DOCSLIB.ORG

Dance Kaleidoscope Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dance Kaleidoscope Program DANTE ffiff ,+:,. !',1, , e #ji'FB;*.;:i. :r,.:q.. ,.ril.,ii ,+ffit;.',;1-'". ilii .;-,.;4,,.;i..*t +-€..,t, DANCE KALEIDOSCOPE 2OO1 Since 1947 July 21 ,2001 Dear Board of Directors, artists and supporters of Dance Kaleidoscope: 374 Kenneth Hahn Hall of Administration When Don Hewitt founded the lnternational Ballet School West in Santa 500 W. Temple Street Monica with his partner Joey Harris it was the beginning of his selfless Los Angeles, CA 900 I 2 commitment to the Los Angeles dance community for the next 25 years. Tel 213.9'14.1343 Students from the school went on to dance in some of the world's finest dance Fax 213.625.1765 companies: the Dutch National Ballet, the Stuttgart Ballet, and the Royal www.lacountyarts.org Ballet, just to name a few. Board of Supervisors ln 1985 Don was selected to be the founding principal ballet teacher for the Michael D. Antonovich of the Arts, and then served as its Dance Yvonne Brathwaite Burke Los Angeles County High School Don Knabe Chair until this summer. At the high school, Don nurtured hundreds of Cloria Molina talented youth, with many going on to work with internationally renowned Zev Yaroslavs$ dance companies such as the Alvin Ailey American Dance Theater. Just as important, many would continue to make wonderful contributions to the local Commissioners dance community as well. Alis Clausen President Don has given of himself as a teacher, choreographer, advisor, board Arlene "Phoebe" Beasley member, director, and producer. ln 1987 Don revived the Dance Vice President Kaleidoscope Festival. The festival has been a highlight of the Arts Laurel Karabian Commission's Ford Amphitheatre series, "Summer Nights at the Ford," and Secretary included the best in Los Angeles'world dance and modern dance theatre. Adrienne Hall Executive Committee He has heightened awareness of the local dance community, its diversity and Judith A. Galperson lmmediate Past President bounty of emerging artists. Through Dance Kaleidoscope, Balletfest, and his Executive Committee staff position with the Luckman Complex, he has been at the forefront of educating and growing the local dance audience. The respect of his peers is Joyce Aimde evident in his receipt of nine Lester Horton Awards, including the 2001 Carlos C. Barrdn "Lifetime Achievement Award." Tomas Benitez Aurelia Brooks Betty Haagen It is with a sense of celebrating these many accomplishments that all of us Robert J. "Robb" Hankins Marjorie Lyte here at the Arts Commission wish Don a wonderfulfuture as he makes this Ronald D. Rosen transition. His devotion to the dance community is sincerely appreciated and Hope Warschaw will not be forgotten. May it inspire many to follow his path. Rosalind Wyman Laura Zucker Executive Director ruZucket DANCE KALEIDOSCOPE 2OO1 Donald Hewitt Don Hewitt was born in Portland, Oregor-r where he studied Mr. Hewitt became well known as an outstanding teacher and music and drama. While in high school he began intensive ballet coach. He taught the Elliot Feid Company while on tour and was training with Drid Williams. After a year in university he moved to soon teaching in most of the major universities around Los Toronto, Ontario to study with National Ballet School founder, Angeles, including UC, Riverside, UCLA, Loyola Marymount Betty Oliphant, and later with Margaret Saul, foey Harris and University and Ca1 State Long Beach. He also taught for four sea- Margaret Craske. He performed with the National Ballet of sons at York University with other celebrated teachers like Lar Canada and the Montreal Theatre Ballet Company under the Lubovitch, Helen McGehee and Madame Nora. Later, he was direction of Brian McDonald. He was a featured dancer in a num- offered a professorship at the university and has since retained ber of prominent television musical series as well as nearly 40 stage close ties and respect for Canadian artists. musicals