New York Public Library
SUMMARY: Documentary on the second generation of Japanese contemporary dancers: Midori Ishii, Takashi Masuda, Tonao Hiraoka, Suzuko Kawakami (also known as Aida Kawakami), Masatoshi Shigyo, Masami Kuni, Nobutoshi Tsuda, Kenji Hinoki, Misako Miya, Otoya Eguchi, Masao Takeuchi, and Shoki Sai. Takumo Kansui and Hideki Sakaki are more briefly discussed. The documentary examines their early training in Japan (primarily with Baku Ishii and Masao and Seiko Tanaka); their studies abroad with Mary Wigman, Rudolf Laban, Max Terpis, and others; and their achievements as dancers, choreographers, and teachers. Among the companies and schools they established were the Masuda Trio, the Hiraoka-Shiga Dance Company, the Eguchi-Miya Company, and the Japanese Ballet (headed by Masao Takeuchi and buyo dancer Miho Hanayagi). Dance excerpts include: Cathedral, chor/perf: Ishii; Brandenburg concerto, chor: Ishii; Bonze in high spirits and Three kinds of feeling, both chor/perf: Masuda; Spanish dance, perf: ... Read More
New York Public Library
The first part of this material comes from the 2nd tape of an interview conducted by Merce Cunningham Dance Company archivist David Vaughan and director Elliot Caplan with composer Earle Brown, who worked frequently with both Merce Cunningham and John Cage. He begins by speaking about his personal and artistic connections with the duo. He then discusses going to the movies with the two which shades into a wider anecdote about Cage’s father and popular media (3:08). Brown then speaks about his interest in Gertrude Stein and her work (6:00). He then considers Cage’s influence on current culture in America and Europe (7:30). This continues to the end of the interview (14:33) After a brief interlude featuring someone typing on a computer in the Merce Cunningham Dance Company’s executive director’s office, the material shifts to an already-in-progress interview with artist and psychologist Irwin Kremen, a member of the artistic circle around John Cage and Merce Cunningham. The ... Read More
National Library of Australia
Karczag speaks about her early interest in ballet and the desire to become a classical dancer, leaving school at 16 to become a day student at the Halliday Studio, overseas scholarship at 18, dancing in the London Festival Ballet Company, her exposure to different dance companies and schools around 1972-1973, her satisfaction with T'ai Chi Ch'uan, her eventual dissatisfaction with classical ballet, how she incorporated alternative body work techniques like Alexander Technique and Anatomical Release work into alternative dance, her move to New York for a year, her return to Australia and her involvement in Dance Exchange in 1976 for a 3 year period, her work from 1979 to 1986 with Trisha Brown in New York with whom she learnt about choreography, how she became a certified teacher in the Alexander Technique and conducts body work, her move to Holland to teach at the European Dance Development Center; and her concern that the new dance movement will become too popular and be diluted
Stanford University
Reviews the history of modern dance in America from its beginnings in the early 1900's to the appearance of Martha Graham in the early 1930's. Includes rare film footage of Doris Humphrey, Ruth St. Denis, Anna Pavlova, and what is believed to be Isadora Duncan, among others. Frederick Ashton speaks about his impressions of Isadora Duncan. Lynn Seymour performs Ashton's Five Brahms waltzes in the manner of Isadora Duncan. Clif de Raita performs Ted Shawn's Japanese spear dance. Doris Humphrey's Soaring is performed by Nancy Colahan with Elaine Anderson, Jacqulyn Buglisi, Anne Marie Hackett, and Laurie Kaplan. Annabelle Gamson performs Isadora Duncan's Etude and Mother. Ted Shawn's Polonaise is performed by Tim Wengerd, Clif de Raita, Donlin Foreman, Daniel Ezralow, David Anderson, and Michael Deane. Also included is an early film of Martha Graham performing her work Lamentation
University of Denver - Penrose Library
Lillian Covillo recounts her early years growing up in Denver, Colorado and attending St. Philomena's parochial school where she was first exposed to ballet through teacher, Lucille Brush. She discusses her early professional experiences, including assuming Brush's responsibilities for teaching dance at Cathedral High School, her association with the Denver Grand Opera Company, and her initial introduction to Freidann Parker and modern dancing through the Martha Wilcox modern dance group. She describes the early professional collaboration between herself and Parker through the Covillo-Parker School of Ballet. Covillo also describes the experiences of founding and making a success of the Colorado Concert Ballet, which was the precursor to the Colorado Ballet Company

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