement invention: what’s not to love?” aggressive male posturing with the kind of hip-hop (November 30, 2012). Recorded in high definition video moves that summon comparisons to ballet, it expresses with two cameras, by Mark Robison, Character confusion with searching, eloquence” (November 5, Generators, at Roulette, Brooklyn, New York City. 2012). Recorded in high definition video with two Funding provided by the New York State Council on the cameras, by Nic Petry at Lang Performing Arts Center, Arts. Swarthmore College, PA on November 9, 2012. Funding provided by the National Endowment for the Arts. Alvin Ailey American Dance Theater An evening of new works including the company Tere O’Connor Dance premiere of From Before, by Jamaican-born Tere O’Connor, who has been making dances since 1982 choreographer Garth and has created more than 35 pieces for Tere O’Connor Fagan; Strange Dance, premiered poem and Secret Mary on November Humors by Ailey 28 at New York Live Arts. Alastair Macaulay, chief dance Artistic Director critic of The Robert Battle; the New York world premiere of Times, Another Night by Kyle applauded Abraham, and the “the creative return of Ronald K. mind we see Jamar Roberts and Antonio Douthit in Brown’s classic, Grace. behind the two Artistic Director Robert Battle’s From Before pieces,” which Strange Humors premiered successfully Photo by Paul Kolnik he categorized as, according to The as “sensuous, New Yorker’s blogger, Andrew Boynton, “a stew of investigative, playful, subversive, witty, provocative, Caribbean, African, modern, and balletic dance, bubbling fresh, intense” (November 28, 2013). “There isn’t a dull up through its sixteen dancers’ remarkable gifts”

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 21 (December 24, 2012). Another Night received a warm of the 2011 Assisted Living: Good Sports 2. Rainer’s welcome from audience members as well. Boynton said, “pedagogical vaudevilles” were performed by Pat “Abraham’s movement style is an extraordinarily Catterson, Emily Coates, Patricia Hoffbauer, Emmanuelle watchable hybrid of classic modern, funk, and release Phuon, and Keith Sabado. Recording included a post- technique, which the ten Ailey dancers (six men, four show talk with Rainer and art historian Douglas Crimp. In women) attacked eagerly. There’s not much they can’t an interview with Gia Kourlas in Time Out New York, do, and Abraham took advantage, allowing them to show Rainer described her newest piece: “As usual, it’s an off their solid skills while giving in to the choreographer’s eclectic mélange, but it combines these pratfalls with more loose-limbed vocabulary.” Recorded in high very serious readings about recent events and Wall definition video with three cameras by Robert Shepard at Street” (October 31, 2012). Recorded in high definition New York City Center, on December 19, 2012. Funding video with two cameras by Peter Richards, at Danspace provided by the National Endowment for the Arts and The Project in St. Marks Church-in-the-Bowery, New York Jerome Robbins Foundation. City, on January 25, 2013. Funding provided by the National Endowment for the Arts and The Jerome From The Horse’s Mouth: The Men Dancers Robbins Foundation. More than 30 male dancers, spanning genres and generations, performed original choreography and shared Sean Curran Dance extraordinary The company celebrated its 15th anniversary with two personal stories New York City premieres at The Joyce Theater. The first, inspired by Ted Fireweather, set to the Inferno-inspired score, The Shawn and his Mission of Virgil, by Charles Wuorinen, takes its audience company, The through the entirety of the layers of Hell, as imagined by Men Dancers. Dante. According to Brian Seibert of The New York Times, Participants “Much of the choreography has a monumental quality included Arthur that recalls the mythic works of Martha Graham. Tense Aviles, George tableaus are composed like the paintings of old masters” Dorris, Steven (February 1, 2013). Curran strives to evoke not only the Melendez, literary classic, but also the many other works of art, to Norton Owen, Gus Solomons Jr., and David Vaughan. For which it gave birth, from works of William Blake to those Gia Kourlas of The New York Times, a major highlight was the performance of Don Redlich and his duet with John Heginbotham, “a long time Mark Morris dancer turned choreographer who brings a generous, beautiful spirit to all that he does.” She described their unconventional pas de deux as “a transfixing blend of tender and sharp” (January 13, 2013). Recorded in high definition video with two cameras by Johannes Holub, Holub Video, at The Theater at the 14th Street Y, on January 10, 2013. Funding provided by the Rockefeller Brothers Fund.

Yvonne Rainer Yvonne Rainer contributed to of Gustave Doré. The second premiere, Left Exit (Faith Judson Now, Doubt and Reason), is an existential piece in which Danspace dancers move to the voices of Cornel West, Judith Butler, Project’s and Denys Turner, brought together by the composer celebration of Jerome Begin. Seibert wrote that “Mr. Curran’s the Judson choreography and Mr. Begin’s music create a meditative Dance Theater’s mood, and Left Exit gives us a lot to think about – not just first concerts the ideas but also their juxtaposition.” A final message to Photo by Mathieu Malouf with a revisiting be taken away, in the opinion of Seibert, was “the of the past in insistence on human fallibility and the search for truth as We Shall Run (1963) as well as with the premiere of a way of life.” Recorded in high definition video with two Assisted Living: Do You Have Any Money and a restaging

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cameras by Peter Richards, at The Joyce Theater, New artistic and historical influences, and plot and thematic York City, on February 2, 2013. Funding provided by The elements, as they relate to individual scenes and Jerome Robbins Foundation. variations. The speakers discussed whether the ballet remains relevant as a major work of Western art, and Evidence, A Dance Company they commented throughout the discussion on their preferred stagings, performances, and interpretations. Recorded in high definition video by François Bernadi, at the Bruno Walter Auditorium, The New York Public Library for the Performing Arts, on March 24, 2013. Funding provided by the Friends of the Jerome Robbins Dance Division.

On Fire with African Dance 1 In this first installment of On Fire with African Dance, Robert Farris Thompson, Master T, presented his lecture, Staccato Incandescence: The Story of Mambo. The Colonel John Trumbull Professor of the History of Art at Evidence presented 2005’s Order My Steps, IFE/My Yale University focused his lecture on mambo, which Heart, and excerpts from 1998’s Incidents – what Brian shows a fusion of a variety of dance styles from Lindy, to Seibert of The New York Times called “three profoundly ballet, to bomba, to affecting repertory works” – as well as the world Afro-Cuban dance. premiere of Torch. Torch is a tribute to a company patron Mr. Thompson is who died of breast cancer. In IFE/My Heart, guest artist America's most Matthew Rushing performed a solo in which he “once prominent scholar again demonstrated his uncommon understanding of Mr. of African Art and Brown’s Africa-steeped style, catching the elastic has presided over twistiness and rhythmic exactitude but bringing a mature exhibitions of gentleness all his own.” Order My Steps “contains many African art at the walks into the light” – fittingly, for it is “a plea to God” National Gallery in danced to the music of Terry Riley, Fred Hammond, and Washington, DC. He lived in the Yoruba region of Bob Marley. Incidents is about slavery’s affect on the southwest Nigeria for many years while he conducted his body, and is set to music by the Staple Singers, Aretha research of Yoruba arts history. At this program, he Franklin, and Wunmi Olaiva. Ronald K. Brown physically talked, sang, danced, and spoke at times in Yoruba. manifests this message as it opens with three women Recorded by Robert Penn, at the Bruno Walter tending to the whipped back of a fourth. Recorded in Auditorium, on March 14, 2013. Funding provided by the high definition video by Robert Penn, at The Joyce Jerome Robbins Dance Committee. Theater, New York City, on February 17, 2013. Funding provided by the National Endowment for the Arts. On Fire with African Dance 2 In the second installment of On Fire with African Dance, The Sleeping Beauty: A Discussion with Alastair Ronald K. Brown along with Evidence dancers Arcell Macaulay, Robert Greskovic and David Vaughan Cabuag, This panel Otis discussion on The Donovan Sleeping Beauty Herring, moved through the Clarice ballet sequentially, Young, and with the speakers Annique commenting on the Roberts music, presented choreography, and the discussion Evidence: Cultural Exchange through mime of various Ancestors, Inspiration, and Grace. The five showed and versions of the ballet; and on characters, performances discussed a video of the company’s trips to Africa. Ron by various dancers, design and costume elements, Brown first spoke about his own childhood and dance

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 23 history in a moving discussion of a young, African Princess Norodom Buppha Devi of Cambodia in American man in New York learning about dance as an Conversation with Peter Sellars art form. After celebrating its 25th Anniversary in 2010 at Her Royal Highness Princess Norodom Buppha Devi, a gala performance at New York’s Plaza Hotel, Evidence Cambodia’s esteemed prima ballerina of the 1960s and a embarked on a ground-breaking tour of Africa under the genuine pioneer in the revival and preservation of auspices of DanceMotion/USA. The company performed, Cambodian classical taught, and acted as cultural ambassadors in Nigeria, court dance, talked Senegal, and South Africa. Ron Brown has traveled in candidly about her Africa as a dance teacher since 1995, when he taught art form, its contemporary dance to the theater company Koteba mercilessly Ensemble in Abidjan, Côte d’Ivoire. Working in Africa demanding training, expanded Brown’s movement vocabulary and shaped his and its war-torn awareness of his artistic potential and his role in history with contemporary dance. Recorded in high definition by pathbreaking Jonathan Weaver, at the Bruno Walter Auditorium, on Photo by Darial Sneed theater and opera April 4, 2013. Funding provided by the Jerome Robbins director Peter Sellars. Excerpts from the Library’s archival Dance Committee. videotapes of the Royal Ballet of Cambodia and preview excerpts from the Khmer Dance Project, a program On Fire with African Dance 3 created by Anne H. Bass in conjunction with the Center In the third and final installment of On Fire with African for Khmer Studies and the Jerome Robbins Dance Dance, world renowned dance and drum innovator and Division, were screened at the event. Recorded in high master teacher Djoniba Mouflet presented Concepts in definition video by François Bernadi, at the Bruno Walter African Dance: Choreography versus Authenticity, in which Auditorium, The New York Public Library for the he shared his thirty years’ experience with African dance Performing Arts, on March 30, 2013. Funding provided by and drumming through a lecture-demonstration. Along with the Khmer Dance Project of Anne H. Bass. some of the master drummers and dancers from his dance school, The Djoniba Dance & Drum Centre, Djoniba also Pam Tanowitz Dance Bessie award-winning choreographer Pam Tanowitz returned to her modern dance roots with the premiere of The Spectators. The choreography, which, according to dance critic Gia Kourlas is reminiscent of that of Merce Cunningham with “difficult balances, quick jumps and turns that incorporate darting changes of direction,” was performed to a score by Dan Siegler as well as the experimental composer Annie Gosfield. Kourlas noted in The New York Times that “Ms. Tanowitz’s approach is screened African dance video from his collection and the simple on the Dance Division’s archive. Created in 1992, The Centre has surface: she been the focal point for most of the influential African makes steps dance and drum teachers in America. After his introduction, to music. Yet Djoniba danced onto the stage with his drummers, Lamine in her deeply Thiam, Mangue Sylla, and Sekou-Dembele Pablo. Then his rigorous dancers, Amenaghawon Owie, Melissa Moore, Clarysse excavations of Sigere, Terrol Leacock, and Julien Kanor, came out to ballet and demonstrate. Lamine also danced and actually classic somersaulted right into the audience. Lastly, Djoniba gave a modern short history of West African dance and drumming, with an vocabulary, African stilt dancer also joining in for the final dance. she gives potentially antiquated steps a fresh feel” Recorded in high definition by Jonathan Weaver, at the (May 10, 2013). The performance was followed by a post Bruno Walter Auditorium, on April 11, 2013. Funding show talk with the artists and performers, led by David provided by the Jerome Robbins Dance Committee. Vaughan. Recorded in high definition video with two cameras by Nel Shelby, at New York Live Arts, New York

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City, May 16, 2013. Funding provided by The Jerome Church-in-the-Bowery, New York City, May 23, 2013. Robbins Foundation. Funding provided by the National Endowment for the Arts and The Jerome Robbins Foundation. Katy Pyle Firebird, a Ballez is choreographer Katy Pyle’s Interview with Lamine Thiam reimagining of Michel Fokine’s 1910 The Firebird with an Lamine Thiam, entirely transgender and lesbian cast and a message born in about queer culture. Pyle does not stray from the original Senegal, has score composed by Stravinsky, which fittingly is become a performed live by the Queer Urban Orchestra. She also world- does not deviate from one of Fokine’s original notes, renowned which stated, “each ballet’s movements should be dancer, specific to the culture it represents.” The Firebird, a choreographer, Ballez tells the story of a lesbian princess and a drummer, and “tranimal,” actor. He has which is part studied at the Conservatoire National du Senegal and has bird, part come to specialize in West African rhythms such as sabar, prince, as the djembe, and bougarrabou. Recorded in co-operation Firebird, who with the Dance Division’s Oral History Project in high seek liberation definition video by François Bernadi, May 23, 2013. from an evil Funding provided by The Jerome Robbins Foundation and Sorceress. Gia by the New York State Council on the Arts. Kourlas discussed the Nikolai and the Others technique and style of the choreography, noticing, “for Playwright Richard Nelson’s all its camp moments, Ms. Pyle’s Firebird…is no joke. This Nikolai and the Others production comes from a place of loving, not rejecting, explores the relationship ballet” (The New York Times, May 24, 2013). Recorded in between Balanchine and high definition video with two cameras by Peter Stravinsky at the moment of Richards, at Danspace Project in St. Marks Church-in-the- their collaboration on Orpheus Bowery, New York City, May 17, 2013. Funding provided and in the heat of the political by the National Endowment for the Arts. tension of the Cold War. The play intertwines ballet and of Darrell Jones course speaking roles to Darrell Jones collaborated with Damon Green and J’Sun produce an intricate imagining Howard to present a gender-bending performance of of this famous partnership Hoo-Ha (For your eyes only) to music by D.J. Swaguerilla along with the pair’s friends, along with family, and dancers. Besides percussive Balanchine (Michael Cerveris) and Stravinsky (John noises and Glover), central characters include Maria Tallchief chants of (Natalia Alonso), Nicholas Magallanes (Michael Rosen) “yes,” and Nikolai Nabokov (Stephen Kunken). Claudia La Rocco produced by described the two main characters as “long[ing] for the the dancers old world while plunging into the new.” She went on to themselves. comment, “The parallels with the Greek myth – in which Danspace Orpheus must avoid looking back at his beloved to keep Project described this work as “…the release of the her alive – are clear” (The New York Times, May 2, 2013). oppressed feminine in the male body. Pulling from Ben Brantley, chief theater critic of The New York Times voguing vocabularies, Jones forges forbidden moments said, “how often do you get to see a cast of this size and and movements in this danced ritual of passage seeking quality working in such harmonious disharmony, as physical and psychic liberation.” Recorded in high arranged by an ensemble master like the director David definition video with two cameras by Mark Robison, Cromer?” (May 6, 2013). Recorded with three cameras Character Generators, Danspace Project in St. Marks on June 14, 2013, in cooperation with the Library’s

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 25 Theatre on Film and Tape Archive, at the Mitzi E. specifically those of the closing act, the Korean group Newhouse Theater at Lincoln Center. Funding shared Project Soul Collective, were performed by all male between the Theatre on Film and Tape Archive and Dance groups, and were especially acrobatic and reminiscent of Division. Dance Division's funding from The Jerome the Brazilian martial art form capoeira. Others used the Robbins Foundation and Joseph D. Lewitan Endowment. art form in a more theatrical way, such as AP15, performed by Sebastian Ramirez and Honji Wang, which Breakin’ Convention: Mainstage Performance (Day 2) chronicled a power struggle between a man and a Breakin’ Convention is an entirely hip-hop dance theater woman. Other performers included Boy Blue festival, which was founded in London in 2004 by Jonzi D, Entertainment, In Da Clutch Dance Crew, with the original intention to see this modern, Bronx- Decadancetheatre, Jane Sekonya, NextLevelSquad, Frank based dance style as a form of theater dance. Now Ejara, and The Wondertwins. Recorded in high definition returning to its birthplace, the genre took the Apollo video with two cameras by Judy Lieff, at the Apollo Theater by storm with performances, workshops, and Theater, New York City, on June 16, 2013. Funding discussions. The performances showcased the ever- provided by the Rockefeller Brothers Fund. growing diversity within the genre, with Saung Budaya Indonesian Dance Group pieces from the United Saung Budaya Indonesian Dance Group was founded in States and Britain, but 2005 by Amalia Suryani, who wanted to bring the lesser also from all over known dances of the Indonesian archipelago to America. Europe, Brazil, South Their annual show, titled Dances of the Archipelago, Africa, and South traversed West Sumatra, Jakarta, and Aceh this year. The Korea. According to company showcased dances unique to these areas such Alastair Macaulay of as the Indang dances, plate dances, the Njot-njotan, and The New York Times, the Saman, which was originally created to celebrate the the audience “saw and birth of the Prophet Muhammad. Recorded in high heard how hip-hop definition video with two cameras by Charlie Steiner, faces in many Vagabond Video, on June 16, 2013, at The Goldman- directions, has many Sonnenfeldt Family Auditorium, Jewish Community identities” (June 17, Center, New York City. Funding provided by the 2013). Some dances, Rockefeller Brothers Fund.

Oral History Project The Dance Oral History Project, led by Susan Kraft, has continued its work as the leading project of its kind in the nation. Fiscal year 2012 – 2013 was another exceptional year for both the depth and quality of oral histories added to the archive. This year the Project recorded six oral history narrators, in thirteen separate interview sessions. The interviews described below add extremely valuable new primary source material to the Division. These interviews expand the Archive’s holdings on a broad range of artists and topics. Funding from the National Endowment for the Arts and New York State Council on the Arts (NYSCA) made these new interviews possible. With the support of NYSCA, Cassie Mey continued working part-time to process and prepare materials for preservation. The interviews recorded this fiscal year are listed below.

Alastair Macaulay, chief dance critic of The Times New Yorker in 1988 and 1992. He began writing dance Literary Supplement and chief theater critic of The criticism in 1978 and has taught dance history at various Financial Times, both in London. He was appointed chief colleges and universities. He has contributed dance dance critic of The New York Times in 2007 and is the criticism to The Financial Times since 1988. On July 20 founding editor of the British quarterly Dance Theater and 23, 2013 , Brian Seibert conducted a four-hour Journal in 1983. He was also a guest dance critic at The interview with Mr. Macaulay detailing the origins and trajectory of his career.