before coming to Los Angeles, California. In 1985 Mr. Hewitt was selected by a distinguished panel of Eventually Don returned to the National Ballet School for experts to be the principal ballet teacher at the prestigious Los teachers training and opened a school with his partner, loey Angeles County High School for the Arts, where he has served as Harris, called International Ballet School West in Santa Monica. Chair since 1999 The school and its dance faculty have successful- He received his Licentiate degree (Hon.) fron-r the Imperial Society ly nurtured a significant number of outstanding young profes- of Teachers of Dance in London. He received scholarship funding sional artists in the field. through the School of American Ballet. The schooi soon gained an After several years absence, the Dance Kaleidoscope Festival was excellent reputation and produced severai generations of dancers revived by Donald Hewitt, with the assistance and support of Mr. that joined such companies as the Dutch National Ballet, the Clif Harper, Director of the Luckman Complex at Cal State L.A. Stuttgart Ballet and the Royal Ballet. For the next 12 years he guided the festival through many changes and developments, founding the Los Angeles Dance Kaleidoscope Foundation with a ded- icated five member Board. The festival has since become a model to many cites and producers throughout the country and has grown into a celebration of over 40 of Los Angeles's finest artists during two weekends in five locations. Last year Mr. Hewitt and Mr. Harper developed the very exciting and innovative BalletFest which will be seen again this year in August. As if that was not enough, Mr. Hewitt began the Saturday Conservatory of Dance at Cal State L.A. in 1989 where children on the east side can currently get low cost quality ballet training with distinguished teachers. He is a frequent panelist for grant- ing organizations and is often called upon as an on site evaluator for the California Arts Council. He has received numerous awards and honors over the years, including nine Lester Horton Awards for his teaching, producing and mentoring of Los Angeles artists. Most recently he received two hon- ors that reflect the communities regard for his service and commitment: the Lester Horton Dance Award for Lifetime Achievement 2001 and, the Los Angeles Invitational Dance Festival's Lifetime Achievement Award. Mr. Hewitt has consis- tently and determinedly worked for greater awareness and support for dance and artists of a1l ages in the Los Angeles community F { that he has adopted and loved. DANCE KALEIDO5(OPE 2OO1 Joan J. Lesser Deborah Lawlor Carol & Phil Lindberg Thais Leavitt Tom & Marnie Mitze Shirley Magdison Norma Pierson Lola Montes foan Schlaich Marion Robinson Marion Scott loy Sanders Mr. & Mrs. Walter Spencer Judith Scalin Michaei Thompson Elba Bautista-Smith Serena Tiipi Caprice Walker Mr. & Mrs. Mark Tioop Anita Ziyetz Stephen Urice & Mark Beers Paul Wahlquist Contributors Ver Saies Inc. Sheldon & Victoria Eisenberg In Memoriam Kathleen Elowitt Mrs. Dorothv E. Hewitt Jean L. Frick DANCE KALEIDOSCOPE Patrons is supported, in part, by the J. Christopher I(ennedy City of Los Angeles Cultural Sandy Kennedy and Affairs Department, Los Angeles Linda Lack County Arts Commission, Betty M. Empey California Arts Council and Wells Fargo Foundation. Donors Mr. & Mrs. F.R. Adler Dance Kaleidoscope Gary Bates Retrospective Video Lee Ann Branarn Video grapher: Adrain Ravarour Gail Matsui Editing and graphics: Jordan Peimer Kate lohnson/ Mr. & Mrs. Charles R. and EZTV Santa Monica Elizabeth Redmond Special Thanks to Eric Acevado Dr. Myron Stein at High Tech Rentals Lee Werbei Mr. & Mrs. W.F. Wolfen Special Thanks It is with deep gratitude that Supporters we thank the educational, cul- Sara Adler Friends tural and corporate founda- Meri Bender Judith Hamera Daniel Berney Ramya Harishankar tions and institutions for their Sheri Blubon & Mrs. Boyd continued support. Katherine Calkin Mr. Stephen Susan