Tag: Louis Horst

Building My Own Program in NYC

JoAnne Tucker / / Dance History, Personal Life

In the last blog I mentioned that although Martha Hill had encouraged me to re-audition for Juilliard, I never had a chance to discuss this with my parents because  my grandmother died at the same time. So … as planned, off I went to the University of Denver, my only backup school.  After only one dance class it was clear to me this was not going to work. Within a few days after informing my parents I would not be staying at the University of Denver, I had withdrawn from school and was packed and on the train heading back to Pittsburgh. I was filled with a clear determination that I wanted to study dance with the best, and the place to do that was in New York City.  There was no doubt in my mind that I wanted a career in dance.  I hoped that I would have the support of my parents and that they would financially support an independent program in NYC that wasn’t connected to a particular college.  I loved the Graham technique of modern dance and knew that would be where I would be taking modern dance classes. On my list was to find a good place to study ballet.  I valued academics and thought I would explore what kind of possibilities there would be to enroll in one or two college courses.  The long train ride from Denver to Pittsburgh gave me time to think through these different options and I found myself focused and clear on what my next steps were when I got home.

My parents were somewhat open but clearly had their own thoughts on what would be best for me, and my father in particular had a hard time with his daughter being a dancer in NYC.  My father’s stepbrother was a psychiatrist and having been consulted, he suggested that when I got home I should see a colleague of his and have someone outside of the family talk to me in  case there was something else going on.  So shortly after I got home my parents arranged an appointment for me.  I knew I needed to be cooperative because my first choice was having their financial support rather then having to support myself in NYC so I was willing to give it a few months home in Pittsburgh if I had to.  They also suggested I enroll in a typing course so I might have a skill to support myself if I needed to.  

So I enrolled in a typing course at a secretarial school and I had what turned out to be a single appointment with a woman psychiatrist.  The appointment ended up actually being lots of fun. I explained why I wanted to go to New York and how I was planning to structure my time.  She asked me quite a few questions and by the end of the appointment she was very encouraging and said that if I liked, she would have a follow up appointment with my parents and share with them that she thought my plans were very realistic and encourage them to support me.  

Following their appointment a week later, it was decided that I would move to NYC after the 1stof the year.  That would give me time to further explore options of where to live in the City and finish the typing course.  My mom and I visited New York to explore options of where I would live.  I was young and the idea of my living in an apartment was out of the question so we explored places like Y residences for women and the Barbizon Hotel for Women, where I had stayed once before. We then found a house on Madison and 68thStreet that was for women only and offered breakfast in the morning.  That would be where I stayed.  The neighborhood was great and the other women were a variety of ages. I think I even had my own room. I remember that living in the room next door was a model who was on the cover of Vogue,and another person living on the floor was studying acting. The house itself was a beautiful brownstone with a dramatic spiral staircase in the foyer where one entered. It was near the Cuban Embassy and there were often candlelight vigils and protests on our street.

I knew I would be taking classes at the Graham Studio which was located at 63rdbetween 1stand 2ndAvenue and an easy walk from where I lived. Next to explore was where I would go for ballet. I am not sure what made me decide that I wanted to go to the American School of Ballet which was pretty much for very serious young dancers but I got that in my mind and shortly after arriving in NYC I went for an audition and was placed in the beginning level class with outstanding teachers like Muriel Stuart. I actually loved the classes in spite of being surrounded by very thin “bunhead” ballerina types.  Later I would move to studying ballet with Nina Fonaroff, totally loving her class and feeling so much more at home with her.  She had danced in the Martha Graham company and also assisted Louis Horst, a composition teacher I was hoping to study with.  I continued studying with her even when I later attended Juilliard.  Her classes were fun and had a unique musical quality to them as she accompanied the class playing on the studio’s piano.  A friend I had met at Connecticut College the previous summer sometimes joined the small class too.  With the tension and competition that existed at places like The Graham Studio, School of American Ballet and later at Juilliard, it was a real delight to take class and get back in touch with the childhood joy of dancing.  Nina’s combinations were fun to do and her corrections excellent.  Ballet was fun –  something I had not really experienced before.

