While George Balanchine is often considered the sole creator of American ballet, numerous European and Russian émigrés had been working for decades to build a national ballet with an American identity. In Shapes of American Ballet: Teachers and Training before Balanchine, Jessica Zeller introduces the first few decades of the twentieth century as an often overlooked, yet critical period for ballet's growth in America. The substantive notes suggest further materials of interest to students, practicing dance artists and musicians, dance and music history scholars, and to all who appreciate dance. Editor Katherine Teck's introductions and afterword offer historical context and tie the artists' essays in with collaborative practices in our own time. Denis, and Ted Shawn, and continuing through the avant-garde work of John Cage for Merce Cunningham, the book offers insights into the development of modern dance in relation to its music. Beginning with the careers of pioneers Isadora Duncan, Ruth St. These articles are complemented by excerpts from astute observers of the music and dance scene as well as by retrospective evaluations of past collaborative practices. The book offers riveting first-hand accounts from innovative artists in the throes of their creative careers and provides a cross-section of the challenges faced by modern choreographers and composers in America. Making Music for Modern Dance traces the collaborative approaches, working procedures, and aesthetic views of the artists who forged a new and distinctly American art form during the first half of the 20th century. Ebook Edition Note: All images have been redacted. It is lavishly illustrated with period photographs. The book provides an intimate look at the struggles and achievements of a woman dedicated to taking dance out of the college gymnasium and into the theatre, drawing on primary sources that were previously unavailable. She created pivotal opportunities for Martha Graham, Doris Humphrey, Charles Weidman, Hanya Holm, José Limón, Merce Cunningham, and many others. Setting Hill’s story in the context of American postwar culture and women’s changing status, this riveting biography shows us how Hill led her colleagues in the development of American contemporary dance from the Kellogg School of Physical Education to Bennington College and the American Dance Festival to the Juilliard School at Lincoln Center. Her vision and leadership helped to establish dance as a serious area of study at the university level and solidify its position as a legitimate art form.
Martha Hill (1900–1995) was one of the most influential figures of twentieth century American dance.
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