Lynn Glauber-Mandel began her training at the Ballet Center of Buffalo under the direction of Kathleen Crofton. In 1970, she was awarded a full scholarship to the Joffrey School in NYC, and in 1971 she joined Maurice Béjart's Ballet of the Twentieth Century in Belgium as the

26 youngest member of the company. During Ms. Glauber’s Leadership in Dance Research; in September 2001 he tenure in the company, Béjart created six ballets received a New York Dance and Performance Award especially for her. Ms. Glauber returned to the U.S. in (“Bessie”) for sustained achievement; in June 2007 he 1977, joining the Joffrey Ballet and dancing principal was the Dance Critics Association’s Senior Critic Honoree. roles created by notable choreographers, including Mindy Aloff conducted an in-depth interview with Mr. Antony Tudor, Robert Joffrey, Gerald Arpino, John Vaughan, comprising more than 8 hours over 4 sessions Cranko, Agnes de Mille, Glen Tetley, and Sir Frederic (March 20, May 8, May 15, and June 12, 2013) exploring Franklin. Her teaching credits include Alvin Ailey his background and the many facets of his extraordinary American Dance Theater, Jacob's Pillow, Ballet Hispanico, career. Universal Ballet (Korea), Bat-Dor Dance Academy (Israel), and Marymount Manhattan College. On December 20 Janet Eilber has been the Artistic Director of the Martha and 21, 2013, Mindy Aloff conducted a four-hour Graham Center of Contemporary Dance since 2005. Her interview with Ms. Glauber exploring her multifaceted work has focused on creating new forms of audience ballet career. access to the Graham masterworks. She has also remixed Graham choreography and created new staging in the Tina Ramirez founded Ballet Hispanico in 1970 and Graham style for theater/dance productions of The served as Artistic Director until 2009. Under her Bacchae and Prometheus Bound. As a principal dancer direction, over 45 choreographers created works for the with the Martha company. Graham Dance Company, Ms. Eilber Ms. Ramirez was born in Venezuela, the daughter of a worked closely with Mexican bullfighter and grandniece to a Puerto Rican Martha Graham. She educator who founded the island’s first secular school for danced many of girls. Her performing career included international touring Graham’s greatest with the Federico Rey Dance Company, the Broadway roles, had roles productions of Kismet and Lute Song, and the television created for her by adaptation of Man of La Mancha. In addition to the 2005 Graham, and was National Medal of Arts, Ms. Ramirez has received countless directed by Graham awards and honors in recognition of her work, including the in most of the major Dance Magazine Award, the Hispanic Heritage Award for roles of the Education, the Capezio Dance Award, New York State’s repertoire. She Governor's Arts Award, and the New York City Mayor’s Photo by Hibbard Nash Photography soloed at the White Award of Honor for Arts & Culture. As a follow up to a 1998 House, was oral history interview, Ms. Ramirez met again with partnered by Rudolf Nureyev, starred in three segments interviewer Robert Johnson on April 18, 2013 to update the of Dance in America, and has since taught, lectured, and events in her life over the past 15 years directed Graham ballets internationally. Apart from her work with Graham, Eilber has performed in films, on David Vaughan has danced, television, and on Broadway, directed by such greats as sung, acted, and Agnes de Mille and Bob Fosse, and has received four choreographed in London, Lester Horton Awards for her reconstruction and Paris, on and off Broadway, performance of seminal American modern dance works. in American regional On May 22, 23, and 29, 2013, Neil Baldwin conducted a theaters, film, television, three part oral history interview with Janet Eilber. ballet and modern dance companies, and cabaret. He Lamine Thiam is a world-renowned dancer, was the archivist of the choreographer, drummer, actor, and teacher, specializing Cunningham Dance in West African Dance from his native Senegal and Foundation. He is the author neighboring countries. He immigrated to New York City of Frederick Ashton and his in 1993, where he taught at the Fareta School of Dance Ballets and of Merce Cunningham: Fifty Years, now and Drum, the Djoniba Dance and Drum Centre and available in an updated version as an app for the iPad. At Jacob's Pillow Dance School. In 1996, he formed his own the Dancing in the Millennium Conference in Bousso Dance Company, which focused on preserving Washington, DC in July 2000, he received the 2000 CORD the dances of Senegal, Guinea, and Mali and The Gambia, (Congress on Research in Dance) Award for Outstanding in the traditions of the Wolof, Bambara, Jola, Mandinke,

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 27 and Serer ethnic groups. He has also graced the stage at Susan and Cassie also worked closely with Speaking of venues worldwide, including Carnegie Hall, Symphony Dancing project director Imogen Smith, sound engineer Space, The United Nations, and Lincoln Center, as well as Andrew Theodorou, and the Library’s Director of theaters in Japan, Germany, London, Mexico, and the Multimedia Content, James Murdock, to make the Caribbean. In a collaboration with the video Original channel launch a success. In addition, Dance Heritage Documentation program, Thiam was recorded speaking Coalition fellow Nichole Arvin contributed to the with Carolyn Webb about his life history, as well as development of the page. Nichole assisted Oral History demonstrating his artistry, in an interview on May 29, Archive (OHA) staff in refining selected audio excerpts 2013. and creating the video clips from the Speaking of Dancing project interviews. Nichole also designed an Speaking of Dancing, Anne H. Bass Oral History elegant logo for the channel, giving it a recognizable Project appearance to link to throughout the Library’s website. In March 2011, Imogen Smith was hired part-time to coordinate the oral history project Speaking of Dancing, The channel entered a second phase of development in which was made possible by a gift from Anne H. Bass in January 2013, expanding with the addition of six new 2007. The project, working collaboratively with the interview excerpts, all of much greater length than the Dance Division’s ongoing Oral History Project, has first batch. The next phase that OHA staff members are created a group of new oral history interviews with hoping to implement will be the inclusion of a dancers, choreographers, and critics, around the unifying representative sample of older recordings in order to theme of interpretation in dance. showcase the Dance Division’s rare historical audio material. This step will depend on more complex rights In July 2012, video oral histories with Alastair Macaulay clearances as well as preservation and digitization and Ethan Stiefel were recorded; Macaulay was support. interviewed by Brian Seibert, and Stiefel was interviewed by Rose Anne Thom. In August 2012, a two-part, nearly Since its launch one year ago, the Dance Oral History six-hour audio discussion of the ballet The Sleeping Channel has received more than 2,100 “likes” on Beauty by Alastair Macaulay, Robert Greskovic, and Facebook and 20 “tweets” over Twitter. David Vaughan was recorded. This discussion formed the basis for a public program in April 2013; it was also fully transcribed and is available for use.

Dance Oral History Channel The Dance Oral History Channel launched on September 8, 2012 on The New York Public Library’s website. Created by Susan Kraft and Cassie Mey, the page showcases audiovisual clips from the Oral History Project. Initially containing 11 clips selected from the 2009 – 2012 Oral History Project and the Speaking of Dancing project, the launch of the channel, including a preview clip, was highlighted in a Time Out New York article, “Explore Dance History at Three NYC Archives.”

2.3 SERVICES TO THE PUBLIC The Jerome Robbins Dance Division presents its public face in the Reading Rooms where Performing Arts Library staff answered reference queries for many of the 383,814 visitors to the Performing Arts Library's Lincoln Center facility. This number of visitors is a 10.33% increase over the prior fiscal year. Of these, over 23,000 visitors accessed the Performing Arts Library's Research collections, which include the Dance Division last year. The Dance Division’s reference staff served these researchers in the Reading Room, who consulted over 51,000 materials, including papers, manuscripts, books, programs, photographs, videos, and films. Daily reference statistics show that for reference, instruction, consultations, telephone answers, written responses, and e-mail services, the Division handled an estimated 3,000 inquiries. This number does not accurately reflect the actual number of services we offer and fulfill, however, as the statistics gathering methodology to capture the variety and depth of responses we offer the public remains in the development stage.

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On-site use of the Moving Image Archive materials included, for example, nearly 2,300 video and audio oral history users from 27 states and 31 countries in addition to the U.S., accessing over 4,400 audiovisual materials, with many other patrons using paper-based items in both the main reading room and the Special Collections area. In the Special Collections Reading Room alone, the Dance Division’s reference staff served over 3,800 dance researchers who consulted over 6,200 items, including papers, manuscripts, books, programs, and photographs from the Dance Division.

Researchers from afar usually precede their visits with email requests about access and availability of materials, which sometimes require retrieval of individual items or parts of archival collections from the library's off-site facility. Patrons this year came from across the United States as well as Argentina, Australia, Austria, Belgium, Brazil, Canada, China, Colombia, Czech Republic, Denmark, Egypt, Finland, France, Germany, India, Ireland, Italy, Japan, Latvia, Macedonia, Netherlands, New Zealand, Norway, Poland, Puerto Rico, Russia, Slovenia, South Korea, Spain, Switzerland, and the United Kingdom. Both paper and photographic collections were used in preparation for public lectures, exhibitions, university theses and dissertations, and publications.

Knowledgeable staff members worked with curators for the Performing Arts Library exhibitions, 100 Years of Flamenco in New York, 1913 – 2013, Martha Swope: In Rehearsal, and Memory Preserved: Glass Plate Photographs of the Royal Cambodian Dancers. In addition, Danielle Castronovo produced exhibitions in the Library’s third floor Reading Room, including the Remy Charlip Exhibit curated by David Vaughan and the Boris Anisfeld Exhibit with intern Gabriella Karl- Johnson. This year staff also produced three public programs on African dance, titled On Fire with African Dance, as well as a public program on Cambodia titled HRH Princess Norodom Buppha Devi in Conversation with Director Peter Sellars. Staff also worked on the program for the Friends of the Jerome Robbins Dance Division event on The Sleeping Beauty, with Alastair Macaulay, Robert Greskovic, and David Vaughan.

Tours for Students Staff also welcomed groups of visitors from schools, University Moving Image Archiving and universities, dance companies, and other organizations. Preservation (MIAP) Program. For each visit the staff members tailored the tours for the . Danielle Castronovo gave a tour, including a needs of the variety of groups. Staff showed particular visit to the Martha Swope: In Rehearsal exhibit, collection items, giving the groups an introduction to The introduced Dance Division paper materials, gave New York Public Library, the catalog, concepts in dance a catalog demonstration, and introduced the documentation, and the varied holdings of the Jerome Dance Division’s Oral History Channel to eight Robbins Dance Division. They also provided advice on an undergraduate students from Patricia Beaman’s array of topics. This year staff members gave tours to 25 class at Eugene Lang College. classes for 199 people ranging from elementary school . Tanisha Jones gave a tour to 20 undergraduate through graduate school, as well as dance studios. These students from Katherine Profeta’s Macaulay tours for students included: Honors College Arts in New York City class, . Arlene Yu gave a tour and catalog presenting about the Jerome Robbins Archive of demonstration with video screening and the Recorded Moving Image, materials and introduction to dance documentation materials subjects collected, and how to access materials to 14 MFA students from Deborah Jowitt’s in the archive through a catalog demonstration graduate seminar at New York University, Tisch focusing on choreographers and works the School of the Arts. students were studying. . Tanisha Jones gave a tour and screened videos . Arlene Yu gave a tour, including a visit to the for 16 undergraduate students in Donna Martha Swope: In Rehearsal exhibit, to 16 Uchizono’s Art in New York City class at students in Jennifer Homans’s New York Macaulay Honors College, City University of New University undergraduate seminar. Students York. were introduced to dance documentation . Tanisha Jones gave a tour, introduced the material in different formats, instructed in Jerome Archive of the Recorded Moving Image, searching and interpreting the Classic Catalog, and screened videos for graduate students in and treated to a viewing of Don Quixote. Rebecca Guenther’s Access to Moving Image . Daisy Pommer gave a tour and catalog Collections class, a part of the New York demonstration and screened a video of Rodeo to 20 first year Commercial Dance BFA & BA

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 29 :students from Pace University, led by instructor . Daisy Pommer introduced Dance Division Wayne Petro. materials and demonstrated searches of the . Tanisha Jones introduced the Dance Division, catalog, the Digital Gallery, and the Archival the Moving Image Archive, and the 2011 Mikhail Materials Access Tool to 11 undergraduate Baryshnikov Archive acquisition, in addition to students from the University of Miami. screening a Baryshnikov compilation video, to . Danielle Castronovo gave a tour of the Library, seven undergraduate students in Lisa Johnson’s spoke about the history of the Dance Division, Manhattan College class. paper materials in the collection, and the Dance . Tanisha Jones hosted eight undergraduate Oral History Channel, and demonstrated the students from Ninotchka Bennahum’s Dance catalog to four undergraduate students History class from American Ballet Theatre II, accompanied by Professor Victoria Thoms from giving an introduction about the Dance Division the University of Wolverhampton, UK. and the Moving Image Archive and screening . Tanisha Jones introduced the Dance Division, videos for the class. the Moving Image Archive, and the 2011 Mikhail . Danielle Castronovo introduced the Dance Baryshnikov Archive acquisition, in addition to Division and the Dance Oral History Channel, screening a Baryshnikov compilation video to 11 demonstrated the use of the catalog, and undergraduate students from Lisa Johnson’s showed sample paper-based dance Manhattan College class. documentation materials to seven students in . Jan Schmidt and Danielle Castronovo Kevin Winkler’s Pratt Institute graduate class on introduced the Dance Division and its holdings, Performing Arts Librarianship. showing original designs, rare books, photo . Arlene Yu gave a tour, including a visit to the albums, and scrapbooks to fellows from the Martha Swope: In Rehearsal exhibit, to 35 high Season of Cambodia. The group also learned school students and 70 middle school students about our collecting policy, and received from the Joffrey Ballet School. Students also information on setting up an archive and storing learned about dance documentation material materials properly. types and searching the Bibliocommons catalog . Jan Schmidt provided a tour of the Library and a for dance moving images. catalog tutorial for National Dance Week. . Arlene Yu hosted a visit from 36 students . Arlene Yu introduced dance documentation ranging from 7 to 16 years of age, plus 12 adults, material types and demonstrated Classic Catalog from the Jones-Haywood Dance School. The searches for dance moving images to 16 group viewed a video of a Dance Division public undergraduate students, led by Professor Neta program and discussed the history of and Pulvermacher, from the University of Florida. current outlook for black people in ballet . Tanisha Jones hosted a visit by 39 alumni of the worldwide, as well as ballet training as High School of Performing Arts for their 45th preparation for other forms of dance and other reunion, and showed a film of their own non-dance careers. performances as junior modern dance students . Daisy Pommer introduced Dance Division at the school. materials and demonstrated catalog searching . Daisy Pommer introduced the Dance Division, to 27 dance history students from the Juilliard showed various paper materials, provided School Dance Division, and arranged for the catalog search instruction, and screened Moving students to receive Library cards and access Image Archive videos to six undergraduates Dance Division materials, both paper-based and from the University of Miami. moving image, on their own. . Arlene Yu introduced the Dance Division to nine . Tanisha Jones hosted the first Declarations students of high school age enrolled in the Ceremony of the Hip-Hop Dance Conservatory, Barnard College 2013 Summer Liberal Arts honoring three apprentice dancers on their Intensive class, On Broadway: American Musical becoming full fledged members of the Theater in New York City, led by their instructor, company’s corps. The group was introduced to Andrew Haringer. The students were introduced the Dance Division’s commitment to working to the different types of materials used to with the dance community in preserving its document performances, and watched a video legacy. from the Moving Image Archive.

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Notable Users Notable Dance Division users in the last fiscal year 2013 arrived from 31 countries, as well as 27 states in the U.S., and included:

Performance and visual artists

Writers, scholars, and academics representing Academy of Performing Arts, Prague New York City College of Technology University of California, Los Angeles Bard Graduate Center New York Institute of Technology University of California, Riverside Barnard College New York University University of California, San Diego Bennington College Northern New Mexico College University of California, San Francisco Bloomfield College Otterbein University University of California, Santa Barbara Bowdoin College Oxford University University of East London Brooklyn College Pace University University of Glasgow Butler University Parsons School for Design University of Hawaii at Manoa California State University, Long Beach Pratt Institute University of Helsinki Carnegie Mellon University Princeton University University of Houston Case Western Reserve University Queens College University of Kansas Chapman University Queensborough Community College University of Massachusetts, Amherst City College of New York Reed College University of Melbourne Colgate University Rice University University of Miami College of New Jersey Ritsumeikan University University of Michigan Columbia University Russell Sage College University of Minnesota Concordia University Rutgers University University of New Haven Cooper Union Ryokoku University University of New Mexico CUNY Graduate Center St. Cloud State University University of North Carolina at Chapel Hill Davidson College Samford University University of North Texas Duke University Sarah Lawrence College University of Pittsburgh Emerson College Seton Hall University University of Queensland Essex University Smith College University of Rochester Fashion Institute of Technology Southern Methodist University University of Salford Florida State University Souther Virginia University University of Salzburg Fordham University Stanford University University of San Francisco George Mason University Steven F. Austin State University University of Stuttgart Georgetown University SUNY Brockport University of Sydney Hamilton College SUNY Empire State College University of Texas at Austin Harvard University SUNY Purchase University of Vermont Hobart and William Smith Colleges SUNY Stony Brook University of Virginia Hochschule fur Musik & Darstellende Kunst Temple University University of Warsaw Hoftstra University Texas Woman's University University of Wisconsin-Milwaukee Humboldt University of Berlin Universidade Estadual Paulista (UNESP) University of Wisconsin-Whitewater Hunter College Università degli Studi di Salerno University of Zurich Iona College Université Montpellier 1 Vassar College Kansas State University Université Paris 3 Sorbonne-Nouvelle Vermont College of Fine Arts Kennesaw State University Université Paris 7 Denis Diderot Virginia Tech University Long Island University Université Paris 8 Wagner College Marymount Manhattan College University College, Dublin Waseda University Miami University University of Arizona Western Carolina University Mills College University of Auckland Western Kentucky University Montclair State University University of California, Berkeley Yale University New College of Florida University of California, Davis York College New School for Social Research, The University of California, Irvine Dance company leaders, choreographers, performers, and educators representing Ailey II Ballet Academy East Broadway Dance Center American Academy of Dramatic Arts Ballet Bacoulou d'Haiti Carolina Ballet American Ballet Theatre Ballet San Jose Caterina Rago Dance Company American Dance Machine Ballett Dortmund City Island Theater Group American Mime Theatre Big Dance Theater Dance Manhattan American Musical and Dramatic Academy Blushing Poppy Productions Dance New Amsterdam

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 31 Dance Theatre of Harlem Martha Graham School of Contemporary Pajarito Spanish Dance (New Mexico) Elisa Monte Dance Dance P.A.R.T.S. (Performing Arts Research and Flamenco Vivo Carlota Santana Mary Anthony Dance Studio Training Studios, Belgium) Flea Theater Maryland Youth Ballet Philadelphia Chamber Music Society HB Studio Metropolitan Opera R Dance Theatre Sounds International Dance School/Peridance Michael Howard Studios Rosie Herrera Dance Theater Center New American Youth Ballet La Sangria Discreta (Switzerland) Jean Erdman Dance New England Conservatory State Academic Bolshoi Theatre of Russia Linda Bair Dance Company New York City Ballet Steps on Broadway Manhattan School of Music New York Live Arts (DTW) 10 Hairy Legs Mark Morris Dance Group Pacific Northwest Ballet Westchester Broadway Theater Martha Graham Dance Company Pacific Northwest Ballet School K-12 students and educators representing The Ailey School Frank Ohman School of Ballet Limón School Alliance Theatre (Atlanta) Gelsey Kirkland Academy of Classical Repertory Company High School for Ballet San Jose School Ballet Theatre Arts Beacon School IDEA Homeschool Scarsdale Ballet Studio Brooklyn Prospect Charter School Jacqueline Kennedy Onassis School at School of American Ballet Choir Academy of Harlem American Ballet Theatre The School of Performing Arts (Florida) Cultural Academy for the Arts and Joffrey Ballet School Winans Academy of Performing Arts Sciences The Juilliard School Woodside High School Ellison Ballet Lakeside School (Seattle) Cultural leaders and writers representing Actors Equity Association Danspace Project School of Visual Arts Ballet Review Financial Times Slavenska Dance Preservation Brooklyn Rail Flynn Center for Performing Arts Smithsonian Institution Clark Center for the Performing Arts Metropolitan Museum of Art TDF Stages: A Theatre Magazine Courtauld Institute of Art Movement Research Triple Canopy – Dance Films Association Muzeum Sztuki (Museum of Art) in Lodz canopycanopycanopy.com Dance Notation Bureau National Museum of the American Indian Victoria and Albert Museum Dance for Parkinsons Nettles Artists Collective Dance Teacher magazine New Jersey Performing Arts Center Filmmakers Part 2 Pictures/Animal Planet Steeplechase Films Thirteen/WNET