One more piece of the puzzle to solve.  I discovered that Columbia University had a School of General Studies that was designed for students like me who didn’t want to go full time.  So I took the entrance exam, was accepted and began taking a few courses there.

While I did spend a lot of my time on NYC subways and buses going from place to place, I liked the package I had put together and enjoyed the next six months in New York very much.  

The film A Dancer’s Work (1957) features the wonderful Graham teachers I got to study with including: Helen McGehee, Ethel Winter, Yuriko, Mary Hinkson and Bertram Ross. A lot of it was filmed in the big studio I remember studying in.

The following summer I returned to Connecticut College, this time focusing on composition classes and continuing to take two technique classes a day, one in Graham technique and the other in Cunningham technique which really never suited me well. The highlight for me was taking a composition class from Pearl Lang, and Louis Horst’s Pre-Classic Dance Forms.   I loved both of them. In Pearl’s class I spent the full six weeks creating a laughter study and an anger study in dance.  Louis’s class was a real challenge.  The pieces we had to create were short with an ABA form.  The theme had to be introduced in the first two measures of the A section and every movement in the A section needed to relate to something in those first two measures.  He was very demanding and would stop you in the middle of a section if you weren’t following the rules of composition that he outlined.  I immediately had great respect for him and knew I wanted to study with him more.  So at the end of the summer I asked him if I could take his next course (Modern Forms) at Juilliard, even if I wasn’t a full-time student.  He agreed and when I returned to New York in the fall I got approval to do just that.  It was a few months into the fall semester when he said I should stop this nonsense of running all around New York and just be a student at Juilliard.  And that is exactly what happened.  With permission from the dance office and individual teachers, I was allowed to sit in on the classes like Literature and Material of Music for Dancers, and Labanotation and if I passed the mid-term exams I could get credit for those classes.  I auditioned in late January, was accepted and became a full-time student at Juilliard in the winter of 1962.  By the end of the school year I had completed my first year at Juilliard.  Although the class had begun with about 40-plus students, when we started school the following fall there were only about 15 of us left. In the next blog I’ll share more reflections about my time at Juilliard.

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Juilliard

JoAnne Tucker / / Personal Life

Now a full time student at Juilliard, I stopped taking outside technique classes.  That was easy to do because some Juilliard classes were with the same teachers I had had  at the Graham Studio.  In ballet I really adored Alfredo Corvino’s classes and was glad to be studying with him consistently.  The schedule at Juilliard was so full that it left little time for anything else.  I was up early and in class at 9 in the morning and often didn’t get back until 9 at night. The program was exhausting and I can remember sometimes falling asleep in my leotard and tights.  At that time Juilliard had no dorm and I was now living at the Barbizon for Women, which was a good 45-minute subway ride from the school, which was located at 120 Claremont Ave on the upper West Side. Since Columbia University was located nearby I could continue the two academic classes I was taking. When I returned in the fall I began taking academic classes at Juilliard and did not return to Columbia University’s School of General Studies.  I don’t remember anything about the academic classes at Juilliard and don’t think they were very interesting or challenging at the time.

Besides the technique and Horst’s composition classes, two classes stand out strongly in my mind:  Literature and Materials of Music taught by Caryl Friend and Labanotation taught by Muriel Topaz. They were challenging and helped me relate to dance in new ways.  “L and M,”  as we referred to Friend’s class, introduced us to the various forms of classical music and we often had to create dance studies related to the musical form we were studying.   We had to study each piece of music carefully, as her exam consisted of her dropping the needle down on the record and our having to identify the piece and where in the piece she was playing. The second year, we began playing the piano and I remember writing short piano compositions.  In fact, during the second year, when I was dating Murray (who later became my husband), I sent him a series of themes on the tune “Happy Birthday” using my new skill at music composition.  As he was attempting to figure out what I had written, his Mom walked by and identified the piece as variations on “Happy Birthday.”