Konigsberg Rachel Cohen Stella S. Ronnie Cavalluzzi Matsuda Gerald E. Elijah Mr. Mrs. Ronald Mogel Sponsors & Patrons Ednard C. Cazier,lr. & Avalon C. Garrett Patricia Z. Rosenburg The Department of Theatre Hon. Victoria G. Chaney Rodnev Gustafson Andrea Smith Arts and Dance, California Clifford Harper Susan Steiner State University, Los Angeles The Harriet & Charles Ann & Chris Stone Loinda Luckman Fine Arts Complex Wink Helen Yee-Fen Wong The Department of Cultural Affairs of the City of Los Board of Directors, Angeles Los Angeles Dance The Los Angeles County Arts Commission Kaleidoscope Foundation Donald Hewitt, President lapanese American Cultural Gail Matsui, Secretary and Community Center Grand Performances at Christopher Kennedy California Plaza l. Loyola Marymount University Jordan Peimer Lee Werbel Capezio Ballet Makers Foundation Wells Fargo Foundation DAN(E KALEIDOS(OPE 2OO1 Thank you Don, fo, more than 12 years of DA]VCE KALEIDOSCOPE }utstandirug Programming & Seruice to the Commurtity! The Board of Directors and Staff of the Japaruese American Cultural and Commun'ity Certter Board of Governors Administration Development ABOUTTHE JACCC Minami George Aratani Minoru Tonai Ellen Shohara The Japanese American Cultural Kaoru Hayama lnterim Executlve Director Donor & Community and Community Center (JACCC) (o-Chairs Victor Wong Relations Manager is dedicated to presenting, Per- Walter Beran Managlng Director Jeanne Sakamoto petuating, transmitting and Pro- Donor & Community William R. Blank Robert Hori moting Japanese and JaPanese Relations lVlanager Marie Doizaki Board & Donor Relations Director American art and culture to Ray lnouye Gallery 0perations diverse audiences and to pro- Herb G. Kawahara Finance Hirokazu Kosaka viding a center to enhance com- Frank Kuwahara George 0uchi Visual Arts Director programs. Akemi Miyake Controller munity Hiroshi Kobayashi May Mori Kathy Tokudomi Naomi 0zaki Sanbo Sakaguchi Business Manager The JACCC presents annual Gallery Preparators Paul Terasaki Henry Watanabe festivals which celebrate Aaounts Payable Theatre Operations Japanese American culture Board of Directors Payroll Clerk Gail Matsui including Oshogatsu (New Thomas lino General Nlanager and (Children's 0 pe rati on s Year), Kodomo No Hi ftair Program Manager Miles Hamada Day) and the Kome Kome Frances K.
Load more

Recommended publications
  • Into the Eye of the Storm Destruction
    tain” overwhelmed by a storm, who eventually dis - covers that “to oppose the storm meant preeminent Into the Eye of the Storm destruction. So he took the opposite course and headed the vessel right into the storm and finally reached the center where it was still and peaceful.” Collins equates this tranquil center with what she calls the “Eye of God”—but it serves just as well as a symbol of her intuitive professional strategy. In an interview in the Seattle Times not included in this book, Collins said of her family, “We didn’t consider ourselves black. … We were well-aware of how black people were treated, but we didn’t bow to that treatment. We didn’t have to overcome inferiority. We had to overcome arrogance.” Desirous of education and stability, committed to excellence in every pursuit, the extended Collins-de Lavallade family paired a remarkable self- confidence with a conviction that dates back at least as far as Anna Julia Cooper’s assertion in 1892 that a woman’s “quiet undisputed dignity…without suing or special patronage” could, by dint of example, elevate the “Negro race.” anet Collins was born in New Orleans in 1917 and brought up in southern California in a Jclose-knit extended family in which, she writes, “We were all encouraged to follow our natural endowments.” Her first ballet teacher was a neighbor, Louise Beverly, who seems to have had some association with Ruth St. Denis and Ted Shawn’s Denishawn modern dance company, indicated in part by the fact that the young Collins was taught a version of the company’s “exotic” East Indian “nautch” dance.