Behind the scenes, Dance Division staff answered “Thanks are due to all the archives and libraries reference queries primarily by e-mail and telephone. that provided photographs for study and for Requests covered collection content and availability, publication and that gave permission for permission for use, and permission to cite and publish, as publication of both of these and of the actual well as permission to copy oral history, film, video, texts concerned. We owe more personal thanks manuscript, and photograph materials. Some recently to …Ms Pat Rader (Dance Division, New York published books that used Dance Division materials Public Library for the Performing Arts.” include: Chapter 11 (pages 123 – 127) concerns A . No Daughter of Mine is Going to be a Dancer!, Handwritten Version of the Italian Dance- Sharry Traver Underwood (writer), published by Treatise by Guglielmo Ebreo (call number Sharry Traver Underwood, © 2012; *MGZMB-Res. 72-254), and is accompanied by Acknowledgements p. 357: “The Dance Library an appendix containing descriptions of 13 at the New York Public Library at Lincoln Center, Ballettos, 19 Ballos, and 23 Bassadanzas. New York, provided the dance collections of . La Sylphide: Paris 1832 and Beyond, Marian Charles Weidman and Denishawn with Smith (editor), published by Dance Books Ltd., additional general information on dance during © 2012; Illustrations p. viii; Cover and the 40s decade.” Illustration 3.1: Marie Taglioni in La Sylphide, . The Basse Dance Handbook, David Wilson lithograph by J.S. Templeton after A.E. Chalon; (editor and transcriber), published by Pendragon Illustration 8.1: Fanny Cerrito in La Sylphide by Press, © 2012; Acknowledgements p. vii:

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Cortesi, colored lithograph by Roberto Focosi, . Dance and the Performative, Preston-Dunlop, Milan, circa 1841. Valerie Monthland, published by Hampshire . The Dancing Chancellor, Alice Simpson, Dance Books © 2010; Acknowledgments: “Phil Handmade book, only 60 copies made, © 2012; Karg at the New York Public Library Dance p. 11: “With Special Gratitude Patricia Rader” Division photographic services for assistance in . Salvador Dalí und das Theater, Simone Brandes, locating and obtaining permission to use published by Michael Imhof Verlag © 2012; illustrative materials from their collections.” used over 20 images from the productions of . Nijinsky: A Life of Genius and Madness, Richard Labyrinth, Romeo und Julia, Mad Tristan, Buckle, published by Pegasus Books © 2012; Sentimental Colloquy, The Spanish Lady and the plate 31a: caricatures of Till Eulenspiegel by Roman Cavalier. Alida Williams reproduced from the Jerome . Encounters with the 1930s, Museo Nacional Robbins Dance Division; p. xxiv: “Not only must I Centro de Arte Reina Sofía, published by La express my warm gratitude to Miss Genevieve Fabrica © 2012; p. 390: two prints by Joan Oswald, Curator of the Dance Collection of the Junyer i Pascual from the ballet The Minotaur, New York Public Library at the Museum and 1947; one Soichi Sunami photograph of the Joan Library of Performing Arts, and her staff….” Junyer I Pascual exhibit at the Museum of . Nijinsky: A Life, Lucy Moore, published by Modern Art, 1945. Profile Books © 2013; “I am grateful to…Bob . L’Éveil des Modernités: Une Historie Culturelle Kosovsky and Amy Schwegel of the New York de la Danse (1870 – 1945), Annie Suquet, Public Library, music and dance divisions published by Centre National de la Danse respectively….” © 2012; p. 4: photograph by Roger Wood; . Batsheva Dance Company 1964 – 1980: My p. 247: anonymous photograph of Isadora Story, Rena Gluck, published by Rena Gluck © Duncan; p. 584: Barbara Morgan photograph of 2006; Acknowledgements p. 13: “I wish to Martha Graham; p. 585: photograph of Lester acknowledge all of the institutions that allowed Horton by Toyo Miyatake; p. 587: Maurice me to use their research facilities, archives, and Goldberg photograph of Asadata Dafora et photograph collections: The Jerome Robbins Musu Esami dans Kykunkor d’Asadata Dafora; Dance Division.” p. 902 photograph of Pearl Primus. Uses of Audio/Visual Collections In Fiscal Year 2013, the Dance Division fulfilled 15 in September 2012 and will subsequently exhibit audiovisual requests by providing copies of 60 moving at the Dallas Museum of Art. image items from 34 titles to researchers and rights . The New York Public Library’s Exhibitions owners for their own archives, for screenings, or for use Program received a DVD copy of an excerpt of in documentaries, as well as to exhibitions, subject to “Hommage à S. Pickwick, Esq. P.P.M.D.C.” from permissions. This work meant that staff first assisted John Cranko’s Brouillards, performed in an April 1, patrons with choosing materials for their project, then 1978 rehearsal by Joffrey Ballet, for screening in researched the catalog records to determine possible the exhibition on Charles Dickens titled Charles rightsholders for films and videotapes, including Dickens: The Key to Character in the Sue and Edgar producer, company, choreographer, unions, and music Wachenheim III Gallery, Stephen A. Schwarzman rights, as well as how to contact them. The staff kept Building of The New York Public Library, from track of the permissions as they were received and then September 14, 2012 through January 27, 2013. created the clips to be used for the patron. A few . Slavenska Dance Preservation, Inc. received selected requests are: copies of excerpts of two Donald Byrd . Dancer, choreographer, and teacher Deborah performances and Dinko Bogdanic with Pittsburgh Zall received a DVD copy of her work Shadow of Ballet Theatre for use in a documentary on Her Sister for study purposes. celebrated prima ballerina Mia Slavenska titled . The Dallas Museum of Art received master Mia, A Dancer’s Odyssey. copies of excerpts of Léonide Massine’s Aleko to . Augusta Films, LLC working with Steeplechase screen in the Museum’s exhibition on Marc Films made a few requests throughout the year, Chagall titled Chagall: Beyond Color, which receiving DVD loan copies of several New York City opened at Musée La Piscine in Roubaix, France Ballet, Tanaquil Le Clercq performances in

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 33 Symphony in C, La Valse, Four Temperaments, and performance and interview footage featuring Afternoon of a Faun to select excerpts from for use artists such as Carmen Amaya, Vicente Escudero, in an upcoming documentary on Tanaquil Le Mariquita Flores, José Greco, La Macarrona (Juana Clercq titled Afternoon of a Faun: Tanaquil Le Vargas), Sabicas, and others that were made into Clercq. DVD compilation reels and screened in the Vincent . The Brooklyn Academy of Music Archives Astor Gallery, New York Public Library for the received DVD copies for their archives of the Performing Arts exhibition titled 100 Years of following three BAM programs: the November 29, Flamenco in New York from March 12 through 1971 BAM presentation of Classical Khmer Ballet; August 3, 2013. the October 21, 1983 BAM Next Wave Festival . Alvin Ailey American Dance Theater received a program presentation of the Trisha Brown DVD copy of the company’s May 10, 1990 Company; and an October 1981 BAM presentation performances of Come and Get the Beauty of it of the Trisha Brown Company. Hot and Sarong Paramaribo for study purposes for . New York Theatre Ballet received a DVD copy of a an upcoming restaging of the works. 1976 Merce Cunningham Studio rehearsal of . The Napa Valley Museum received a DVD loan James Waring’s Feathers for study purposes for an copy of the Laird Goldsborough film [Boris upcoming restaging of the work. Chaliapine's ballet portraits], for screening in the . Dance historians and guest curators Ninotchka Napa Valley Museum exhibit, Michel Fokine and Bennahum and K. Meira Goldberg requested Sergei Rachmaninoff’s Ballet, running from July 6 numerous video excerpts of flamenco through July 31 2013. Uses of the Photographic and Design Collections The photographic and design collections of the Dance wall text image, brochure, social media, TV, and Division were the source of scholarly and personal online video and exhibition documentary film. research as well as live performance and exhibitions with . Two images of choreographic notes for 140 images being reproduced in this fiscal year. Of the Cunningham’s Canfield for Paper/Landscape/ 140 only 19 were for previously digitized items. Items Architecture, Northampton, UK for four exhibition required new scanning numbered 121, of which 1 was an venues (Center for Recent Drawing, London; 18th century print, 1 was a 19th century lithograph, 25 Institute of Art and Design, Dublin; Cube Gallery, were exhibition prints (including 3 that had to be Manchester; and RIBA, Manchester). rescanned due to data loss and are not included in new . Soichi Sunami photos of the Joan Junyer exhibit scanning total), 3 came from reserve periodicals and at the Museum of Modern Art for the Museo clippings files, 2 came from rare books, 7 came from Nacional Centro de Arte Reina Sofía, Madrid original designs, 1 came from digitized slides in the exhibition Encuentro en los 30. Martha Swope Collection, 3 came from souvenir . Six photos from the Adolf Bolm photographic programs, 4 were clippings from scrapbooks, and the scrapbook and Denishawn Collection for The Los balance were black and white photos from open files, Angeles Music Center 10th anniversary season photographic scrapbooks, and other collections. All of of dance celebration exhibition. the black and white photos were scanned here at the . 22 exhibition photos of Nijinsky for Ola Performing Arts Library by Alice Standin, the Dance Lagerstorm of Malmo, Sweden for a short film Division’s part-time photography staff member. Prints, for festivals and website. original designs, and books that would not lie flat were . Six original Soudiekine designs for Fokin’s ballet sent to the Library’s Digital Imaging Unit via Registrar Paganini for an exhibition at the Napa Valley courier to be scanned with an overhead camera. Museum titled Fokine and Rachmaninoff’s Lost Ballet The Dance Division provided photographs to researchers, . 32 images and articles from scrapbooks writers, and production companies for use in books, collections and photo files for Veronica exhibitions, television broadcasts, and scholarly journals. Tennant’s biography of her mother, Irina Baronova: A Life in Pictures. Noteworthy this year are: . Two pages of lithograph designs from Alexander . National Gallery of Art, Washington, DC Exter’s Décors de Théâtre for the Philadelphia exhibition: Diaghilev and the Ballets Russes 1909 – Museum of Art’s exhibition Léger: Modern Art 1929: When Art Danced with Music. Original and the Metropolis. artwork loan and photos for exhibition, press kit,

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Scanning material in-house as much as possible is a data directly into the digital archive, which increases our significant advance for the Dance Division, as it improves control over the content and format of the data, and also turnaround time and eliminates the need for some increases the speed of order processing. Alice Standin materials to be transported to other buildings and handles both in-house scanning of Jerome Robbins Dance possibly suffer the environmental and loss hazards Division images as well as the input of metadata into the involved. In addition, with the arrival of the new new Metadata Management System. Metadata Management System, we now input our own Paper-Based Materials Loaned to Outside Institutions The Museo Nacional Centro de Arte Reina Sofia in Madrid The Museo Nacional Centro de Arte Reina Sofia in (Reina Sofia) borrowed set and costume designs by Esteban Madrid borrowed several photographs and small posters Francés for Balanchine’s ballets for Ballet Society for its of James Waring for its exhibition An Anthology – of exhibition Encounters with the 1930s. Reina Sofia also Chance Operations etc. from June 11 – October 28, 2013. borrowed silk-screens after Joan Junyer I Pascual’s tempera costume designs for John Tara’s ballet The Minotaur. The Philadelphia Museum of Art borrowed two pochir prints from Décors de Théâtre by Alexandra Exter for its The National Gallery of Art in Washington DC borrowed exhibition: Léger: Modern Art and the Metropolis. [Narcisse] 1911? by Leon Bakst for its exhibition Diaghilev and the Ballets Russes 1909 – 1929: When Art Danced with Music, running from May 5 – September 2, 2013.

The Philadelphia Museum of Art borrowed several pages from Suite for Five which is part of *MGZMD 295 Merce Cunningham Choreographic Notes. The Barbican Art Gallery in London has been added as a second venue and the materials will be featured in the exhibit titled The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg, and Johns, 14 February – 9 June 2013.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 35 2.4 PROCESSING AND BIBLIOGRAPHIC CONTROL Cataloging and processing of materials are handled by the Special Formats Processing Unit and Manuscripts Unit. Manuscripts Processing The Manuscripts and Archives Division focused on collection documents Mitcheltree's personal life processing and describing the Dance Division backlog and and professional career with print materials, processed 15 collections comprising 58.45 linear feet. press clippings, personal correspondence, and When the materials are processed by the Manuscripts photographs. and Archives Division in the Library’s facility in Long . Merce Cunningham choreographic notes. 2.5 Island City the finding aid and catalog record are created, linear feet (6 boxes). These materials arrived in a then the materials are shipped to the Dance Division. second shipment and were added to the original Often, members of the public have found catalog records collection. for the materials and ask for them before staff members . Karmon Israeli Dancers records, 1963. 0.21 can get them off the shipping carts and onto the shelves! linear feet (1 box). The Karmon Israeli Dancers The Dance Division is happy to report that most of the was a dance group based in Israel, founded by manuscript collections that were donated to the Division and featuring the choreography of Jonathan before 2012 have been processed and are available to (Yonaton) Karmon. The Karmon Israeli Dancers the public for research. records consist of administrative records for the group's tour of London, Toronto, and New York Materials processed this year include: City from approximately April to June 1963, . Mikhail Baryshnikov Archive, 1960 – 2010. including contracts, administrative 13.09 linear feet (34 boxes). Mikhail Baryshnikov correspondence, budgets and financial records, (1948 –) is a Russian-American dancer, international travel records, publicity choreographer, and actor. The Mikhail information, insurance records, hand-written Baryshnikov Archive holds awards, notes, and typed biographies of both Alex choreographer files, contracts, correspondence, Cohen (producer) and Jonathan Karmon photographs, press clippings, programs, scripts, (choreographer). and other materials documenting Baryshnikov's . Richard Stuart papers, 1923 – 1981. 0.84 linear 40-plus year career. feet (2 boxes). The collection documents adagio . May O’Donnell and Ray Green papers. 34.79 and ballroom dancers from the 1920s to the linear feet (90 boxes). May O'Donnell was an 1970s. The collection is comprised of diaries and American modern dancer and choreographer. photographs. There are two diaries of Richard Her husband, Ray Green, was an American Stuart's early career as an adagio dancer in New composer who created works for dance York City during the 1920s. The photographs are companies as well as orchestral, choral, and adagio and ballroom dancers with some minor children's pieces. The May O'Donnell and Ray related ephemera. This collection was to be a Green papers contain correspondence, foundation for a book on dancing couples, never choreographic notes, scores, photographs, and completed, by Richard Stuart and writer/dancer other materials relating to the professional and Marian Horosko. personal lives of the couple. . Lynn Garafola research files on Bronislava . Anna Halprin papers. 0.42 linear feet (1 box). Nijinska, undated. 1.86 linear feet (3 boxes). Anna Halprin, an American dancer known for Lynn Garafola is a noted dance historian, critic, her innovative and experimental technique, is a and commentator for the Nation magazine and leading figure of the postmodern dance other publications. The collection contains movement. This collection documents the photocopies of the diaries of Bronislava Nijinska artist's career with print materials, press (1891 – 1972), Russian dancer, choreographer, clippings, biographies, San Francisco Dancers' and teacher. The photocopies written in Russian Workshop newsletters, award programs, and have attached Post-it notes of Elena, a photographs. translator from Bulgaria. The Post-it notes are in . Anne Mitcheltree papers. 0.21 linear feet (1 English. (The original diaries are held in the box). Anne Mitcheltree is a modern dancer and Library of Congress). The titles for the diaries are New York City-based dance therapist. This a translation/interpretation that was previously

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described on the Post-it notes. The collection is documents the dance and choreography currently in Conservation, where the Post-it programs and artists who performed at the notes are being attached to the diaries. Cubiculo Theatre. The files contain notes, press . Srimathi Gina papers, 1935 – 1980. 1.93 linear releases, press reviews, programs, and the feet (5 boxes). The Srimathi Gina papers document occasional photograph. her studies, choreography, performances, and . Mary Wigman letters to Pola Nirenska, 1932 – teachings in Indian classical dance from 1958. 0.21 linear feet (1 box). Mary Wigman is approximately 1935 to 1980. One of two women considered to be one of the founders of the to graduate from St. John's Law School in New modern dance movement. Her school in York City in 1929, Jewish-American Gina Blau left Dresden, Germany trained several dancers her law practice to study Indian classical dance in including Pola Nirenska, Harald Kreutzberg, and the 1930s, eventually becoming a master Hanya Holm. Nirenska toured with the Wigman performer and teacher in the United States, troupe in the 1932 – 1933 tour of the United performing under the name of Srimathi Gina. States and Germany. At the start of World Materials include in-depth notes on Indian classical War II, Nirenska, who was Jewish, emigrated to dance and Indian culture; programs; costume and England. The Mary Wigman letters to Pola scenic directions; casting notes; professional Nirenska document their relationship through correspondence; a typed memoir of travels to correspondence written between the years of India; and photographs, prints, and other images. 1934 – 1936 and 1946 – 1958. A program from . Merle Marsicano papers, 1955 – 1983. 0.42 linear their 1932 – 1933 tour features Nirenska as well feet (1 box). Merle Marsicano (1903 – 1983) was as a press clipping about the resurgence of an avant-garde dancer and choreographer. The German dance after the war. Merle Marsicano papers hold choreographic . Rosella Pianarosa collection of Ted Shawn notes, correspondence, publicity materials, and materials, 1956 – 1972. 0.21 linear feet (1 box). writings that reflect her 30 year career. The Rosella Pianarosa collection of Ted Shawn . Frank Westbrook papers. 1.13 linear feet materials documents the personal and (4 boxes). The Frank Westbrook papers professional activities of modern dancer Ted document the life and career of dancer and Shawn from 1956 – 1972, primarily through a choreographer Frank Westbrook (1909 – 1992), series of annual newsletters. Some personal who was an acting extra for Orson Welles' correspondence highlights the friendship Mercury Theatre and an ensemble dancer on between the Pianarosas and Ted Shawn and Broadway before creating choreography of his Ruth St. Denis. own. Westbrook also danced in works by . Igor Youskevitch papers, 1944 – 1988 (bulk 1950 – prominent choreographers such as Agnes de 1966). 0.21 linear feet (1 box). Igor Youskevitch Mille and Doris Humphrey, and participated in (1912 – 1994), a principal dancer with the the creation of a choreographers' organization American Ballet Theatre and Ballet Russe de called Theater Dance, Inc. His papers include a Monte Carlo, was known for his mastery of scrapbook, a memoir, personal essays, ballet classical style. The collection documents 44 years scenarios, ballet music scores, correspondence, of Youskevitch's professional life through and photographs. correspondence, performance programs, . Cubiculo Theatre Records. 0.42 linear feet photographs, and press clippings. (1 box). The collection, 1938, 1963 – 1978, The Jerome Robbins Foundation Grant for Temporary Cataloger Through the efforts of Allen Greenberg, Trustee of The on this project. She started with the cataloging of the Jerome Robbins Foundation and member of The Committee videotapes in the Meredith Monk Collection of moving for the Dance Division, The Jerome Robbins Foundation has image materials. In fiscal year 2012, in addition to generously funded a cataloger for Dance Division materials processing the Meredith Monk Collection videotapes, for three years. Though Crystal Rangel works for the Special Crystal Rangel inventoried the 650 tapes in the Mikhail Formats Processing Unit, she processes and catalogs only Baryshnikov Archive, and processed other smaller videotape Dance Division videos and the Dance Division would also be collections including Popular Balanchine, Anna Halprin, thrilled to have her added as a permanent staff member of Garry Reigenborn Company Dance, Ronald K. Brown, and the Library. On April 18, 2011, Crystal Rangel began working Janis Brenner.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 37 In fiscal year 2013, Crystal Rangel processed archives from links include: the Jerome Robbins Festival, Balanchine Susan Hess, Gilda Navarra, Janet Soares, Jelko Yuresha, Beth Celebration, Dance of Guinea, Erick Hawkins, Judson Dance Young, and Elaine Summers, the last of which she also Reconstructions, and 33 various titles for a total of 168 cataloged. She has begun to catalog the Ronald K. Brown records or 182 volumes. She also worked with the Moving Video Archive, (62 titles of 160 have been cataloged), and Image Archive intern, Brad Fazzone, to re-house and add a she has been creating the streaming video links and substantial amount of the Meredith Monk film materials to updating catalog records for the new Doris Duke the existing catalog records for the titles that already had a Foundation funded Digital Dance Video site. Moving image record but needed information on the preservation films assets she has helped make available as streaming video added.