Muriel Topaz was an excellent teacher and I was fascinated with Labanotation and at one point even toyed with going further with notation.  Analyzing movement to write it down helped me understand it better and it was fun to begin to read movement scores of famous pieces.

Of course a highlight continued to be having the opportunity to study composition with Louis Horst. Modern Forms was great fun and I enjoyed not only the course material and assignments but other students in the class, particularly Martha Clarke and Diane Gray.  There was even a time when the three of us put together a dance study which I seem to remember we titled “Minding your P’s and Q’s” that related to an assignment we had. Behind our back each of us held in one hand a cupcake in honor of Louis’s birthday and the end of the piece we presented him with the cupcakes.  In my second year at Juilliard I was able to take Louis’s third-year course Group Forms.  The class consisted of students who were seriously interested in composition and each of us progressed from doing a trio to a quartet and then a quintet.  You had the option to continue with the course as long as you were a student … so it gave me an opportunity to get to know some juniors and seniors.  I spent the first semester developing a trio based on the book Green Mansions and was pleased that it was included in a concert of student works.  The next semester I focused on a quartet about people looking at a painting.  It was inspired by the long lines I would see winding around the Metropolitan Museum of Art when the painting Mona Lisa was on view.  I never finished the piece but did have fun beginning to find my sense of humor in dance.

While I had enjoyed taking technique classes at The Martha Graham School they were even better at Juilliard as over the year and a half at Juilliard I consistently got to study with Helen McGehee, Ethel Winter, Bertram Ross, and (when the Graham Company was on tour) Donald McKayle.  Each of the teachers had their own style and favorite combinations, and they were excellent teachers and outstanding performers. 

Helen McGehee was my favorite. She had a fierceness as a teacher that I found I responded to.  I was curious if she was still alive.  She is and is in her late 90’s.  There is a wonderful interview of her done around 2010 by Doug Hamby that is mainly a sharing of the piece The Lady and the Unicorn, which she choreographed in 1945 and which was filmed in 1957.  I highly recommend the first 7 or 8 minutes, which include excerpts from the piece and her interview. She talks about creating one section in Louis Horst’s class.  Her descriptions of Horst is quite wonderful. Here’s the link.

Ethel Winter had a much gentler style of teaching.  I found her combinations to be much more lyrical and she was a good balance to McGehee.  She died at the age of 87 in 2012.  Anna Kisselgoff wrote a beautiful obituary that perfectly captures what I remember. 

Bertram was simply Bertram. He had a fun sense of humor and would often join students at a table in the cafeteria.  I think I enjoyed him more as a performer than a teacher. Bertram died in 2003 and here is a link to the obituary that Jennifer Dunning wrote about him. 

Classes with Donald McKayle were extraordinary. An outstanding teacher, he put together combinations that I loved. He died in August 2018 at the age of 87.  I found particularly meaningful the obituary in Dance Magazine which included video of Rainbow Round My Shoulder, performed by the Alvin Ailey Company.  Here’s a link to it.

The time I spent at Juilliard was demanding and after two years I left, which I will write about in the next blog.  The time in NYC and then at Juilliard shaped me as a choreographer, giving me a discipline and a structured way of working and approaching things that I am very grateful for.  This also carried over to other areas of my life, particularly how I approach painting and filmmaking.  

I researched to find a picture of The Juilliard School on Claremont Avenue but couldn’t find one that looked like I remember it.  I did find this picture of Louis Horst as I pretty much remember him in class. The only thing missing is a cigarette hanging out of his mouth, but if you look closely,  he is holding it in his hand. No credit is given for this photo.

Photograph of Louis Horst found on the Internet.
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Dance History Resources

JoAnne Tucker / / Current Dance Events, Dance History, Personal Life

On October 26th, I Zoomed an interesting dance history presentation by Wendy Perron at the Lincoln Center Library for the Performing Arts, part of the New York City Library System.  This was the third part of Perron ‘s series “The Dance Historian Is In,” and it focused on Pina Bausch’s years at Juilliard, 1959-60 and 1960-61, when she worked with Paul Sanasardo and Paul Taylor.  Perron included pictures and focused a lot on Pina’s work with Anthony Tudor when she was at Juilliard.  Perron pointed out that these two years had a strong influence on Pina’s work, more than most critics mention.