    [Show full text]
  • CB1975 V6N2 P 35-44.Pdf (2.106Mb)
    PERSONAJES DE LA ALONSO gitanas, españolas, PEDRO SIMON goyescas... El Lewisohn Stadium de Nueva York fue eScenario en agosto de 19W del primer éxito de Alicia Alonso con un personaje español. Ese día estrenó junto a Nora Kaye, Jerome Robbins y otros, la obra Goyescas (1), una coreografía de Antony Tudor compuesta sobre la música homónima de Enrique Granados. El estilo de esta nueva creación de Tudor mereció que se califica­ ra la obra como "un extraño fenómeno dentro del re­ pertorio de Ballet Theatre", y en ella reveló la baila­ rina cubana posibilidades hasta entonces inéditas. Su danza fue desenvuelta en secuencias de elegante femi­ nidad, sin grandes complejidades de contenido, pero estableciendo la imagen peculiar de una maja ajena a pintoresquismos y recurros facilistas. Aparecía una ?,ueva dimensión en la joven artista, que a lo largo de su carrera transmutaría en personajes de honda fuerza expresiva. Tres años más tarde, acompañada por Leónid Massine, fue la intérprete principal en la reposición de Capricho español. Massine compuso este ballet en la década del treinta, en colaboración con Enca.rnación López, !al famosa "Argentinita", sobre una fantasía para orques­ ta y violín de Rimski Korsakov basada en temas espa­ ñoles. Cuando Alicia Alonso lo sumó a su repertorio, la críti.ca comentó el increíble ritmo de su danza, el fuego que nunca vulneraba la forma, las cadencias fre­ néticas, ei taconeo fervoroso, las sinuosidades Titmicas de la línea. Todo se conjugó en ella para plasmar una gitana de reminiscencias goyescas. El ballet Don Quijote, con música de Minkus, es justa.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • Read Ebook {PDF EPUB} Speak to Me Dance with Me by Agnes De Mille Speak to Me Dance with Me by Agnes De Mille
    Read Ebook {PDF EPUB} Speak To Me Dance With Me by Agnes De Mille Speak To Me Dance With Me by Agnes De Mille. AKA Agnes George de Mille. Gender: Female Race or Ethnicity: White Sexual orientation: Straight Occupation: Choreographer, Dancer. Nationality: United States Executive summary: Influential American choreographer. Niece of film director Cecil B. DeMille, and granddaughter of economist Henry George. Father: William C. de Mille (silent film director, b. 1878, d. 1955) Mother: Anna Angela George (daughter of economist Henry George) Sister: Peggy George (actress, d. 1978) Husband: Walter Foy Prude (m. 14-Jun-1943, d. 1988, one child) Author of books: Dance to the Piper ( 1952 ) And Promenade Home ( 1958 , memoir) To a Young Dancer ( 1962 ) Speak to Me, Dance with Me ( 1973 ) Where the Wings Grow ( 1977 , memoir) Martha ( 1991 , biography, of Martha Graham) Agnes de Mille. An important and influential choreographer, director, and dancer, who “helped transform the American musical theater of the ’40s and ’50s.” After graduating with honors from the University of California, Agnes de Mille gave her first solo dance recital in 1928 at the Republic Theater in New York. A year later she arranged the choreography for a revival of “The Black Crook” in Hoboken, New Jersey, and subsequently spent several years in London studying the ballet. In 1933 she arranged and staged the dances for Charles B. Cochran’s production of “Nymph Errant” at the Adelphi Theatre in London, and later returned to America to work on shows such as “Hooray for What!” and “Swinging the Dream,” and the film, ROMEO AND JULIET.