Friends of the Jerome Robbins Dance Division Grant for Prints and Designs Cataloger For the past two years, retired Dance Division staff member Artists whose original artworks portrayed dancers and Susan Au cataloged the Dance Division’s backlog of artworks dance-related subjects include George Barbier, Alfred and recent purchases. Susan finished this project in Bendiner, Anselmo Bucci, André Dunoyer de Segonzac, February of 2013. A total of 4,348 objects were cataloged in Valentine Hugo, Simon Lissim, Tina Mackler, Winold Reiss, 955 catalog records, now accessible in the Library’s online Moses Soyer, and Abraham Walkowitz. catalog. The 4,348 objects can be broken down into 1,887 drawings, 748 paintings, 1,596 prints (art prints and mass- Notable makers of mass-produced prints include John produced prints), 29 photographs, and 87 “other” (including Brandard, Jacques Callot, Victor Coindre, Honoré Daumier, collages and realia). Paul Gavarni, William Hogarth, Winslow Homer, Alexandre Lacauchie, Alphonse Mucha, Israel Silvestre, and Charles The mediums represented among the original artworks Vernier. Although the painter Winslow Homer is not mainly include watercolor, gouache, pencil, pastel, charcoal, primarily known for representations of the dance world, he and conte crayon; the art prints and mass-produced prints began his artistic career as an illustrator, and his works for include engravings, etchings, lithographs, photogravures, the periodical Harper’s Weekly included images of social monotypes, and serigraphs (silkscreen). The backlog also dancing. contained a large number of wood engravings, a popular medium for illustrating books and periodicals in the Special mention should be made of dancers who also nineteenth century. created artworks, among them George Balanchine, George Bockman, Patricia Bowman, Irma Duncan, Angna Enters, Subject matter included set and costume designs, portraits Millicent Hodson, Hugh Laing, Carmelita Maracci, Buzz and action images of real or imaginary dancers, scenes from Miller, Mary Ellen Moylan, Bessie Schonberg, Ruth Sobotka, theatrical productions, representations of dancers or and James Waring. dancing from various historical periods or geographical regions (rendered with varying degrees of fidelity to Below are some of the amazing items that have now been historical or ethnographic accuracy), illustrations from cataloged and are available to the public to see here at the dance manuals, and caricatures and cartoons of real or Library for the Performing Arts with the generous support of imaginary dancers. the Friends of the Jerome Robbins Dance Division.

Among the designers represented are Horace Armistead, Alexandre Benois’s designs for Casse-Noisette, 1940 Cecil Beaton, Alexandre Benois, Christian Bérard, Eugene This artwork is comprised Berman, Saul Bolasni, Lewis Brown, Antonio Clave, Alvin of ink, watercolor, and Colt, André Delfau, Lila de Nobili, Mstislav Dobujinsky, metallic pigment over Alfredo Edel, Joe Eula, Alexandra Exter, Peter Farmer, graphite. Leonor Fini, David Hays, Desmond Heeley, Barbara Karinska, Willa Kim, Konstantin Korovin, Mikhail Larionov, Arch Trepak depicts the full- Lauterer, Robert Tyler Lee, Jo Mielziner, Motley, Sally Ann length figure of a woman Parsons, Salvatore and Angelo Pinto, Nicolas Remisoff, in Russian folk costume Stanley Simmons, Oliver Smith, Yolanda Sonnabend, Pavel with a kokoshnik or Tchelitchew, Rouben Ter-Arutunian, Robin Wagner, traditional headdress. Gretchen Ward Warren, and Miles White. Casse-Noisette is probably better known in the

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United States by its English title, The Nutcracker. It has José C. Basarte’s design for a front curtain for Ruth been produced in many versions by different Page’s ballet Camille choreographers, though most are danced to the score by Camille (choreography, Ruth Page; music, Giuseppe Peter Tchaikovsky. These designs were made for the Verdi) was first presented by the Chicago Opera Ballet in version choreographed by Alexandra Fedorovna-Fokine 1959, with costumes by José C. Basarte. It was a ballet after Lev Ivanov, and staged by the Ballet Russe de version of Verdi's opera La Traviata, which was in turn Monte Carlo in New York City in 1940. In his book, The based on Alexandre Dumas's novel La Dame aux One and Only: the Ballet Russe de Monte Carlo (1981), Camélias. This painting is a larger and more finished Jack Anderson describes how Benois's drawings, made in version of Basarte's study for a front curtain, also in the Paris, were brought by a long and circuitous route to collection of the Jerome Robbins Dance Division. Gift of New York. The Russian painter and stage designer Ruth Page. *MGZGF Bas J Cam 1. Alexandre Benois played a pivotal role in ballet history. He is said to have sparked Serge Diaghilev's interest in ballet, and contributed to the formation and direction of Diaghilev's Ballets Russes, which revitalized ballet in the early part of the century. He continued to design for the stage for many years after the Ballets Russes was disbanded in 1929. Richard Park Beard, 1925 – 2009, the donor of this drawing, made his debut as a professional dancer with Ballet International in 1944, and subsequently danced with Ballet Theatre, Ballet Society, and the New York City Ballet. He also danced and choreographed for television and nightclub shows. *MGZGA Ben A Nut 2.

Eugene Berman’s set design for George Balanchine's ballet Concerto Barocco Concerto Barocco (choreography, George Balanchine; music, Johann Sebastian Bach; set and costumes, Eugene Berman) received its official premiere in Rio de Janeiro in June 1941, danced by American Ballet Caravan. It had previously been presented in an open rehearsal in New York City in May 1941.

Eugene Berman’s set model is made of colored paper, watercolor, gouache, metallic pigment, graphite, and is housed in a wooden box. *MGZGX 13-0000

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 39 Oral History Cataloging The Oral History Archive cataloged 92 titles, including 23 School of American Ballet teachers Ruthanna Boris and transcripts relating to audio recordings and eight David Richardson (donated and funded by the School of transcripts without the related audio recordings. These American Ballet Oral Preservation Project); and seven titles include two interviews as well as a panel discussion interviews from 1992 – 1993 (transcripts only) with, on The Sleeping Beauty, in DVD format, that were funded among others, Jody Oberfelder regarding her pregnancy by the Speaking of Dancing project (see page 28 for dances, Thecla Schiphorst regarding the development of details; these three titles were cataloged by Imogen the Life Forms software, and Jeanne Bresciani regarding Smith). Other new titles: 14 interviews from the Judith her Duncan work. Chazin-Bennahum collection of Antony Tudor audio material including interviews with Antony Tudor, his A number of newly-preserved recordings (including foremost interpreter Sally Wilson, the Swedish ballerina recordings that had been unavailable to researchers due Marine Orlando, the English critics Janet Rowson Davis to their fragile condition) were re-cataloged, including in- and Fernau Hall, Martha Hill, Muriel Topaz, and others depth Oral History Project interviews from the 1970s who knew and worked with Tudor; three recordings from with Aaron Copland, Alicia Markova, Andre Eglevsky, a series of interviews conducted by Marian Horosko with Leon Danielian, Alexandra Danilova, Anton Dolin, Marie dance teachers who had trained in pre-revolutionary Rambert, Celia Franca, and Chuck Green; a four-hour Russia (Maria Nevelska, Vera Nemchinova, and Felia recording of Ted Shawn reminiscing about his life and Doubrovska); and three recordings of classes Ted Shawn career, made at Jacob’s Pillow in 1971, only one year gave as well as three recordings of classes José Limón before his death, an interview from around 1950 with La gave, in both cases at Jacob’s Pillow in the early 1950s. Meri about Hindu dance, and an interview with New titles cataloged also include a recording that Charles Genevieve Oswald. Weidman made of his technique class with the intention of offering copies for sale; four Oral History Project As of January 2013, recordings were cataloged and name interviews, with Loretta Abbott, Dana Reitz, Marya authority records created or updated in accordance with Warshaw, and Christine Wright; interviews with the the new Resource Description and Access cataloging rules. Original and Copy Cataloging for the Jerome Robbins Dance Division

Fiscal Year 2013 This includes items cataloged by Special Formats Processing Unit, BookOps Cataloging Unit, and Dance Division staff.

OCLC OCLC Titles Cataloged Original Records Copy Records Total

Monographs (cataloging) 49 190 239 Archival Collections 35 35 Graphics 211 6 217 Manuscripts 11 11 Microfiche 2 2 Sound Recordings 84 84 Sound Recordings Transcripts 31 31 Video Recordings, PK 387 387 Video Recordings, CR 72 72 Video Recordings, TDK 94 94

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Contributions to NACO (Name Authority Cooperative Program of the Program for Cooperative Cataloging)

NACO Millennium Name Authority Bibliographic Millennium Item Millennium Records Updates Records Created Reclassifications

Danielle Castronovo 1,347 304 Diana Chapman, SFP 14 1,238 153 46 Phillip Karg, SFP 203 492 198 88 Crystal Rangel, SFP 23 585 27 Arlene Yu 1,045 Total 240 4,707 682 134

2.5 PRESERVATION AND CONSERVATION

Oral History Preservation

Outside Vendors and radio broadcasts of dance-focused programs from the 1960s through the early 1970s, including Invitation to the The vendor Media Preserve was selected after Dance with host Walter Terry, and Dance Focus with host competitive bidding for the Oral History Archive 2012 – Elinor Rogosin. 2013 fiscal year digital preservation project (funded by FY 2013 preservation grant money from the New York State Also digitally preserved were two titles (three cassettes with Council on the Arts and the National Endowment for the an approximate total duration of two hours), one requested Arts). 67 cassettes and 55 reel-to-reel audiotapes by a researcher, namely Conversations recorded at Jacob's (approximately 96 hours in total duration) were selected Pillow in the summer of 1971, and the other requested by for digital transfer to WAV file and compact disc formats, the family of a deceased interviewee. based on their fragility, age, and unique content. These selected audio recordings consist of in-depth Oral History In addition, five compact cassettes and 44 microcassettes Project interviews from the mid-1970s, interviews (an extremely fragile format) comprising 15 titles from the conducted by John Gruen in the early 1970s for his book Judith Chazin-Bennahum collection of Antony Tudor audio The Private World of Ballet, as well as interviews material (approximately 14 hours in total duration) were conducted by David Vaughan in the early 1970s for his also digitally preserved by the Barbara Goldsmith book Frederick Ashton and His Ballets. Also included are Preservation Division. research interviews from the mid-1970s conducted by Barbara Cohen-Stratyner (Curator of Exhibitions at the As part of a separate, remedial project, 107 badly Performing Arts Library), and several Speaking of Dance damaged reel-to-reel audiotapes were re-housed in new radio broadcasts from the early 1970s. cases and re-labeled. These reels consisted mainly of John Gruen’s Sound of Dance radio show from the 1980s. In-House Preservation The old cases, on which notes regarding their contents (Barbara Goldsmith Preservation Division) had been handwritten, were photocopied and scanned as PDF files by Nichole Arvin, Dance Heritage Coalition 28 titles, including 21 cassettes and 27 reel to reel Fellow, in the summer of 2012. Also as part of this audiotapes (approximately 28 hours in total duration), were remedial project, 13 reel-to-reel audiotapes from the digitally transferred to WAV file and compact disc formats collection were treated for mold damage by the Barbara by the Barbara Goldsmith Preservation Division. These Goldsmith Preservation Division and re-housed. recordings include dance technique classes at Jacob’s Pillow in 1951 taught by Ted Shawn and by José Limón; dance In the spring of 2013, three cataloged and 26 technique classes in the 1960s taught by Charles Weidman; uncataloged titles (30 reels and 3 cassettes with an

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 41 estimated total duration of 25 hours) were selected and with host Marion Horosko) from the mid-1960s; notable sent to the Barbara Goldsmith Preservation Division for interviews include those with Matteo, Erick Hawkins, and the reformatting of the original recordings to audio WAV Clive Barnes. In addition, three titles in need of files. The titles reformatted included radio programs with conservation repair were restored. a dance focus (World of Dance, Dance NY, and Profiles Moving Image Preservation Under the leadership of Tanisha Jones, the Jerome assisted the Dance Division and Special Formats Robbins Archive of the Recorded Moving Image has, as Processing by identifying, rehousing, prepping for long part of its standard practice, continued to preserve term storage, and creating item level records for a large video, film, and born digital materials. Aside from the number of Meredith Monk materials on 16mm film. materials preserved in the Doris Duke Charitable Many of these film elements were related to titles Foundation Grant and the work noted below from the already in the collection of Meredith Monk film works, Preservation Unit that actually accomplishes the such as Ellis Island and Book of Days, that had existing preservation, are two notable archives. catalog records. Brad linked these archival preservation film items to the pre-existing materials the Archive of the Meredith Monk Moving Image Archive Recorded Moving Image had. The Meredith Monk Archive was donated to The New The Mikhail Baryshnikov Archive York Public Library for the Performing Arts in 2006 by Meredith Monk. Meredith Monk is a composer, singer, Processing, Preservation, and Cataloging director/choreographer, and creator of new opera, music The Mikhail Baryshnikov Archive was received in FY 2012. theater works, films, and installations. She pioneered This fiscal year the Library began processing the materials. what is now called "extended vocal technique" and The paper materials were finished by Manuscripts and "interdisciplinary performance." During a career that Archives Division with a catalog record and finding aid for spans more than 40 years she has been acclaimed by the 34 boxes, with the title Mikhail Baryshnikov Archive, audiences and critics as a major creative force in the 1960 – 2010. This part of the archive holds awards, performing arts. In 1968, Monk founded the House choreographer files, contracts, correspondence, Foundation for the Arts, a company dedicated to an photographs, press clippings, programs, scripts, and other interdisciplinary approach to performance. In 1978, she materials documenting Baryshnikov's 40-plus year career. formed Meredith Monk and Vocal Ensemble to expand her musical textures and forms. Monk is an accomplished The fundraising for the processing, preservation and filmmaker who has made a series of award-winning films cataloging of the Mikhail Baryshnikov Video Archive including Ellis Island (1981) and her first feature, Book of continued this year. Contributions have been received from Days (1988). A retrospective art exhibition, Meredith Anne H. Bass Foundation, Louis B. Mayer Foundation, Monk: Archaeology of an Artist, was held at The New Ms. Agnes Gund, Mr. and Mrs. Gordon B. Pattee, and Ms. York Public Library for the Performing Arts at Lincoln Louisa S. Sarofim. Center in 1996. Monk continues to compose music and create new works for the theater. On November 5, 2012, Tara D. Kelley, MLIS, began working with the Mikhail Baryshnikov Video Archive through the The papers from the archive contain correspondence, Library’s Special Formats Processing Unit. Tara is a graduate media clippings, concert programs, publicity material, of Rutgers University and of the L. Jeffrey Selznick School of writings, piece and project files, scores, business and Film Preservation, where she was awarded the 2011 financial papers, photographs and drawings, posters, and Pordenone Fellowship. Prior to commencing work with the books. The 300 boxes of papers were processed and Baryshnikov Archive, she completed a year-long internship cataloged in 2006 – 2007. with the Library’s Reserve Film and Video Collection. She is a member of the Society of American Archivists and of the The Library’s Special Formats Processing Unit, with the Association of Moving Image Archivists, where she is the help of the cataloger hired by The Jerome Robbins Outreach Coordinator for the AMIA Film Advocacy Task Foundation, has begun to process, preserve and catalog Force. the over 1,500 videotapes and film donated. In fiscal year 2012 we added to the collection 176 titles and 246 reels, Tara began by processing the media for Preservation. The for which there are 500 reels and digital files of majority of the collection has been processed and preserved preservation. This fiscal year, intern Brad Fazzone

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by the Barbara Goldsmith Preservation Division of the enthusiastic commentator in a Tokyo television Library. The current estimated total number of pieces in the broadcast? Could his identity and critique of a collection is 604. performance be useful information for our researchers? What about the cryptic videotape label, Public access to this collection is key. In June 2013, Tara handwritten in Cyrillic script? Is this a clue to an published several blog posts to publicize the content of the uncredited cast? As it happens, you and I don't need collection. The first, Secrets Revealed, introduces patrons to to suffer in suspense. That's because many of the the collection, provides a brief explanation of how the items answers we seek are provided by multilingual experts: were processed, and links to Baryshnikov Archive records. the cataloging staff of The New York Public Library for The second, Baryshnikov, Translated, highlights the Performing Arts. That handwriting on the VHS Baryshnikov’s international influence and the unique skills tape? Special Formats Cataloger Julia Slivko Mann, a the Performing Arts Library’s catalogers bring to interpreting native speaker of Russian, patiently deciphered the his impact. Tara Kelley wrote: faded script. Evteeva, Semeniaka, Sukhova: familiar last names of Kirov ballerinas. Her cultural knowledge, With opening titles in French, closing credits in combined with her adept translation, made further Russian, and post-production commentary in identification possible. Liudmilla Semeniaka and Elena Japanese, cataloging Mikhail Baryshnikov's audiovisual Evteeva were students of Alexander Pushkin – and collection presents an exciting linguistic challenge. classmates of Baryshnikov's – at the Leningrad Decoding the names – and, sometimes, nuanced Choreographic Institute. (I should mention that Julia conversations – associated with a production is a and her colleague, Lena Deresh, are Cyrillic credit particularly engaging puzzle. Who, for example, is that translation aces!)