It was during this time that Pina got to know Alfredo Corvino, and when he retired from Juilliard, Pina asked him to be the ballet master for her company.  He held that position until his death, and then his daughters continued working with the company.

One of the most interesting things I learned during the hour-and-a-half  Zoom program was that Juilliard has photos and scrapbooks online that are available for anyone to look at or use for research.  I went to the site, and the opening page clearly states the purpose of the website:

Welcome to the Juilliard Archives

Discover Juilliard’s rich history, from the school’s opening in 1905 to present, by exploring a selection of materials from our digital collections. Please see our Featured Collections at the link above.

I had fun looking at the Dance Scrapbooks which go from 1951/52 to 1990/91. Of course I was most curious about the years that I was there.  What a delight and surprise to see all the different pieces that I performed in workshops from Louis Horst’s Modern Form Composition Class.  A few I remember but some I had totally forgotten about.  It was also a trip down memory lane to see what other classmates had done and performed in the same workshops.

Screenshots from the Juilliard Scrapbook 1961-62, (Klineman is my maiden name.)

Finding the Juilliard archives online made me wonder what other resources there are for dance history enthusiasts!  Here are a few that I found:

Wendy Perron’s website  is filled with lots of things she has written about dance, with an archive that is worth exploring.  She also lists her upcoming events and some that have already happened and are still viewable online.

I was surprised to see what was available at The Library of Congress website.  Their digital collections  have “dance materials which represent genres including worldwide traditional dances, European and American social dance practices, ballet and modern dance, and more!  Digitized items include choreographic notes, photographs, musical scores, moving images, sound recordings, rare books, and artwork.”  Among the collections online are:

  • Martha Graham’s work between 1918 and 1949. Objects include concert programs, clippings, press announcements reviews, libretti, scripts, and photographs.
  • Selections from the Katherine Dunham Collection
  • Digitalized items from Ballets Russes de Serge Diaghilev
  • 200 collection items from Bronislava Nijinska

And of course, the best place for on-site research is the New York City Library for the Performing Arts, the Jerome Robbins Dance Division.  I have spent some time at the library researching and learning about various dance figures.  I have also enjoyed watching various videotapes.  I highly recommend a trip there for fun or if you are seriously researching something in dance.  There is both a phone number and email address online so that one can inquire what the library might have in the area of one’s research before making a trip.

There are also lots of specialized collections at various universities or local libraries where individuals have donated their scrapbooks, photographs etc.  For example, when I moved to Costa Rica, I decided to donate all the material of the Avodah Dance Ensemble (up to when I retired as founding director) to the American Jewish Archives, located in Cincinnati and connected to Hebrew Union College – Jewish Institute of Religion. Avodah regularly performed at HUC-JIR in New York City,

Just for fun I Googled a few names to see if there were collections at different places.  One of my favorite writers and teachers of improvisational movement is Barbara Mettler.  She donated some of her collection to Hampshire College, and this is easily available online. Here’s a link to the collection: https://www.hampshire.edu/library/archives-and-special-collections/other-archival-resources-and-full-text-documents/barbara-2.

Hanya Holm’s papers are at Stanford University, and there is information about them at the Online Archive of California.  It doesn’t look like any actual material is available online, rather a list of the different boxes.

Most other dancers I Googled left their collections to the NY Performing Arts Library.

If you know of a collection that might interest Mostly Dance blog readers, please leave a comment sharing the name of the collection and any contact details to find out more information.  I will review and maybe do another blog sharing the information I receive.

Let me close by thanking Wendy Perron for her excellent presentation, letting me know about the Juilliard online Archives and piquing my interest to see what else might be available.