    [Show full text]
  • Eva Evdokimova (Western Germany), Atilio Labis
    i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective.
    [Show full text]
  • Alicia Alonso En Sus Muchos Personajes. Anne
    14 15 una primera ojeada a los nuevos bailarines que había edad temprana y su herencia española se combinaban contratado la compañía. Ya que tenía amistad tanto para hacerla sobresalir en ese cuarteto. con Kirstein como con el fotógrafo Seymour, asistí a la sesión organizada por éste. Y allí estaba Alicia Una hora más tarde, durante un ensayo general del Alonso, una pequeña de ojos negros en un bello tutú, segundo acto de El lago de los cisnes, Alicia estaba lleno de encajes, con una pierna alta en ese famoso en la parte de atrás del escenario, recatadamente arabesque, sostenida por dos galanes. bailando la variación del Pas de trois1 , mientras que los solistas del primer elenco ensayaban en el centro Esta nueva joven me fascinó y la miré durante toda del escenario. La laboriosa Alicia no pasaba realmente la sesión de fotos, admirando la flexible facilidad inadvertida, ya que llamó mi atención y encontré su con que hacía cada pose y cómo comprendía las ejecución dulcemente correcta. Y esto era un índice instrucciones, aunque hablaba poco inglés. para la totalmente delicada joven bailarina que ALICIA siempre estaba trabajando, aprendiendo, haciendo. La función en el estadio esa noche no fue especialmente memorable, pero algunos meses más tarde, el Ballet Al día siguiente vi una Theatre estuvo en Chicago durante seis semanas. La EN SUS MUCHOS función del Ballet ALONSO Caravan en el teatro. PERSONAJES La compañía bailó el estreno “En el principio POR ANNE BARZEL de Charade o La debutante, de Lew Christensen, un ballet jocoso que trataba era ese arabesque”.
    [Show full text]
  • Issue 6 / Spring 2017
    Issue 6 / Spring 2017 Choros International Dance Journal 6 (Spring 2017) TABLE OF CONTENTS ARTICLES 1–19 Moving in Concert MAXINE SHEETS-JOHNSTONE 20–34 Demolition: A Destabilizing Force for Transgressing Artistic Disciplines ARIADNE MIKOU 35–46 Politics of Performance: Negotiating Contemporary Dance in Post-Apartheid South Africa for Advocacy of Marginalized Communities KETU H. KATRAK 47–56 The Founding of American Ballet Theatre on the Eve of War, 1939–1944: Depression, Modernity and the Holocaust NINOTCHKA D. BENNAHUM 57–67 Split Intimacies: Corporeality in Contemporary Theater and Dance ANN COOPER ALBRIGHT 68–84 Traditional Greek Dance and Theatre IRENE LOUTZAKI 85–99 Προς μια Παιδαγωγική του Χορού στην Εκπαίδευση Μαθητών Σχολικής Ηλικίας ΑΣΠΑΣΙΑ ΔΑΝΙΑ, ΜΑΡΙΑ ΚΟΥΤΣΟΥΜΠΑ, ΒΑΣΙΛΙΚΗ ΤΥΡΟΒΟΛΑ BOOK REVIEWS 100– 101 ΜΠΕΤΙΝΑ ΠΑΝΑΓΙΩΤΑΡΑ: Χορογραφώντας τη Διαφορά: Το Σώμα και η Ταυτότητα στον Σύγχρονο Χορό, της Ann Cooper Albright CONTRIBUTORS 102–105 i MOVING IN CONCERT M AXINE S HEETS-J OHNSTONE Abstract This article explores both the social and the artistic capacity to move in concert with others. It first provides examples of the everyday ways in which nonhuman as well as human animate forms of life move in concert with one another. Thinking in movement is highlighted in this context and then throughout the article. Also highlighted and exemplified from various perspectives is the fact that infants are not pre-linguistic but that language is post-kinetic. Attention is furthermore called to the silence of movement and to the power of kinetic silence. Sociopolitical human examples are detailed that show how moving in concert has the possibility of enhancing corporeally-awakened and corpo- really-inflected social sensibilities and relationships.