Barbara Goldsmith Preservation Division – Paper The Dance Division has been greatly aided by consulting featuring a miniature portrait of Maximilien staff Associate Conservator for Book and Paper Grace Gardel. The box is made of watercolor on ivory, Owen-Weiss and Associate Conservator for Photographs tortoise shell, glass, and gold. There were slight Erin L. Murphy. They have assessed the condition of new splits in the lid and the base of the box. Such purchases and gifts, and evaluated materials identified as in unusual materials required Grace Owen-Weiss need of conservation by patrons using the collections or by to find creative solutions to a unique cataloging staff reviewing the materials. The conservators conservation problem. After cleaning the object, also evaluate and treat items selected for all internal and she reconstructed and mended the split tortoise external loans and exhibitions. This year, they treated 6 shell lid before reassembling the whole box. prints, 2 programs, 26 photographs, 1 scrapbook, and 1 . When the paper materials from the Mikhail photograph album for the 100 Years of Flamenco in New Baryshnikov Archive were being processed, York exhibition. Their treatments range from typical tasks several groups of water damaged photographs such as surface cleaning, humidification to flatten, fixing were discovered. The photographs were stuck tears, mending books, and consolidation of photographs, to together in clumps. Erin L. Murphy humidified more unusual tasks like mending a tortoise shell box and the images, separated them manually, and dried separating blocks of water damaged photographs. All the images beneath blotters and light weights. treatments are non-invasive and reversible at a later date. Once separated, she repaired fragments, lifting Of the treatments that were conducted this year, two are of edges, and tears. Erin’s work saved these particular interest: images, and they have now been integrated . The Dance Division recently purchased a back into the collection. tortoise shell box from the 18th century Barbara Goldsmith Preservation Division – Moving Image Fran Dougherty, Moving Image Preservation Specialist Jonah Volk, Moving Image Preservation Specialist Gregory Lisi, Moving Image Preservation Library Technical Assistant IV All preservation is now handled through the Barbara Goldsmith Preservation Division. The preservation projects for the Dance Division handled this year through the Preservation Unit included cleaning and reformatting U-matic and ½” open reel tapes as part of acquisitions and/or preservation of existing materials. As demonstrated in the breakdown below, the

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 43 Library’s Moving Image Preservation studio can accommodate, recover, restore, and reformat a broad range of formats historically employed by dance companies and choreographers to document their work. Each year is more challenging as tape formats and their playback units obsolesce, becoming scarce and difficult to maintain. Additional formats handled in- house include: Betamax, Betacam SP PAL, CV skip frame ½” open reel, U-matic PAL and SECAM, VHS PAL and SECAM, and Hi 8mm PAL.

In House Preservation/Conservation by Format, FY 2013 Access, Footage Request, & Exhibition Projects, FY 2013 Jerome Robbins Archive of the Recorded Moving Image Handled by Barbara Goldsmith Preservation Division Access Copies Format Created Preservation Masters Access Copies 3/4" U-matic 4 Format Created Created Betacam SP 1 3/4" U-matic 163 311 Digital Betacam 18 Betacam SP 141 248 Digital File 12 Cassette tape 173 326 DVD 6 Digital Betacam 9 17 Total 41 Digital File 12 759 DVCam 12 22 DVD 64 40 Film Inspected, Cleaned, and Repaired, FY 2013 Hi8 27 49 MiniDV 250 259 Format Footage Open Reel – 1/2" 6 13 16mm 12,959 VHS 459 824 Total 12,959 Total 1,483 3,194

2.6 EXHIBITIONS AND PUBLIC PROGRAMS Exhibitions

Martha Swope: In Rehearsal September 27, 2012 through January 26, 2013 New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, Shelby Cullom Davis Museum, Vincent Astor Gallery

Martha Swope, who started out as a dance student with a Brownie camera, developed into the premier photographic documenter of performance in New York. The free exhibition focused on Swope's photographs of the rehearsal process, highlighting her understanding of movement while illuminating how dance and theater are created. Drawn from the photographer's archives, which the Library for the Performing Arts acquired in 2010, the exhibition featured striking images from throughout the photographer's 40-year career. Merce Cunningham with Carol Sumner, setting his Summerspace for the New York City Ballet (1966). Photo by Martha Swope.

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100 Years of Flamenco in New York, modern dancers. The male stars, Vicente Escudero, José Greco, Antonio Gades, and Mario Maya, joined them to 1913 – 2013 set masculine standards of Flamenco performance and March 12 through July 13, 2013 training in New York, as political events in Spain brought New York Public Library for the Performing Arts, Dorothy many dancers and teachers to settle here. and Lewis B. Cullman Center, Shelby Cullom Davis Museum, Donald and Mary Oenslager Gallery By the 1940s and 1950s, Flamenco was presented by Sol Hurok and Columbia Artists Management on their rosters of internationally known classical musicians and dancers. More recently, it has been linked with the widespread popularity of world music. Artists, most notably Greco and Gades, were featured in Hollywood and international film. Today, resident and touring troupes have made Flamenco into one of the most popular and influential performance forms in New York.

Among the sponsors for this exhibition were The Committee for the Jerome Robbins Dance Division and The Jerome Robbins Trust.

American Sabor: Latinos in U.S. Popular Music April 20 through July 13, 2013 New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, Shelby Cullom Davis Museum, Vincent Astor Gallery

American Sabor: Latinos in U.S. Popular Music, a traveling exhibition from the Smithsonian Institution, presented Fanny Elssler in the favorite dance La Cachucha the musical (ca. 1838 – 1846) contributions of Lithograph by N. Currier U.S. Latinos from the 1940s to the The multimedia exhibition was an integral part of present, exploring collaboration between The New York Public Library for the social history the Performing Arts and Flamenco Vivo Carlota Santana. and individual Photographs, costumes and performance regalia, film, creativity that oral histories, and the sound of castanets and taconeo produced stars entertained and educated the visitor. Spanish and Gypsy like Tito Puente, Flamenco dance and music, while imports from Spain, Ritchie Valens, evolved as modern art forms in front of a New York City Celia Cruz, Carlos public, who flocked to theaters from the early 19th Santana, and century to the early 21st century. Selena. Created by Flamenco, in particular, has played a vital role in shaping EMP Museum, the culture in New York City for over 100 years. As early as University of 1830, Spanish dancers included New York on their tour Washington, and routes from Europe to North and South America. A the Smithsonian century later, Spanish dance, now called “Flamenco,” Institution emerged as a modernist language in the 1910s – 1930s, Traveling making international stars of La Argentina, La Argentinita Exhibition Service, American Sabor, its national tour, and and her sister Pilar Lopez, La Meri, and Carmen Amaya. its related programs were made possible by Ford Motor They moved from vaudeville houses to concert halls, Company Fund. inspiring audiences and both ballet companies and

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 45 Accompanying the exhibition was a display of materials on culture, and humanities. Distinctive works from master and Latino music and dance from 1908 – 1940 from the Library emerging artists and scholars – in ritual, music, visual arts, for the Performing Arts' collections. It focused on popular, performance, dance, shadow puppetry, film, and academic dance and concert music from Cuba, the Dominican forums – was presented by 30 of New York’s most Republic, Mexico, Puerto Rico, and South America in the renowned arts and educational institutions, marking an early years of recorded sound and radio. unprecedented city-wide partnership initiative to celebrate one of the world’s most vibrant and evocative cultures. Memory Preserved: Glass Plate Photographs Season of Cambodia was an initiative of Cambodian Living of the Royal Cambodian Dancers Arts. April 20 through July 13, 2013 This exhibition was developed by The New York Public New York Public Library for the Performing Arts, Dorothy Library for the Performing Arts: Jacqueline Z. Davis, Barbara and Lewis B. Cullman Center, Shelby Cullom Davis Museum G. and Lawrence A. Fleischman Executive Director; Barbara Cohen-Stratyner, Judy R. and Alfred A. Rosenberg Curator of These rare images of five principal women dancers from the Exhibitions. It was curated by Bertrand Porte, Director, Ecole Royal Ballet of Cambodia were on display in the United Française d’Extrême-Orient in Phnom Penh. States for the first time. Recently rediscovered, catalogued, restored, and digitized, the 1927 images capture the We thank the Ministry of Culture: M. Hab Touch, Director of dancers performing the postures and gestures from the the Heritage Department; M. Kong Vireak, Director of the classical canon. French scholar George Groslier, who was National Museum of Cambodia; and Madam Oun Phalline, the Director of the National Museum of Cambodia, had Vice-Director of the Heritage Department; and Phloeun initiated the project to preserve the memory of the ballet, Prim, CEO, Season of Cambodia and Cambodian Living Arts, which he believed was endangered. This exhibition is an for facilitating the project. initiative of the Ecole Française d’Extrême-Orient (EFEO) Thanks to: and the National Museum of Cambodia, with support from Photographers: Jean de Calan, Tum Saroeun UNESCO and the Institut Français du Cambodge. This Dancers: Em Theay, Lucie Labbé, Suppya Nut, and Sinsama exhibition was part of New York's Season of Cambodia Deukchho festival, which ran from April 6 – May 31, 2013. Conservators & librarian: Chea Socheat, Debra Parry, Ham Season of Cambodia lit up New York City’s cultural Seiha Sarann, Horl Sopheap, Hor Kosal, Jane Wood, Khom landscape in April and May 2013, with more than 125 artists Sreymom, Lim Yi, and Vorn Kunthea. from Cambodia for a major celebration of Cambodian arts,

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Reading Room Exhibitions Boris Anisfeld Exhibit in Reading Room Intern Gabriella Karl-Johnson curated an exhibit on artist Remy Charlip Exhibit in Reading Room and designer Boris Anisfeld, who designed costumes and David Vaughan curated an exhibit on dancer and sets for the great Russian ballet companies of the early 20th century -- Diaghilev’s Ballet Russe, Michel Fokin, the children’s author Remy Charlip, who passed away in August 2012. The two case exhibit was near the Special Pavlova Ballet, and Mikhail Mordkin. Anisfeld also Collections desk on the third floor of the Library for designed sets for the Metropolitan Opera after Performing Arts and included books that Charlip wrote immigrating to the United States. The two case exhibit of Anisfeld’s works was near the Special Collections desk on and illustrated, photographs, and ephemera. the third floor of the Library for Performing Arts, and included original costume designs for five ballets staged between 1912 and 1926.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 47 Public Programs

TeenLIVE presents Young Dancemakers research on the market control of beauty perception as well as curators' control of artist selection; both Company For ages 13 to 18 years conditioning a culture that they indeed wish to July 28, 2012, for ages 13 to 18 years challenge. Her work has been presented as lectures, Teens took to the stage and performed their own text, and in live performance contexts. original choreography in this exciting performance at the Library for the Performing Arts. After the TransDance is Egypt’s only international festival for performance, a lucky few teens had the opportunity to contemporary dance, choreography, and performance. create their own dance and perform it onstage with the It is set within transdisciplinary contexts and invites dance experts. All KidsLIVE and TeenLIVE programs are artists to question the mobility of practice and medium. sponsored by the Katerina and Andreas C. Dracopoulos TransDance is produced by HaRaKa for Dance Family Endowment for Young Audiences. Development and Research. The festival is curated by Adham Hafez, in collaboration with dramaturge Ismail Fayed and managed by Ahmad Moez, and takes place in TransDance 2012 – Body Documents from theaters, galleries, lecture halls, public buses, gardens, 1960s Reda Troupe Dance work studios, and kitchens between three continents. It is curated by Adham Hafez, celebrates its fifth edition These programs were co-presented as part of the New this year with its largest program ever in Cairo, and York edition of TransDance with ArteEast and HaRaKa, includes satellite events in Alexandria, Marseilles, and in collaboration with Residency Unlimited and the Minia, and New York City. The festival hosts an Center for Performance Research. international program of performances, talks, workshops, panels, installations, and film screenings. Sawsan Gad, December 4, 2012, 6:30 – 7:30 p.m. In this talk, Sawsan Gad explores the body as a site of Dr. Magda Saleh, December 5, 2012, 6:30 – 7:30 p.m. documentation of race, gender, and class in the work of Dr. Magda Saleh’s anthropologic film classic Egypt the 1960s famous Egyptian Dance company The Reda Dances revisits Egyptian dance history from quasi- Troupe, whose work was influenced by the rise of the animist rituals to religious dances and traditional or nationalist and Arabist discourse set within a Nasser modern forms of movement. The film was produced in regime. The work of the troupe choreographically the 1970s and since then has been regarded as an traced pre-existing dances from centuries ago, and important document of a country’s movement heritage. distilled it through reenactments that are staged (or Dr. Saleh presents parts of the film, with discussions on presented in film) defining an epistemological break the different dance forms the film presents. through displaced choreographies. Their ‘body documents’ stand as an activated document, in Dr. Magda Saleh studied as a Classic Ballet dancer in constant friction with the context that surrounds them Cairo under teachers and choreographers from England, in Egypt, through the present. Sawsan Gad’s lecture was Egypt, and Russia, and became the prima ballerina to accompanied by screenings of dance sequences from the Khedevian Opera House in Cairo, and danced with the Reda Troupe repertoire. the Bolshoi in Russia. After the tragic destruction of the Opera House in 1971, Dr. Saleh moved to the States, Sawsan Gad works as a mapper in the field of disaster where she studied at UCLA, and later moved to New recovery. She also co-founded HarassMap, a mapping York City where she focused on dance anthropology tool that aims to change the social tolerance of sexual and history. With the New Cairo Opera House harassment in Egypt. Through her work she deals with Establishment, she returned to Egypt as Director of the questions related to behavior, perception, and the will Opera House, and returned to New York City to of masses from a grassroots, often gender-based, but research historical practices around dance. always individualistic perspective. With HaRaKa, Sawsan has acted as an Associate Researcher, presenting

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On Fire with African Dance On Fire with African Dance, a series of public programs presented by the Jerome Robbins Dance Division with The Committee for the Jerome Robbins Dance Division, was held this spring in the Bruno Walter Auditorium. After each of the programs a reception was held in the Green Room and people were happy to have a place to meet and talk to the artists. Over seventy names were added to our mailing list so that we will be able to set up tours and increase access to the collections. The Dance Division recorded each event. The Ronald K. Brown event will be available on the web.

Djoniba Mouflet with drummers Lamine Thiam, Mangue Sylla, and Sekou-Dembele Pablo, and dancers Amenaghawon Owie, Melissa Moore, Clarysse Sigere, Terrol Leacock, and Julien Kanor

Robert Farris Thompson, Master T: Staccato Afterwards, a reception was held in the Green Room. Incandescence: The Story of Mambo March 14, 2013 at 6:00 p.m. Robert Farris Thompson, Master T, the Colonel John Trumbull Professor of the History of Art at Yale University, focused his lecture on mambo, which shows a fusion of a variety of dance styles from Lindy, to ballet, to Vera Wells, Bill Wright, and Elizabeth and Michael O’Brien bomba, to Afro-Cuban dance.

Robert Farris Thompson Mr. Thompson is America's courtesy of the artist Simmie Knox most prominent scholar of African Art and has presided over exhibitions of African art at the National Gallery in Washington, DC. He lived in the Yoruba region of southwest Nigeria for many years while he conducted his research of Yoruba arts history. At this program, he talked, sang, danced, and spoke at times in Yoruba. Robert Farris Thompson and K. Meiri Goldberg (facing away from camera)

Photo from video of event Vera Wells, Bill Wright, and Kate Lear

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 49 Ronald K. Brown/Evidence: Cultural Exchange through Ancestors, Inspiration, and Grace April 4, 2013 at 6:00 p.m. Ronald K. Brown, with his dancers Arcell Cabuag, Otis Donovan Herring, Clarice Young, and Annique Roberts, showed a video of his company’s visits to Africa, after which they talked together about the trips. Brown first Arcell Cabuag, Otis Donovan Herring, and Clarice Young spoke about his own childhood and dance history in a moving discussion of a young, African American man in New York learning about dance as an art form. After celebrating its 25th Anniversary in 2010 at a gala performance at New York’s Plaza Hotel, Evidence embarked on a ground-breaking tour of Africa under the auspices of DanceMotion/USA. The company performed, taught, and acted as cultural ambassadors in Nigeria, Senegal, and South Africa. Ron Brown has traveled in Africa as a dance teacher since 1995, when he taught contemporary dance to the theater company Koteba Ensemble in Abidjan, Côte d’Ivoire. Clarice Young and Annique Roberts Working in Africa expanded Brown’s movement vocabulary Afterwards, there was a reception in the Green Room. and shaped his awareness of his artistic potential and his role in contemporary dance.

Ronald K. Brown, Arcell Cabuag, Otis Donovan Herring, Clarice Young, and Annique Roberts Arcell Cabuag, Clarice Young, Ronald K. Brown, and Otis Donovan Herring

Ronald K. Brown

Ronald K. Brown Ronald K. Brown, Jan Schmidt, and Arthur Rivers

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Djoniba Mouflet: Concepts in African Dance, Choreography versus Authenticity April 11, 2013 at 6:00 p.m. World renowned dance and drum innovator and master teacher Djoniba Mouflet shared his thirty years’ experience in a lecture-demonstration about African dance and drumming. Along with some of the master And then the dancing began!! drummers and dancers from his dance school The Djoniba Dance & Drum Centre, he also screened African dance video from his collection and the Dance Division’s archive. Created in 1992, The Djoniba Dance & Drum Centre, now located at Peridance Capezio Center in New York City, has been the focal point for most of the Dancers Amenaghawon Owie, Melissa Moore, and Clarysse Sigere with drummers Mangue Sylla and Sekou-Dembele Pablo influential African dance and drum teachers in America, with classes available for all levels of students. After his introduction, Djoniba danced onto the stage with his drummers, the incredible Lamine Thiam, Mangue Sylla, and Sekou-Dembele Pablo. Then his dancers, Amenaghawon Owie, Melissa Moore, Clarysse Sigere, Terrol Leacock, and Julien Kanor came out. Lamine Thiam also danced and actually somersaulted right into the audience. Lastly, Djoniba gave a short history of West African dance and drumming, with a stilt dancer also joining in for the final dance. Djoniba, Mangue Sylla, and Sekou-Dembele Pablo

Djoniba talked about the history of West African dance.

While Djoniba joined the drummers, Lamine Thiam danced.

Djoniba Mouflet And a stilt walker joined the dancing!!

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 51 After the program a reception was held in the Green Room.

Djoniba Mouflet, Jan Schmidt, and Lamine Thiam

Djoniba Mouflet, Lamine Thiam, Mangue Sylla, and Sekou-Dembele Pablo Djoniba Mouflet, Jan Schmidt, and Allen Greenberg

HRH Princess Norodom Buppha Devi in Conversation with Director Peter Sellars The Jerome Robbins Dance Division of The New York Public Library for the Performing Arts presented an evening with HRH Princess Norodom Buppha Devi in conversation with director Peter Sellars, with rare dance footage from Cambodia. This program was created with Season of Cambodia and Brooklyn Academy of Music, and was held on Tuesday, April 30, 2013 at 6:30 p.m. at the Bruno Walter Auditorium.

HRH Princess Norodom Buppha Devi with the Royal Ballet of Cambodia Photo by Anders Jiras

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Season of Cambodia was a special initiative of Netherlands Opera, the Opéra National de Paris, the Cambodian Living Arts in partnership with Cambodia’s Salzburg Festival, the San Francisco Opera, and the Santa leading arts organizations and New York’s most vibrant Fe Opera, among others. He has brought 20th century cultural and academic institutions. The Festival featured and contemporary operas to the stage, including works more than 125 Cambodian performing and visual by Olivier Messiaen, Paul Hindemith, and György Ligeti. artists on New York City’s stages, screens, galleries, and Sellars has been a driving force in the creation of many public spaces, creating a broad and dynamic platform for new works with longtime collaborator composer John Cambodia’s cultural treasures to be shared with Adams, including Nixon in China, The Death of an international audience. www.SeasonOfCambodia.org Klinghoffer, El Niño, Doctor Atomic, and A Flowering Tree. Cambodian Living Arts (CLA), a non-profit organization A staging of their latest work, The Gospel According to based in Phnom Penh and the U.S. founded in 1998 by the Other Mary, was seen in the U.S. and in Europe early artist and Khmer Rouge survivor Arn Chorn-Pond, played in 2013. Sellars is a professor in the Department of World a role in preserving the traditional Cambodian art forms Arts and Cultures at UCLA and Resident Curator of the through its masters-students programs. Today CLA Telluride Film Festival. fosters collaborations with Cambodian artists and organizations, serving as a catalyst for the development Also performing were dancers Ms. Chamroeun Samphors and resiliency of Cambodian arts and culture. in the Giant role, Mr. Soeur Thavarak in the Monkey role, Ms. Chap Chamroeun Mina in the Female role, and Ms. Chen Chansoda in the Male role.