    [Show full text]
  • Converging Movements. Modem Dance and Jewish Culture at the 92Nd Street Y
    54 Review Converging Movements. Modern Dance and Jewish Culture at the 92nd Street Y. Naomi M. Jackson. 2000. Wesleyan University Press [Published by University Press of New England], Hanover, NH. Includes bibliographical references, Endnotes, Index, Appendices (pages 229-49) and 46 illus-trations, listed on pp. xi-x. Hardback $40.00; Paperback: $19.95. ISBN 0 - 8195 - 6419 - 2. Drid Williams Nathan Kolodny, former director of the 92nd Street Y from 1934 to 1969, says on the jacket of this book, Converging Movements takes the 92nd Street Y through 25 of its most tumultuous and creative years. It investigates at least five main spheres: the evolution of the practice and aesthetic of modern dance, the struggle of Jews to find a place within modem society, multiculturalism and the emergence of women, the power of vision in institutional leadership, and the pragmatic economic and societal forces with which all artists and arts administrators must contend or be consumed. Dr. Jackson's study is so astute and complete that it could be used as a text for anyone of five areas. But when they are conjoined, one gets a clear and profound look at their interplay and complexity from the subtle analysis of a dancer's hand movements to the impact of financial resources and geographical location on an institution's mission and survival. What Kolodny says is true; Converging Movements is a well-written, interesting book by an author who is undoubtedly an excellent historian. To this reviewer, the significance of the book lies chiefly in the fact that it redresses some long-standing imbalances in the literature about American modem dance.
    [Show full text]
  • Collection of Dance Programs, 1890-1990
    http://oac.cdlib.org/findaid/ark:/13030/ft200001h8 No online items Finding Aid for the Collection of Dance Programs, 1890-1990 Processed by UCLA Library Special Collections staff; additions processed by Lilace Hatayama, 2012; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2002 The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 866 1 Dance Programs, 1890-1990 Descriptive Summary Title: Collection of Dance Programs, Date (inclusive): 1890-1990 Collection number: 866 Extent: 28 boxes (14.0 linear ft.) 1 oversize box Abstract: Collection consists of some 1000 twentieth-century dance programs, primarily American, but many for foreign dance companies on tour in the U.S. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Department of Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Department of Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Department of Special Collections. Literary rights, including copyright, are retained by the creators and their heirs.
    [Show full text]
  • Lincoln Kirstein, Modern Dance, and the Left: the Genesis of an American Ballet
    Lincoln Kirstein, Modern Dance, and the Left: The Genesis of an American Ballet LYNN GARAFOLA Ballet Caravan, the short-lived chamber company founded by Lincoln Kirstein1 in 1936, is mostly remembered as a high-minded but misguided experiment in presenting ballets by Americans on American subjects. With the exception of Billy theKid (1938), which teamed Eugene Loring with composer Aaron Copland on the first of the latter's Americana classics, and to a lesser extent the Lew Christensen-Virgil Thomson-Paul Cadmus collaboration, Filling Station(1937), the repertoire did not outlast the company's five-year existence. To be sure, aspects of the enterprise proved more lasting. The 'seasoning' of a generation of young American dancers, the discovery of a generation of new American choreographers, and the tapping in New York and on the road of an educated, - sophisticated audience all contributed to the ballet 'boom' of the 1940s and the strong American presence in companies such as Ballet Theatre, Ballet International, and the Ballet Russe de Monte Carlo. Ballet Caravan survivedin part because of Kirstein'swillingness to associate the company with institutions and practices peripheral to ballet. The first of these was modern dance, which helped establish the company's American identity. Ballet Caravan made its debut at the Bennington College Summer School of the Dance,2 performed at the 92nd Street Y,3Washington Irving High School (in the Student Dance Recitals series),4Dance International,5 and the New School for Social Research (in its lecture-demonstration series 'The Dance - in the Social Scene')6 all venues closely associated with modern dance.
    [Show full text]
  • Pacific Telephone's Free Archi· Blocks
    THE ECONOMY OF QUALITY • •• By using Glide sliding aluminum windows in this Chicago apartment, Milton Schwartz, Architect, assured the owners of truly long-range economy. Glide windows never need painting, are installed, glazed and washed from the inside, eliminating costly maintenance. Glide windows, unmatched in q11ality, beauty and engineering, are guaranteed for the life of the building. GLI DE WINDOWS inc., 7463 Varna St., North Hollywood, Calif. SEPTEMBER 1955 3 ••we»rEt where you want it Soule Paramount lccl Windows help you place natural light and ventilation '\here }OU want it. without premium costs. Our de ign engineers will help JOU with problems concerning materials, sizes and shapes Lo assist JOU in getting your window at lowest cost. And Western oule plants a,.,..,ure immediate delivery'\ ithout the exce sive shipping co ts and dela}& of Ea ~tern made \\ indows. You are guaranteed the window you want, when you need it, installed expertly by Soule. Havens School, Piedmont, California. Warnecke & Warnecke, A. I. A., Architects. John Branagh & Sans, Cantractars. Paramount Windows provide maximum light and ventilation far every earner of each classroom. , SOULE STEEL COMPANY SAN FRANCISCO, 1750 Army Street • LOS ANGELES, 6200 Wilmington Avenue PORTLAND, 2630 N. W. St. Helens Road • SEATTLE, 4100 W. Marginal Way PHOENIX, 511 E. Roosevelt St. • SALT LAKE CITY, 220 Greyhound Bldg. SAN JOSE, 460 Park Ave. • FRESNO, 850 R St. • SPOKANE, 725 Realty Bldg. •••"'• noi ..... _.. B.ed."111ct:I.~ -.i-e oft'e:ir.-ed. ~ a.11 d.epa.i-tme:im:e.• o~ C.::l:a.e -e:.o:ire. - . ~ ~ • :l.21c1'111«'1., T" f/& .....,.
    [Show full text]
  • The Monthly Magazine of the Atlanta Memorial Arts Center
    THEAtlanta MONTHLY MAGAZINE OF THE ATLANTA MEMORIALArts ARTS CENTER DECEMBER 1972 American comfort, European handling. They meet in Monte Carlo. Monte Carlo S Coupe at Glen Haven, Michigan. Monte Carlo has always ment panel reflect Monte been a car unlike any other. Carlo's individuality. Yet, our 73 Monte Carlo S The new flow-through is even more unique. power ventilation system Chassis, frame and sus­ adds to its quietness. pension geometry were Power front disc brakes, extensively redesigned to power steering and a big V8 achieve special handling are standard of course. traits like those found in the A power-operated sky roof great road cars of Europe. can be added. Coach windows, molded Monte Carlo S. We think full foam seats, rich uphol­ you'll find it one of the best stery and a classic instru­ road cars you've ever driven. 1973 Chevrolet Buildingabetterway to seethe USA j' Chevrolet Art for everyone's sake More than a repository, The Atlanta Memorial Arts Center continues its forward thrust, its dedicated presentation of the arts as a force in today's life, an inspiration for tomorrow's. Rich's salutes the gifted men and women who have made this so. C^ili^eivs JEWELRY COMPANY 195 Mitchell Street, S.W., Phone (404) 522-2150 and now our second location 107 Peachtree Street, N.E., Phone (404) 522-4786 Atlanta, Georgia 30303 Of Special interest AT THE CENTER ATLANTA SCHOOL OF ART Don’t go Spring Semester of Special through Program Begins January 8 life The Atlanta School of Art Special Program has been conceived and is pro­ without vided as a service to the greater Atlanta your own community.
    [Show full text]