HRH Princess Norodom Buppha Devi, Rithisal Kang, and Peter Sellars HRH Princess Norodom Buppha Devi Photo by Darial Sneed Photo by Darial Sneed

Her Royal Highness Princess Norodom Buppha Devi was born on January 8, 1943 as daughter to His Royal Majesty King Norodom Sihanouk, King of Cambodia, and her mother Néak Phat Kanhol. The Princess gave her first professional performance at the age of eight in honor of the King of Laos. She immediately became recognized as a distinguished artist and performed until 1970. In the late 1980s and early 1990s, the Princess trained young dancers on the Cambodian/Thai border. Following the Soeur Thavarak, Chap Chamroeun Mina, Chen Chansoda, and Paris Conference of 1991, she returned to Cambodia with Chamroeun Samphors her father King Sihanouk. HRH Princess Buppha Devi Photo by Darial Sneed continues to choreograph, adding works to the classical repertory of the Royal Ballet. She has been instrumental in nurturing a new generation of gifted artists in close collaboration with her colleagues who survived the tumultuous period of the Khmer Rouge. Recently, the Royal Government of Cambodia nominated HRH Princess Buppha Devi as a Living National Heritage.

Peter Sellars, opera, theater, and director for many festivals, is known for groundbreaking interpretations of classic works. Sellars has staged operas at the Soeur Thavarak, Chap Chamroeun Mina, and Chen Chansoda Glyndebourne Festival, the Lyric Opera of Chicago, the Photo by Darial Sneed

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 53 Among the video excerpts from the Jerome Robbins Archive of the Recorded Moving Image screened at this event were a 1960s documentary made by United States National Archives that included a solo dance by Her Royal Highness Princess Norodom Buppha Devi. Another video was recorded by Jerome Robbins Dance Division on November 29, 1971, of the Royal Ballet of Cambodia in performance at Brooklyn Academy of Music. Also Anne H. Bass and Jackie Davis included were two recent performances of the Royal Photo by Darial Sneed Ballet of Cambodia, giving the public a first sneak preview of the recordings from the Khmer Dance Project (KDP). The KDP was initiated by the Center for Khmer Studies in 2008 in partnership with the Jerome Robbins Dance Division of The New York Public Library, with a grant from the Anne Hendricks Bass Foundation. Led by former dancer and scholar, Suppya Nut, KDP documented classical Khmer ballet through filmed interviews and performances. The elderly masters were Phloeun Prim the priority for KDP. Many artists had died of mistreatment and disease in labor camps during the Khmer Rouge revolution or were deliberately killed because of their status. The KDP has interviewed on video the three generations of artists who kept this art alive during an extraordinarily difficult period. It is anticipated that the KDP will be completed by June of 2013.

Anne H. Bass hosted a reception for all attendees on the Plaza Level where the exhibition Memory Preserved: Glass Plate Photographs of the Royal Cambodian Dancers was displayed on the walls. These rare images of five principal women dancers from the Royal Ballet of Princess Norodom Buppha Devi and Anne H. Bass Cambodia were on display in the United States for the Photo by Darial Sneed first time. Recently rediscovered, catalogued, restored, and digitized, the 1927 images capture the dancers demonstrating the postures and gestures from the classical canon. French scholar George Groslier, who was the Director of the National Museum of Cambodia, had initiated the project to preserve the memory of the ballet, which he believed was endangered. This exhibition is an initiative of the Ecole Française d’Extrême-Orient (EFEO) and the National Museum of Cambodia, with support from UNESCO and the Institut Français du Cambodge.

At the reception, Phloeun Prim of Season of Cambodia, with Jackie Davis and Jan Schmidt of The New York Public Library for the Performing Arts, gave special thanks to Anne H. Bass for all the work and advice she has given to this program and to dance.

Princess Norodom Buppha Devi Photo by Darial Sneed

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3 Core Supporters of the Dance Division

3.1 THE COMMITTEE FOR THE JEROME ROBBINS DANCE DIVISION The Committee for the Jerome Robbins Dance Division The Dance Division and The Committee for the Jerome was very active in the last fiscal year with four meetings Robbins Dance Division offer our best wishes to Ted in the Library. With funds from The Committee, the Bartwink, long-time friend of the Dance Division and Dance Division acquired the items listed in the valued member of The Committee, for a full recovery Acquisition section above, including an amazing number from an accident earlier this year. of purchases at the auctions noted above. The Committee also hosted the three African Dance This year The Committee for the Jerome Robbins Dance Programs called On Fire with African Dance, described Division continued its slate of officers: Elizabeth O’Brien, above, and supported the exhibition titled: 100 Years of Chair, Perry Granoff and Bill Wright, vice-chairs, Peter Flamenco in New York, 1913 – 2013. Kayafas, secretary, and Allen Greenberg, treasurer.

The Committee for the Jerome Robbins Dance Division Elizabeth O’Brien, Chairman Theodore S. Bartwink Advisory Council Perry Granoff, Vice Chairman Sallie Blumenthal Jacqueline Z. Davis William H. Wright, II, Vice Chairman Dr. Jeffrey S. Borer Genevieve Oswald Peter Kayafas, Secretary Arlene C. Cooper Alexander Schouvaloff Allen Greenberg, Treasurer James Duffy Danielle Castronovo Hubert Goldschmidt Jan Schmidt Caroline Hyman Nancy N. Lassalle Kate Lear LaPook Madeleine M. Nichols Meg Stillman Jean Sulzberger Helen Wright

3.2 FRIENDS OF THE JEROME ROBBINS DANCE DIVISION The Friends of the Jerome Robbins Dance Division is a supporters. With funds from Friends of the Jerome group committed to supporting the vital work of the Robbins Dance Division, the Dance Division hired a Division through their monetary contributions and their temporary cataloger for two years to catalog its backlog creative ideas. Members serve as important advocates of prints and designs so that these materials would be for the Division, assisting in identifying other sources of available to researchers and the general public. Over a private support that may help maintain and enrich the number of years staff members had stored these work of the Division. Friends include supporters, artworks and created an inventory. Susan Au, retired outstanding dancers, choreographers, and scholars of Dance Division staff member/cataloger, began on present and past generations. In this sixth year of the February 14, 2011 and ended in February 2013. See Friends of Jerome Robbins Dance Division, the Friends information above about materials she has cataloged. continued to grow and develop its network of

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 55 Friends of the Jerome Robbins Dance Division Anne H. Bass, Co-Chair Caroline Cronson, Co-Chair

Friends of Dance Honorary Members Two Honorary Members were added this year: Kevin McKenzie and Robert Weiss. The Friends and the Dance Division are delighted to have them as new members.

Merrill Ashley Julie Kent Kent Stowell Mikhail Baryshnikov Lourdes Lopez Paul Taylor Peter Boal Natalia Makarova Helgi Tomasson Holly Brubach Patricia McBride Violette Verdy Darcey Bussell Kevin McKenzie Edward Villella Angel Corella Benjamin Millepied Karin von Aroldingen Merce Cunningham* Arthur Mitchell Heather Watts Jacques d’Amboise Mark Morris Robert Weiss Suzanne Farrell Gillian Murphy Christopher Wheeldon Alessandra Ferri Kyra Nichols Wendy Whelan William Forsythe Robert Rauschenberg* Damian Woetzel Cynthia Gregory Nancy Reynolds Paloma Herrera Francia Russell Barbara Horgan Suki Schorer Allegra Kent Ethan Stiefel *deceased

The Friends of the Jerome Robbins Dance Division, co- Castronovo selected various costume and set designs chaired by Anne H. Bass and Caroline Cronson, hosted an from Sleeping Beauty productions for display in the evening event at Bruno Walter Auditorium. Designers included Leon Bakst, the Bruno Walter Desmond Heeley, and Alexandre Benois. Auditorium on April 24, 2013. The Tony Marx, Jackie Davis and Jan Schmidt made opening discussion remarks. centered around the dancing of The Sleeping Beauty with New York Times writer Alastair Macaulay in conversation with The Wall Street Journal writer Robert Greskovic and dance writer David Vaughan. They very entertainingly described how various ballerinas performed the different choreographies with screening of archival film and video excerpts of The Sleeping Beauty from the Dance Division’s collection. The excerpts were selected by the panelists, and compiled and edited by Daisy Pommer and François Bernadi in the Dance Division edit suite. Arlene Yu created a PowerPoint presentation of dozens of Tony Marx photographs for the event as well. In addition, Danielle

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Jacqueline Z. Davis David Vaughan and Robert Greskovic

After the event, the Friends of the Jerome Robbins Dance Division held a reception.

Jan Schmidt

Caroline Cronson and Anne H. Bass

Alastair Macaulay, David Vaughan, and Robert Greskovic

Michael and Elizabeth O’Brien and Hubert Goldschmidt

Alastair Macaulay

Alastair Macaulay, David Vaughan, and Robert Greskovic Jan Schmidt, Silas Farley, and Wendy Whelan

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 57 4 Grants, Projects, and Initiatives

4.1 KHMER DANCE PROJECT WITH FUNDING FROM ANNE H. BASS The Khmer Dance Project (KDP) was initiated by the were deliberately killed because of their status. At the time Center for Khmer Studies in 2008 in partnership with the of the KDP interview with Soth Sam On, master of the Giant Jerome Robbins Dance Division of the New York Public role, she was already in poor health, and she has Library, with a grant from the Anne Hendricks Bass subsequently died. Another of the main figures among the Foundation. We anticipate that it will be completed by survivors is Proeung Chhieng, former exponent of the fall of 2013. The intention has been to create primary Monkey role and ex-Dean of the Faculty of the Royal source material by documenting classical Khmer ballet University of Fine Arts. His deep knowledge of Khmer dance through filmed interviews and performances. The Royal and his involvement in the project made the several hours Ballet of Cambodia, internationally renowned and spent filming him especially valuable. recognized by UNESCO in 2003 as a Masterpiece of the Oral and Intangible Heritage of Humanity, has flourished Apart from individual interviews, the Khmer Dance after having been forbidden during the Khmer Rouge Project filmed ballets and folk dances which show the regime (1975 – 1979). The reconstitution of Khmer dance link between genre dramas, the Royal Ballet with Lakhon after 1979 has been remarkable. Most of the repertoire Khol, and folk dances. The entire process of the of the ballets, such as the emblematic Apsara dance, is recreation of Enao Bosseba, performed by the third now well documented and has been passed on to the generation of dancers, was recorded, with gratitude to next generation, but the community of artists has Her Royal Highness Princess Norodom Buppha Devi, remained unknown. The few Masters who survived the whose interview and rehearsals of the reconstructed Khmer Rouge era are now quite elderly and many have ballets Enao Bosseba and Sovannahong were also filmed. died. The Khmer Dance Project has significantly Included in the filming was the ritual ceremony of paying expanded upon the existing information by interviewing homage to the spirit of dance prior to the premiere at and filming the three generations of artists who kept this the Chenla Theater in Phnom Penh. art alive during an extraordinarily difficult period. The interviews focused on the entire community: dancers, All of the material will be edited and subtitled in English. musicians, and singers, as well as embroiderers and Copies will be available to Cambodians through the dressers. Library of the Center for Khmer Studies in Siem Reap and the Bophana Centre in Phnom Penh. We are grateful to The elderly masters were the priority for KDP, as only five of Suppya Nut for her work as director of the Khmer Dance them were still alive. These artists had endured Project. We look forward to next fiscal year making these mistreatment and disease in labor camps during the Khmer tapes available to the public on the Library’s new Digital Rouge revolution. Many had died from the conditions or Dance Video interface.

4.2 DANCE HERITAGE COALITION The Dance Heritage Coalition (DHC)·new Executive . Dance Preservation and Digitization Project Committee nominations were held at the Board meeting (DPDP, formerly called Secure Media Network), in Chicago at the Newberry Library, November 16 and 17, comprising two parts: Trusted Digital Repository 2012. The new slate of officers were nominated and (TDR) and Finding Dance (the online resource) elected: Jan Schmidt, Chair; Chris Miller, Vice Chair; . Symposium – on the future of the DPDP, Spring Genie Guerard, Secretary-Treasurer. The offices began 2013. Funded by Mellon. on January 1, 2013. Two new members were introduced: . Dance Collection Database (DCDb – a San Francisco’s Museum of Performance and Design “match.com” for artists and archives) with representative, Muriel Maffre, the MPD Executive Bonnie Oda Homsey and Arizona State Director and a former principal dancer with San Francisco University Ballet; and Alison Hinderliter, of the Newberry Library. . Online Treasures exhibit New DHC staff member Liz Jackson, protégée of Peter Jaszi, Washington College of Law, was also introduced. The Secure Media Network (SMN) work continued, but Among the reports were discussions of: under a new name, Dance Preservation & Digitization Project (DPDP). This project now has two components:

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. a trusted digital repository (TDR) for large-file This year there is a beta test site at storage; and archive.danceheritage.org. The PBCore repository was . “Finding Dance,” the online access resource developed by Dave Rice and currently holds 25,000 (the “secure” media network). records. Right now, any user can see the metadata. Streaming video viewing is restricted to DHC members The Mellon Foundation two-year grant funds continued with IP blocks. Once the preservation files are created, preservation and storage (conservatively) but also offers proxy files are converted to H.264. H.264 files are significant funds to host a gathering to determine the currently served up in Flo-Player, an open source Flash sustainability of and develop a business plan for the player. If Flash becomes obsolete in the future, DHC can DPDP. Among the issues DHC is grappling with is the TDR still return to the H.264 files and serve them in a platform. Fedora was found inadequate in managing different way. The next step is inclusion of the next 100 large-size digital files of over 100 GB for video. The Bay videotapes. Area Video Coalition (BAVC) has been working with Archivematica, which has the potential needed.

4.3 CORE OF CULTURE The Jerome Robbins Dance Division continued to partner database. It can be searched by dance, location, deity, or in the Core of Culture’s project to record and preserve lineage, and the viewer can see the entire dance shot disappearing dance traditions from the Kingdom of from two angles. Bhutan to Ladakh and, most recently, China. In 2008, after a three-year course of taping, Core of Culture The four terabytes of video came to the Dance Division recorded more than 300 hours of video and a with all rights. This year the Dance Division began adding constructed a searchable database. The Bhutan Dance these files individually to our catalog records, adding the database has 800 entries with 5 pages each of information from the database to our MARC format information about a specific dance. Gessie Houghton, catalog, and adding the digital video files to the Digital Director of Technology, automated the connection Dance Video interface, where they will soon be freely between the 300 hours of digitized footage and the available to the public on the Library’s website.

4.4 THE NEW YORK STATE COUNCIL ON THE ARTS The New York State Council on the Arts (NYSCA) The five companies or choreographers videotaped with awarded the Jerome Robbins Archive of the Recorded NYSCA funds were: Ronald K. Brown’s Evidence, A Dance Moving Image a grant of $33,770 this year for original Company; Keith Hennessy and Circo/Zero; Trajal Harrall’s documentation, oral history, and audio preservation, in Twenty Looks or Paris is Burning at the Judson Church, year four of a total four-year period of support. In Fiscal performed as part of Danspace Project’s Judson Now year 2013, the Jerome Robbins Dance Division Platform; two new works by Tere O’Connor, and Sally Silvers videotaped seventeen dance performances of significant & Dancers performing her latest work, Bonobo Milkshake. artistry and choreography, and recorded six oral histories with notable figures from the world of dance. NYSCA funds contributed to the creation of all six new oral Additionally, the Dance Division preserved 96 hours of histories. The subjects were Janet Eilber, Lynn Glauber- existing oral history recordings. Of these, approximately Mandel, Alastair Macaulay, Tina Ramirez, Lamine Thiam, sixty-three hours were supported with funding from and David Vaughan. NYSCA.

4.5 THE NATIONAL ENDOWMENT FOR THE ARTS The National Endowment for the Arts (NEA) awarded histories were recorded and 96 hours of irreplaceable the Dance Division $29,637 for original documentations audio materials were preserved. Approximately 33 of of dance. In Fiscal Year 2013, through its original these hours were funded through the NEA. documentation program, the Jerome Robbins Archive of the Recorded Moving Image videotaped a total of 17 With funding provided by NEA, the Dance Division performances and six non-performance recordings, for a recorded six dance performances, including a program by total of 23 original dance productions. Six dance oral Alvin Ailey American Dance Theater; a new evening-

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 59 length work by Kyle Abraham; Yvonne Rainer presenting Hoo-ha, and Katy Pyle’s reimagining of the classic fairy new and revived works as part of a Judson Group tale, Firebird. NEA funds also contributed to the creation retrospective at Danspace; new works by Ronald K. of the six new oral histories recorded in fiscal year 2013, Brown, performed by his company, Evidence, to live listed in section 4.4. music; Darrell Jones’ newly expanded acclaimed work,

4.6 DORIS DUKE CHARITABLE FOUNDATION GRANT The New York Public Library was awarded a grant of Cambodian dancers from the Khmer Dance Project $200,000 from the Doris Duke Charitable Foundation funded by Anne H. Bass. The Library has also given over a period of 24 months to develop, test, and interns to the Dance Division this year to search for other reconfigure a system that will allow dance scholars, Original Documentations of dance performances created creative professionals, and students to more easily find by the Dance Division for possible use online. and use audio and moving image collections from its Jerome Robbins Dance Division. This year the Library Eugenia Kim was hired on the Duke grant as a part-time finished a system to address the complex issues Metadata and User Testing Coordinator from associated with delivering audio and moving images in a November 5, 2012 to September 30, 2013. During this digital format, combining advanced features that time she managed substantially more aspects of the facilitate discovery and display of high-quality audio and grant than originally intended, and has been a valuable video with a sophisticated system for managing access to liaison among the Dance Division and the various units the content in accord with intellectual property and within the Library that are contributing to this project, other applicable rights restrictions. including Digital Labs, Information Technology, Preservation, Reference & Research Services, Repository, Last year, the Library signed an agreement with a secure and Special Formats Processing. Besides mapping the 300 video delivery company. This year, the Dance Division hours of Bhutan dance videos from their original created H.264 files, which can be served to a variety of FilemakerPro database to the Library’s MARC (MAchine- devices, including computers, tablets, and mobile Readable Cataloging) format catalog, and creating links phones. This means that the public will be able to access to synchronize the wide and close shots of George the Division’s videos at the Library’s computers and Balanchine Celebration video files and the Festival of viewing stations by clicking on a link directly from the Jerome Robbins’ Ballets video files, Eugenia organized catalog record in the Reading Room and, for those videos the project’s user testing sessions, and has been which we have the right to show without restrictions, on presenting on the project at conferences and symposia. the World Wide Web. The user testing sessions were conducted from This year the Preservation Unit, as part of the Doris Duke February – June 2013 onsite at the Performing Arts Charitable Foundation grant, continued preserving Library, and were executed in two phases. The focus of videotapes from the Dance Division’s recordings. Many the Phase 1 user testing sessions was to meet with the of these were recorded on industry standard tapes of the core user group of the Dance Division, receive time, which now are obsolete. Among other collections, participants’ feedback on the Digital Dance Video the Preservation Unit has preserved 162 camera originals interface, and ask them complete a survey, which from New York City Ballet's Balanchine Celebration from described the project and listed a series of questions 1993 and 78 camera originals from 1990 performances about the interface. Participants that were outside of the during the New York City Ballet's Festival of Jerome New York City area did not have access to the interface Robbins' Ballets. These wide and close shot recordings and only received the survey to complete. This core user were unedited at the request of the choreographers. group included dance practitioners, educators, scholars, When the Digital Dance Video interface is completed, it and archivists/ librarians. There were three onsite user will have the capacity to screen these wide shots in sync testing sessions conducted in Phase 1 with a total of 12 with the close shots. These will only be viewable here at participants. This group’s feedback was used in the the Library for the Performing Arts. However, for those development of the interface for the Phase 2 user testing recordings which we have the right to show without sessions and, ultimately, the interface’s final version. restrictions on the web, the Library will begin offering these to the public online. Among the videos that will be In Phase 2, another key user group of the Dance Division, available on the Internet will be the 300 hours of video including videographers, administrators, and students, from the Kingdom of Bhutan and the interviews with was approached to provide feedback on the interface

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prototype. This feedback was used to assess whether changes to the interface right after a session and as a feedback from Phase I had been useful in the result, any given user in this phase rarely experienced the development of the interface, and to identify any exact same interface as the user immediately prior. important items that had been missed. In this phase only There were a total of seven test users in Phase 2. one-on-one sessions were conducted; this format proved to yield the most useful information. Selection for this On June 6, 2013, Eugenia presented on the project at the group was based on a user’s role within the dance New York Archives Conference as part of the conference community and his or her existing relationship with panel entitled The Show Must Go On: Documenting the Dance Division collections. Feedback often resulted in Performing Arts – Part 1.

4.7 ROCKEFELLER BROTHERS FOUNDATION GRANT FOR ORIGINAL DOCUMENTATIONS The Library, with extraordinary help from The Committee Lassalle, and Louisa Sarofim. Foundations who donated for the Jerome Robbins Dance Division and Friends of the were The Max and Victoria Dreyfus Foundation and the Dance Division, has raised the $250,000 challenge grant Gladys Krieble Delmas Foundation. from the Rockefeller Brothers Fund for the original dance documentation program. The Dance Division’s Jerome This year, with funding from Rockefeller Brothers Robbins Archive of the Recorded Moving Image had Foundation Grant, the Dance Division recorded Soledad received the $250,000 endowment matching grant from Barrio’s Noche Flamenca dance company; Doug Varone the Rockefeller Brothers Endowment Grant in December and Company in their 25th Anniversary season; David 2009, for its Original Documentation program to record Gordon/Pick Up Performance Co(s); From the Horse’s dance. This grant should allow for approximately five Mouth: The Men Dancers; Breakin’ Convention more dance performances to be recorded yearly with Mainstage Performance, and the Suang Budaya Rockefeller Brothers Foundation support. Among the Indonesian Dance Group. donors through the Library, The Committee for the Jerome Robbins Dance Division, and the Friends of the Jerome Robbins Dance Division were: Helen Gebig, Anne H. Bass, Gillian Attfield, Caroline Hyman, Nancy

4.8 DANCE HISTORIAN IS IN WITH DAVID VAUGHAN David Vaughan, archivist of the third floor of the Performing Arts Library. In addition, the Merce Cunningham on the last Wednesday of the month, David Vaughan Dance Company and author introduces and screens film and/or video of dance. of Merce Cunningham/65 Years and Frederick Ashton On August 29, 2012 at 2pm, David Vaughan introduced and his Ballets, was present and screened Channels/Inserts in the Bruno Walter on Wednesday afternoons in Auditorium, with the filmmaker Charles Atlas. The first The Jerome Robbins Dance video screened was the Charles Atlas 1982 videodance of Division of The New York the work, followed by a recording of a performance at Public Library for the Jacob's Pillow Dance Festival, Becket, Massachusetts on Performing Arts at Lincoln July 10, 1993. Over fifty people attended, including a Center for conversations with dance researchers. The number of Merce Cunningham dancers. Library has books, the Library has video and film recordings, the Library has reference materials, and now, On September 26, 2012 at 2pm, in the Third Floor besides our valued and knowledgeable staff, the Library Screening Room, David Vaughan introduced and has an extraordinary human resource to answer screened La Fille Mal Gardée, choreography by Frederick questions regarding 20th century ballet, post-modern Ashton, from the 1962 BBC-TV telecast with the original dance, and the Merce Cunningham Dance Company. cast directed by Margaret Dale. The room was filled beyond capacity, with over 80 people attending and David Vaughan is in on Wednesdays from 1 to 5 pm. another 20 or so turned away. Appointments are not necessary, but can be made by emailing [email protected]. Patrons can also request meetings by signing in at the Special Collections desk on

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 61 On November 28, 2012, David Vaughan introduced and screened Merce Cunningham’s Beach Birds for Camera, both the film by Elliot Caplan, and a recording of a version performed on the stage. Mr. Caplan joined David to discuss the work with the audience.

On December 26, 2012, David Vaughan introduced and screened the film Evergreen, featuring Jessie Matthews, the English dancing star.

On January 30, 2013, David Vaughan introduced and screened eight dances by James Waring, including Feathers, Scintilla, and his last work, A New Life. The excerpts were sourced from several different videos from the Dance Division’s collection.

On February 27, 2013, David Vaughan introduced and screened excerpts from films of Léonide Massine’s choreography, including Jeux d’Enfants and Boutique Fantasque.

On March 27, 2013, David Vaughan introduced and screened 498, 3rd Ave., a documentary on Merce Cunningham and his company, from 1967.

On May 29, 2013, David Vaughan introduced and screened Frederick Ashton’s Daphnis and Chloe, as well as excerpts from a documentary celebrating 100 years of Ashton’s work.

Merce Cunningham Photo courtesy of the Estate of Hazel Larsen Archer On June 26, 2013, David Vaughan introduced and screened works by Richard Alston, including Pulcinella and Soda Lake.

4.9 ADHAM HAFEZ, OF ARC.HIVE OF CONTEMPORARY ARAB PERFORMING ARTS IN CAIRO In this past year, the Arc.Hive Project is composed of three research centers Dance Division has on three continents known for their collections of been meeting with contemporary performing arts videos, scores, notes, and Adham Hafez, of programs. The centers will be in Germany, Cairo and the Arc.Hive of Performing Arts Library in New York. Contemporary Arab Performing Arts in One of the reasons the artists in Cairo were so concerned Cairo, to discuss the about the preservation and access to their materials was Library’s acting as a the fear of loss from various methods, including fire. In second preservation 2011, it is believed that the Egyptian Army either set the source for the fire or allowed the blaze to consume the Egyptian archive’s materials Institute. The Institute’s director, Mohammad al-

Photo by Nurah Farahat and providing open Sharnoubi, wept over the destruction of this precious access to them heritage while soldiers allegedly stood idly by or poked online. Hafez, along with the team from the HaRaKa fun at him. Adham Hafez and other activists immediately project, is determined to set up the first space for moved to save what rare books they could, assisted by archives on performing arts in the Middle East. The people, Hafez says, who were risking their lives to save the books – even though they couldn't even read.

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4.10 DANCE PRINTS AND DESIGNS DIGITIZATION PROJECT The Dance Division, with the assistance of intern Gabriella Karl-Johnson, has started a prints and designs digitization project focused on creating digital images of small-format prints and original designs depicting dance. These works, which originally appeared in newspapers, books, sheet music covers, or as individual prints or designs, portray a range of performances, set designs, and dancers, both notable and lesser-known, from the 17th century through the early 20th century. So far, 175 prints, along with detailed catalog information, will now be available through the Library’s Digital Gallery. Copyright rules for unpublished original designs are different from published prints, so the team has started researching which original designs can be incorporated into this project.

*MGZFA-17 All C 1 *MGZFA-17 Anon Dra 1 Le Dieu Marin. [The Dragon of Wantley]. Allard, Carel, 1648 – circa 1709 Carey, Henry, 1687? – 1743, libretto Etching, 26 x 17.7 cm Lampe, John Frederick, 1703? – 1751, music 1600 – 1700 Engraving, 40 x 25 cm Costume for a man depicted as the sea god, full length to Circa 1730 front looking right, both arms outstretched, left arm bent Illustrated sheet music for songs from the burlesque at elbow; costume made of scales, seaweed, and shells, opera The Dragon of Wantley, containing music for holding castanets. A harbor with ships is shown in the accompanied voice and flute. Depicts the principal male background. character, Moore of Moore-Hall (described in the libretto as a valiant knight).

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 63 *MGZFA-18 Mar J Rei 1 *MGZFA-19 Dan V Pas 1 Reine des Sylphes, Dans le Balet des Elémens, &c. Pas Berger, Pas Hongrois, Dansé par les 36 Jeunes Martin, Jean-Baptiste Danseuses Viennoises [graphic] / A.L. Engraving, colored, in line border, plate mark: 28.3 x 1 print : lithograph, hand-colored ; 18 x 26 cm 20.5 cm Portrayal of two pairs of dancers, probably representing Circa 1911 larger groups, in two dances performed at the Académie Costume design for the Queen of the sylphs, probably Royale de Musique (Paris Opéra). The boys' roles were drawn and engraved by Jean Baptiste Martin. From a danced by little girls. Les Danseuses viennoises was a series of more than 300 restrikes from the original 18th- troupe of child performers known for their precision century plates, first published by Esnaults et Rapilly. dancing, organized by Josephine Weiss, ballet mistress at the Josephstadt Theatre in Vienna. The troupe, composed of thirty-six little girls, made its debut at the Paris Opéra in 1845; one of its numbers was a pas hongrois, or Hungarian dance. This print may commemorate this occasion.

4.11 PRESERVING DANCE DIVISION OBSOLETE UMATIC TAPES One of the priorities of the Moving Image Archive is to migrate and preserve the nearly 6,000 U-matic ¾-inch tapes in the Dance Division. This year this process was kickstarted by the generous donation of $10,000 from an anonymous donor. The tapes have been sent out to a lab for digitization, and will be returned in the next fiscal year.

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5 Staff News

5.1 PERSONNEL CHANGES Pat Rader, long-time staff member of the Dance several conferences on that topic. She is also an active Division and later the Metadata Coordinator for choreographer who has presented at the California Special Formats Processing, retired from the Library Institute of the Arts, Steps on Broadway, and other on October 12, 2012. A party in her honor was held venues. Past honors include being a 2011 Association here at Library for the Performing Arts on October 5, for Information Science & Technology (ASIS&T) New 2012. Leader, a 2011 American Library Association (ALA) REACH21 scholar, and an Association of Research Thanks to funding from The Committee for Jerome Libraries (ARL) Career Enhancement Program Fellow at Robbins Dance Division, Charles Perrier was hired for Columbia University. Eugenia’s dance and information four months to train new Assistant Curator Danielle science background made her uniquely qualified for Castronovo. Danielle and Charles worked through her role on the project. She has been instrumental in many projects that needed to be finalized. It was making the Digital Dance Video project a success. important to have this support of The Committee. Charles Perrier, Assistant Curator, retired on February In an effort to have more moving image records freely 18, 2012. On May 7, 2012, Danielle Castronovo began available on the Internet, the Rights and Permissions work as the new Assistant Curator of the Dance Office of the Library offered the Dance Division two Division. legal interns, Eduardo Villalta and Rachel Bandli.

Arlene Yu, the temporary staff member for the Jerome . Eduardo Villalta, a 2011 graduate of NYU Law Robbins Archive of the Recorded Moving Image of the School, joined the Dance Division in Dance Division, was due to have her job end on July 1, November, 2011 as a post-graduate intern in 2013, for lack of funding to make her a permanent the Rights and Permissions Office. Under the staff member. However, Jackie Davis found funds in supervision of the Curator of the Jerome the Exhibition Unit when another staff member Robbins Dance Division and Rights Clearance retired. Rather than replace that staff member, she is Analyst Greg Cram, he collected and reviewed putting the funds into Arlene Yu’s salary. We are contracts, releases, and other documents greatly relieved. However, if we can find the funds to associated with recordings made by the Dance keep Arlene on Dance Division endowments, then the Division, digitizing and organizing these in Exhibition Unit can get their staff position back. preparation for their incorporation into the Rights Database. In addition, he drafted Though the Dance Division still has only five FTE (Full memoranda on copyright and rights related Time Equivalent) employees, we have happily added, issues for the Dance Division and the Rights as noted above, four temporary staff members: Clearance Analyst. Crystal Rangel, hired for three years, Susan Au, hired . Rachel Bandli, currently a student at for two years, Tara Kelley, hired for two years on Columbia Law School, joined the Dance grant to process Mikhail Baryshnikov Moving Image Division as a Rights and Permissions intern for Archive, and Cassie Mey, hired for one year on several the summer. She analyzed and digitized grants. release forms dating back to the 1960s and entered the information into a rights Eugenia Kim worked on the Library’s Doris Duke chronology spreadsheet, which will be used as Charitable Foundation Grant from November 5, 2012 a reference when determining whether the to September 30, 2013. She received her MS in Library can make audiovisual recordings Information Science from the University at Albany, available online. Rachel also worked on SUNY, and a BS in Electronic Media, Arts, and updating the release forms used by the Dance Communications from Rensselaer Polytechnic Division for its Original Documentation Institute. Prior to coming to the Library, she was a program. She started on May 29, 2012 and Visiting Data Services Specialist for Purdue University ended on August 4. Libraries. Eugenia has published two papers on the use of technology to preserve dance and presented at

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 65 5.2 STAFF DEVELOPMENT A number of the Division’s full-time permanent staff Reform, held at the Kernochan Center for members across all levels of seniority benefited from Law, Media and the Arts at Columbia Law conference participation and other leadership School. opportunities. All staff members participated in other . From December 4 – 8, 2012, Arlene Yu training initiatives, and many were members of represented the Dance Division at the Annual committees both internal and external to the Library. Conference for the Association of Moving Image Archivists. Conferences and representation and training . On November 14, 2012, Arlene Yu spoke opportunities attended include: about career development and job hunting . From June 23 – 28, 2013, Danielle Castronovo strategies at a class in the Pratt School of attended the American Library Association Information and Library Science. Rare Books and Manuscripts pre-conference . On October 15, 2012, Tanisha Jones, Danielle on Performance in Special Collections. She Castronovo, and Jan Schmidt represented the also attended the Building Collections: Dance Division at the New York Dance and Acquiring Materials and Working with the Performance Awards, known as the Bessies Antiquarian Book Trade workshop. Awards, at the Apollo. . On June 15, 2013, Jan Schmidt spoke at the . On October 12, 2012 at the Library for the Life Celebration of Jean-Léon Destiné at The Performing Arts, Jan Schmidt attended the Schomburg Center for Research in Black awards ceremony of the Theatre Library Culture. She also screened video from the Association, where former chair of the Dance Dance Division's collection of materials by and Heritage Coalition, Nena Couch, Curator of about Mr. Destiné, who died on January 22, the Lawrence and Lee Theatre Research 2013. Master Haitian dancer and Institute at Ohio State University, was choreographer Jean-Léon Destiné was a great awarded the 2012 Distinguished Service friend of the Dance Division. During his long Award. career he donated materials to the Dance . On September 26, 2012, Tanisha Jones, Division, gave lecture-demonstrations at the representing the Dance Heritage Coalition, co- Performing Arts Library, and was recorded by presented a paper with Lauren Sorensen, the Jerome Robbins Archive of the Recorded Preservation Project Manager, Bay Area Video Moving Image. Coalition (BAVC), titled Developing and . From June 12 – 15, 2013, Jan Schmidt Implementing a Digital Video Repository for attended the Dance/USA conference in Legacy Dance Documentation: Dance Philadelphia. Heritage Coalition’s Secure Media Network . On April 25, 2013, Danielle Castronovo at the UNESCO – The Memory of the World in critiqued resumes and participated in a mock the Digital Age: Digitization and Preservation job search committee for Pratt Institute international conference in Vancouver, B.C. archives students. . From August 6 –11, 2012, Cassie Mey . On March 8, 2013, Arlene Yu attended the attended and presented a poster on her Orphan Works Best Practices Focus Group at graduate work at the 76th Annual Meeting of New York University. the Society of American Archivists in San . On February 8, 2013, Arlene Yu attended a Diego, CA. symposium, Copyright Exceptions for Libraries in the Digital Age: Section 108

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5.3 COMMITTEE ACTIVITIES

External

Jan Schmidt elected Chairman of the Dance starting January 2013 will be: Chair, Jan Schmidt; Vice Chair History Coalition Christopher Miller; Secretary/Treasurer Genie Guerard. Jan Schmidt attended the board meeting for the Dance Arlene Yu elected to the Board of the Heritage Coalition in Chicago on November 16 and 17, 2012 Society of Dance History Scholars at the Newberry Library. Also in attendance were institutional members Dawn Lille, Dance Notation Bureau; Following her attendance at the Society of Dance History Genie Guerard, UCLA; Martha Briggs, Newberry Library; Scholars (SDHS) conference in Philadelphia from June 14 – Dean Jeffrey, American Dance Festival; Chris Miller, Arizona 17, 2012, Arlene Yu was invited and then elected to join the State University; Norton Owen, Jacob’s Pillow; and Muriel Board of the organization. She replaces Pat Rader, who Maffre, Museum of Performance and Design (San retired from the Library and SDHS last year. Arlene has also Francisco). Absent were Nena Couch, Ohio State University joined the SDHS working groups on Popular, Social, and and Harvard University and Library of Congress Vernacular Dance and Latin American, Latino, and representatives. From the Dance Heritage Coalition were Caribbean Dance Studies, and is working to continue to Libby Smigel, Executive Director, and Liz Jackson, Projects deepen the Dance Division’s relationships with the Legal Counsel. Jan Schmidt was elected as the new academic community. Board membership will ensure the Chairman of the Board. The new slate of board officers, Dance Division’s visibility and allow us to keep abreast of and have a voice in developments in dance research.

Internal Jan Schmidt attended meetings of OneNYPL Management Arlene Yu is part of a small team of Research Libraries staff Council, and Special Research Collection Development & who are working on the development of the social catalog Acquisitions quarterly meetings. Bibliocommons (nypl.bibliocommons.com) to better display research division materials and better serve the needs of Tanisha Jones was invited to be a member of the Mellon the Dance Division’s patrons. Audio/Visual Survey Working Group by Evelyn Frangakis, Aaron and Clara Greenhut Rabinowitz Assistant Director for Arlene Yu is also the Dance Division’s representative on the Preservation for The New York Public Library. In March Performing Arts Library’s core reference working group, 2013, the Andrew W. Mellon Foundation awarded the addressing reference needs, issues, and training for Library a grant in the amount of $102,000 to support a Performing Arts Library staff members. She developed an survey of the content and preservation needs of audiovisual internal Dance reference guide for staff members outside of collections. The Working Group weekly meetings began on the Dance Division, as well as an internal web site covering April 4, 2013. The New York Public Library has contracted reference topics for all Performing Arts Library divisions. AudioVisual Preservation Solutions (AVPS) to conduct the survey of the Library’s audiovisual assets. Along with the Arlene Yu attended meetings of the Library for the survey, initial goals of the Working Group include drafting a Performing Arts Digital Humanities Working Group, which charge for the group and guiding principles for the was formed to share notes on trends in digital humanities sustainability and ongoing support for the preservation and and to brainstorm potential new projects for the research access of our audiovisual collections employing best divisions at the Performing Arts Library. practices. Ann Thornton, Andrew W. Mellon Director of The New York Public Library, serves as the Chair of the Working Arlene Yu was invited to speak at the orientation session for Group. the Library’s Managing for Excellence program, which is designed to nurture future library leaders. As a recent Danielle Castronovo attended quarterly meetings of alumna of the program, she welcomed the new class and Collections Strategy and the Library’s Loan Committee. spoke about her experience and the insights she gained through Managing for Excellence.

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 67 Training and Collaboration Danielle Castronovo attended several training sessions tuition scholarship to complete her final year of graduate for Resource Description and Access (RDA), which is a studies with an emphasis on Digital Archive new standard for cataloging that provides instructions Management. As a Project CHART fellow, Cassie interned for formulating data for resource description and at the Brooklyn Historical Society, presented a poster at discovery. the Annual Meeting of the Society of American Archivists, and contributed to the project’s culminating Cassie Mey received her MSLIS with academic honors in website, http://www.brooklynvisualheritage.org. December 2012 from the Pratt Institute School of Information and Library Science. She was the recipient of Danielle Castronovo was trained on how to use the a Project CHART Fellowship (funded by IMLS), a full Library’s custom Metadata Management System.

5.4 PUBLICATIONS, PRESS, AND SOCIAL MEDIA

Newspapers, Magazines, and Radio On August 7, 2012, Time Out New York published an article Flamenco in New York City. They discussed the highlights of online titled Jerome Robbins Dance Division Oral History the Flamenco dance exhibit at the New York Public Library Archive and Project at the New York Public Library for the for the Performing Arts. Performing Arts. The author, Jessica Leigh Hester, wrote: “Since 1974, the Dance Division’s Oral History Archive has Society of American Archivists Performing Arts Roundtable preserved and recorded hundreds of interviews with newsletter, Summer 2012, mentioned Tanisha Jones and choreographers, writers, production staffers, and the Dance Division in the Eiko & Koma article on page 22. performers, from Graham and Gene Kelly to the belly “The Dance Heritage Coalition (DHC) is pleased to announce dancer Morocco. During the 1980s and 1990s, interviewers the exciting discovery of the earliest existing film footage of collected narratives from dancers and choreographers Eiko & Koma performing. The film, found in June among the battling HIV and AIDS, including choreographer Arnie Zane company’s records during the Dance Heritage Coalition’s and former Joffrey Ballet principal dancer Burton Taylor. inventory of Eiko & Koma’s legacy materials, has been Other gems in the collection include Ruth St. Denis chatting stabilized and digitized, and is now viewable again through on a 1964 radio broadcast about the influence of Hindu the generosity of Nancy Watrous and Anne Wells at the temple dances on her work. The oral histories are just one Chicago Film Archives. The mysterious and unassuming portion of the Library’s huge collection of dance materials, single reel of 16mm film was identified with the help of which includes more than 42,000 books and 1 million Tanisha Jones, director of the Archive of the Recorded manuscripts, but these recordings give voice to a silent art Moving Image in the Jerome Robbins Dance Division, New form, offering listeners a rare chance to discover the stories York Public Library for the Performing Arts. It turned out to that unfolded both onstage and off. No appointment is be a lost film documenting Eiko & Koma in Amsterdam circa necessary; just head to listening stations on the library’s 1973 performing White Dance – the title used by the duo third floor (transcripts are also available). Can’t make it to for all their performance events from 1972 – 1974.” the library? Starting September 1, select audio and video clips will be accessible online. ‘These three-to-five-minute Lincoln Center Theater, producer of Richard Nelson’s latest excerpts are an opportunity to give people a taste of the play, Nikolai and the Others, (Mitzi E. Newhouse Theater, collection,’ says Susan Kraft, the dance division’s Oral May 6 – June 16, 2013) published Nelson's “Playwright History coordinator. Some clips will be culled from the Notes” both as an insert in the Playbill and online. Nelson Speaking of Dancing project, which focuses on artistic thanked the Dance Division’s Moving Image Archive in the interpretation and includes interviews with dancers Wendy Notes on page 2: “I also consulted numerous videos of the Whelan and Ethan Stiefel, and critic Alastair Macaulay.” ballet Orpheus as performed over the years by the New http://www.timeout.com/newyork/dance/explore-dance- York City Ballet, and an extraordinary recording in the New history-at-three-nyc-archives York Library for the Performing Arts, Jerome Robbins Dance Collection [sic] of Maria Tallchief teaching a young dancer On April 1, 2013, Jan Schmidt and flamenco scholar K. Meira the role of Eurydice as it was taught to her by George Goldberg recorded for the April 3, 2013 edition of the Brian Balanchine." Lehrer Show on CUNY TV an interview on 100 Years of

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In an article titled How do you preserve an ever-evolving service to the professional dance community. It preserves legacy?, posted on July 1, 2013 in Dance Informa, an online the history of dance by gathering diverse written, visual, and dance magazine, the Dance Division was recommended. aural resources, and it works to ensure the art form’s Author Chelsea Thomas wrote, "Likewise, another vital continuity through an active documentation program.' resource to developing dancers, college majors, teachers, Founded in 1944, the Dance Division can provide users professors and scholars is the Jerome Robbins Dance everything from directions on how to reconstruct an Division of The New York Public Library. This is the largest Elizabethan court dance to watching dance from the and most comprehensive archive in the world devoted to provinces of Guinea, and biographies on the modern dance the documentation of dance. 'Chronicling the art of dance in styles of Isadora Duncan, Martha Graham, and Doris all its manifestations – ballet, ethnic, modern, social, and Humphrey. The Dance Division is free and open to the folk – the division is much more than a library in the usual public from all over the world." sense of the word,' explains Curator Jan Schmidt, also http://www.danceinforma.com/USA_magazine/2013/07 president of the Dance Heritage Coalition. 'It is part /01/how-do-you-preserve-an-ever-evolving-legacy/ museum, part film production center, and part consulting

Recent Online Blogs by Staff of the Jerome Robbins Dance Division There are now over 50 dance blogs from Dance Division . Arlene Yu wrote about the many programs and staff members and people who preserve or catalog the exhibitions the Dance Division created or worked Division’s materials on the New York Public LIbrary's on this year. website. . Susan Kraft wrote about the process of creating Oral Histories. Among these are: . Cassie Mey wrote about the connection between . Preservation's Francis Dougherty wrote a series of oral history of dance and performance in blog posts about His Time Machine. Discovering Dance Lineages Through Oral . Tara D. Kelley, Special Formats Processing, wrote a Histories. series about processing the Mikhail Baryshnikov . Imogen Smith wrote about the Speaking of Archive and translating Baryshnikov tapes. Dancing Oral History Project funded by Anne H. . Curator Jan Schmidt wrote on the Mikhail Bass. Baryshnikov Archive, an homage to Jean Léon Destiné, and the availability of the Dance Division's Blogs on the subject of dance by Library staff can be found Annual Report online. at http://www.nypl.org/blog/subject/789. . Lea Jordan, Manuscripts and Archives Division, wrote about completing the processing of the Mikhail Baryshnikov Archive and Part II.

Jerome Robbins Dance Division and Archive of the Recorded Moving Image on Facebook and Twitter To increase its online presence and outreach efforts, on Division” (without quotes) in the Facebook search box at May 1, 2012 Arlene Yu created and currently maintains a the top of the page. Select “Jerome Robbins Dance Facebook page for the Dance Division. Arlene added a Division and Archive of the Recorded Moving Image” from Twitter feed on July 10, 2013. Featuring daily posts on the results. To navigate directly to the Dance Division’s Dance Division activities, dance in the news, and Facebook page, in your browser address bar type important dance history events, the Dance Division now “www.facebook.com/JeromeRobbinsDanceDivision.” has 430 followers on Facebook and 48 on Twitter from Once on the Dance Division page, click on the “Like” around the world. Daisy Pommer also tweets on behalf button towards the upper right of the screen to become of the Dance Division. a fan and follow our posts. To follow the Twitter feed, search for @nypldance. To become a Facebook fan of the Dance Division, from the Facebook home page type “Jerome Robbins Dance

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 69 5.5 VOLUNTEERS, INTERNS, AND FELLOWS The Dance Division relies on the goodwill of volunteers to Kenn Duncan photographs and helped to choose and assist with many ongoing processing tasks. In fiscal year identify images for the 2008 Duncan exhibition. She 2013 the Division was fortunate to have assistance from added a new dimension to her volunteering when she three volunteers: Barbara Cole, a former dancer and long recently interviewed former New York City Ballet dancer time volunteer in the Division; Gayle Miller, a retired Patricia Wilde for the Dance Division’s Oral History manager for Capezio's; and a new volunteer, Bernard Project. Resnick, a dance aficionado recently retired from a law office, who started on January 20, 2012. These Dance Heritage Coalition Fellows Nichole Arvin and volunteers assisted the Dance Division for approximately Selena Chau 818 hours, adding new clippings, programs, and In 2012, the Dance Heritage Coalition (DHC) received a photographs to the collections, re-ordering and grant from the U.S. Institute of Museum and Library condensing collections of programs and clippings, and Services (IMLS) to fund, for three summers from 2012 – preparing paper collections for processing and/or 2014, Fellowships in Preservation and Archives for cataloging. Barbara Cole donated 552 hours, Bernard master’s degree students. The IMLS grant supports a Resnick 226 hours, and Gayle Miller 40 hours. group of seven DHC Fellows for each of the three summers, during which the Fellows are placed among Brief biography of Barbara Cole the eleven DHC member institutions. Each DHC member Barbara Cole initially trained at the Washington School of institution will host two fellows in the three-year grant Ballet. She has taught at the Washington Ballet, Harkness period. The Dance Division has been fortunate to host School of Dance, New York University, Adelphi University, two DHC Fellows, one in 2012 and our second in 2013. the Joffrey Ballet School, and, for twenty years, at the Alvin Ailey American Dance Center. She taught dance for Nichole Arvin was the summer 2012 DHC Fellow. She is actors at the Neighborhood Playhouse School of Theater, an artist with a Bachelor of Arts in Dance from Hunter where she was on the faculty for 35 years. She danced on College, CUNY. She is a dual degree Master of Fine Arts in Broadway in Song of Norway (choreography by George Digital Art and MLS Information and Library Science Balanchine), Oklahoma (Agnes de Mille), Music in My candidate at Pratt Institute. Her core fellowship project Heart (Ruth Page), and, in a revival of Oklahoma, she was was assisting Susan Kraft and Cassie Mey of the Oral Shirley Jones’ dancing double in the dream ballet. History Archive (OHA) in the creation of the Dance Oral Beyond her Broadway experience, she danced for two History Channel. Nichole’s work involved refining audio years with Ballet Theatre in their London appearances excerpts and creating video excerpts from Oral History and tours of the United States. She also danced and Project (OHP) interviews, specifically the Speaking of appeared in comedy sketches for one year in Sid Caesar’s Dancing project. She refined audio excerpts of such television show. noted dance figures as Dean Moss, Diane Madden and Karole Armitage, and created video excerpts using Final As an actress, she performed at Washington’s Arena Cut Pro software from the interviews of Kevin McKenzie, Stage in Taming of the Shrew, Pygmalion, Inspector Julie Kent, and Alastair Macaulay. Thanks to Nichole’s General, and other productions. Her choreography for involvement and contributions, the Dance Oral History the Eglevsky Ballet, the musical Lucky Day, and Faith of Channel launched on September 8, 2012 on The New Our Fathers at Carter Barron Amphitheater won praises. York Public Library’s website. While teaching, she operated a travel service for dance companies and individual travelers. After 9/11, she gave In addition to her work on the core fellowship project, up that business and began working as a volunteer at the Nichole completed a comprehensive scanning project of Performing Arts Library’s Dance Division. Working part- all OHP interview donor statements, documents time three days a week, she has helped organize paper containing vital rights and contact information that and photograph collections; filed additions to the Dance previously did not have an electronic version, and Division’s clippings, programs, and photographs; and created a searchable Excel spreadsheet for efficient created inventories of uncataloged posters and original tracking of these critical documents. Nichole also artworks. She has frequently been assisted in these tasks conducted a physical assessment of 200 7” and 10” open- by her husband, a former Marine Corps fighter pilot, Sam reel audiotapes of interviews from the 1960s by the Folsom, now a volunteer at the Intrepid Sea, Air and renowned performing arts critic John Gruen. She visually Space Museum. She enjoyed her work organizing the inspected each reel and scanned and photocopied the

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original reel cases to capture important metadata in New York University’s Moving Image Archiving and contained on them. Thanks to her efforts, OHP staff can Preservation (MIAP) program. He has a Bachelor of Arts now re-house and further process these unique audio in Communications from the University of Pittsburgh and reels. a Master of Arts in Film and Media from New York University. The Dance Division’s summer 2013 DHC Fellow was Selena Chau, whose fellowship commenced on June 17, Dance Division volunteer John Goodman 2013. Selena is currently a Master of Library and John Goodman assisted the Dance Division with its Dance Information Science graduate student in the School of Historian Is In programs. In addition to checking people in Library & Information Science at San Jose State and running the video players, John also worked closely University. She received her Bachelor of Science in with dance historian David Vaughan, researching videos, Animal Sciences from the University of Illinois at Urbana- photographs, and articles related to upcoming Champaign. Selena’s project was to assist the staff of the screenings. An avid dance-lover for the past 30 years, Jerome Robbins Archive of the Recording Moving Image John attends dance performances almost nightly. When in developing and eventually launching a webpage on the he is not at the theater, John is a translator and art Library’s website featuring a Dance Original historian, who has translated some thirty books from Documentations A/V Channel. Selena’s tasks, with French into English, notably work by Denis Diderot, support from Moving Image Archive staff, entailed, but Hubert Damisch, and Georges Didi-Huberman. Goodman were not limited to, the following: has also published widely on the visual culture of . identify and select moving image content from eighteenth-century Europe and is currently preparing a the Archive for dissemination on the Library's synthetic study of neoclassicism for Thames and website Hudson's World of Art series. . determine copyright status of works for appropriate public access of archival materials Prints and Designs Digitization intern Gabriella and understand the challenges of rights Karl-Johnson management for the dance community . create streaming moving image content to be Gabriella Karl-Johnson assisted with the Dance Division’s project to digitize prints and original designs spanning uploaded and hosted in the Library’s Drupal th th content management system to allow access the 17 – early 20 century (see section 4.10 for the project description). Gabriella is currently a graduate The eventual launching of the webpage and Dance student at the Palmer School of Library and Information Original Documentations A/V Channel has been a desired Science at Long Island University C.W. Post Campus, goal of the Dance Division for many years. That the where she is specializing in rare books and special Moving Image Archive is part of the largest collection in collections. Previously she has worked in the fields of the world dedicated to the acquisition of, preservation architecture, history research, and dance. She completed of, and access to dance, yet is not effectively represented her Bachelor of Arts in Political Science at Beloit College on the Library’s website and on the Internet in general, and her Master of Architecture at the University of limits the Archive’s visibility and hinders our user base California, Berkeley. Gabriella was a choreographer and tremendously. Selena's work this summer made great modern dancer in the San Francisco Bay area, and for strides in the Archive’s finally establishing its much four years was a researcher for the Emma Goldman needed web presence, which has been long overdue. Papers Project at the University of California, Berkeley. In New York she has worked for the design architect Steven Moving Image Archive intern Brad Fazzone Holl, and she has interned in the archives of Green-Wood Cemetery and Brooklyn Academy of Music. Currently, Brad Fazzone assisted the Dance Division and Special Gabriella works in reference services at the Center for Formats Processing in the spring and summer of 2013 by Jewish History, and she is a cataloging intern for the identifying, rehousing, prepping for long term storage, American View Books Collection at Avery Architectural & and creating item level records for a large number of Fine Arts Library at Columbia University. Meredith Monk film materials. Brad is a graduate student

JEROME ROBBINS DANCE DIVISION ANNUAL REPORT FY 2013 | 71 6 Concerns, Goals, and Objectives

Concerns

Staffing Moving Image and Audio Backlog This year we were relieved and pleased to have secured permanent employment for Arlene Yu, Specialist for the The Moving Image Archive also has some 5,000 reels of Moving Image Archive. In the upcoming fiscal year, we deteriorating, obsolete ¾” U-matic dance videotapes that hope to secure a permanent position for Crystal Rangel, need to be cleaned, restored, and migrated to digital working with Special Formats Processing on dance files. The Oral History Archive has over 5,000 audio moving image records. Her position is vitally important to records that should be preserved to broadcast digital keep processing and cataloging moving image material. files. The Moving Image Archive would also like to The Jerome Robbins Archive of the Recorded Moving continue transferring important films to videotape, Image, like the Theater of Film on Tape Archive, now has including the films of Léonide Massine and all the three full time staff members. As is apparent from this unprocessed 8mm films. report, the Moving Image Archive does an enormous amount of work with an astonishingly small staff. The The Oral History Archive now creates and preserves its number of people using the collections, the number of audio records to digital files and also needs the Library’s patrons needing appointments for longer reference digital infrastructure, including a digital repository, for its questions and issues, and the number of emails and materials. The Oral History Archive will continue to work telephone calls increase with each leap forward of with the rest of the Performing Arts Library as well as The acquisitions and technological communication New York Public Library as a whole to ensure a funded innovations. From acquisitions to processing to and staffed program in digital audio preservation, with preserving, from producing original documentations to adequate infrastructure to support digital audio blogging and grant writing, from exhibitions and loans, initiatives. Without such a program, much of the Dance rights, and clearances to collection maintenance, from Division’s irreplaceable audio material is in critical danger emails to in-person desk reference work, the Moving of being lost in the near future. Image Archive performs at an exceptional level. To lose Crystal Rangel, a valuable staff member, would make the Archive considerably less effective. Goals and Objectives

Paper-Based Materials Moving Image and Audio Materials The goals for the Paper-Based Materials part of the The Jerome Robbins Archive of the Recorded Moving Dance Division for the next few years are: Image and the Oral History Project have received a . to finish the backlog of rare materials and to number of collections that need to be processed and inventory and catalog large framed artwork cataloged. The Mikhail Baryshnikov Archive work has . to continue to shift and organize the locked cage begun with newly hired temporary staff member Tara of rare materials, the Rose Building storage Kelley, and we look forward to beginning the cataloging area, and the basement shelving units and processing of the Merce Cunningham Collection. . to get the photography collections processed and made available to the public With the Preservation Unit, the Moving Image Archive, . to get the clippings files barcoded and have item including the Oral History Project, would like to continue level records created to preserve the backlog of materials and transfer obsolete format materials to digital preservation files and digital delivery files. With the Performing Arts Library’s Digital Curator and the Library’s Digital Lab, the Moving Image Archive plans to finalize work on the delivery system for digital files that can be viewed, on the Internet or only in the Performing Arts Library.

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