KATHERINE DUNHAM

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1 KATHERINE DUNHAM DANCER, CHOREOGRAPHER, SONGWRITER, AUTHOR, EDUCATOR, AND ACTIVIST WHO WAS TRAINED AS AN ANTHROPOLOGIST. SHE STUDIED CULT AND POSSESSION- TRANCE DANCES IN THE CARIBBEAN. DUNHAM HAD ONE OF THE MOST SUCCESSFUL DANCE CAREERS IN AMERICAN AND EUROPEAN THEATER OF THE 20TH CENTURY AND HAS BEEN CALLED THE "MATRIARCH AND QUEEN MOTHER OF BLACK DANCE". FOR MORE THAN 30 YEARS SHE MAINTAINED THE KATHERINE DUNHAM DANCE COMPANY, THE ONLY PERMANENT, SELF- SUBSIDIZED AMERICAN BLACK DANCE TROUPE AT THAT TIME, AND OVER HER LONG CAREER SHE CHOREOGRAPHED MORE THAN 90 INDIVIDUAL DANCES BESIDE HER SUCCESSFUL PRODUCTIONS, DUNHAM PRODUCED TALENTED DANCERS, TEACHERS, AND CHOREOGRAPHERS.

2 KATHERINE DUNHAM

3 KATHERINE DUNHAM BORN IN CHICAGO, SHE DANCED FOR RUTH PAGE AND ON HER OWN. IN 1943 SHE APPEARED IN THE BROADWAY MUSICAL, CABIN IN THE SKY. FROM THERE SHE WENT TO HOLLYWOOD APPEARING IN MOVIES. HER OUTSTANDING SUCCESSES WERE THE TROPICAL REVUES IN THE 1940 S THAT SHE STAGED AND PERFORMED WITH HER COMPANY. IN 1945 SHE OPENED HER OWN SCHOOL TO ESTABLISH A TECHNIQUE THAT WOULD BE AS IMPORTANT TO THE WHITE MAN AS WELL AS THE BLACK MAN AND TO TAKE BLACK DANCE OUT OF THE BURLESQUE AND MAKE IT MORE DIGNIFIED. THAT JAZZ HAS A LARGE INFLUENCE ON ALL TYPES OF DANCE TODAY IS DUE TO DUNHAM AND THE SUCCESS OF HER AIMS.

4 KATHERINE DUNHAM IN TROPICAL REVUE

5 PEARL PRIMUS AFRICAN AMERICAN DANCER, ANTHROPOLOGIST, AND A SERIOUS CONCERT DANCER. SHE STUDIED WITH MARTHA GRAHAM, DORIS HUMPHREY, CHARLES WEIDMAN, HANYA HOLM, AND LOUIS HORST. SHE COMPOSED DANCES ABOUT THE BLACK EXPERIENCE IN AFRICA AND AMERICA. EARLY IN HER CAREER SHE SAW THE NEED TO PROMOTE AFRICAN DANCE AS AN ART FORM WORTHY OF STUDY AND PERFORMANCE. PRIMUS WORK WAS A REACTION TO MYTHS OF SAVAGERY AND THE LACK OF KNOWLEDGE ABOUT AFRICAN PEOPLE. IT FOCUSED ON MATTERS SUCH AS OPPRESSION, RACIAL PREJUDICE, AND VIOLENCE.

6 PEARL PRIMUS

7 JAZZ DANCE JAZZ WAS NOT ACCEPTED AS AN ART FORM. ART INCLUDED ONLY HIGH-MINDED, NOBLE, DRAMATIC EXPRESSIONS OF HUMANITY. IT AUTOMATICALLY EXCLUDED ANYTHING THAT MIGHT BE COMMERCIALLY SUCCESSFUL. ENTERTAINMENT WAS NOT A WORTHY GOAL, AND JAZZ WAS A VERY POPULAR FORM OF ENTERTAINMENT. ALSO JAZZ HAD SEXUAL CONNOTATIONS THAT WERE NOT ACCEPTABLE TO MODERN DANCERS. THEY REGARDED SEX AS A NOBLE FULFILLMENT OF MAN S DEEPEST NATURE AND NOT EQUATED WITH A GOOD TIME. JAZZ TAKES A DIFFERENT VIEW OF THE BODY, WHICH COMES FROM ITS AFRICAN ORIGIN.

8 ORIGINS OF JAZZ DANCE WE SAY SOMETHING IS JAZZY IF IT S LIVELY, SNAPPY, AND OUT OF THE ORDINARY-IT SWINGS. THE ORIGIN OF JAZZ IS IN AFRICA WITH THE MUSIC AND MOVEMENT OF PRIMITIVE TRIBES, AND THEN IN THE DEVELOPMENTS AMONG AFRICAN SLAVES WHO WERE BROUGHT TO THE WEST INDIES AND THE AMERICAS. THE SWINGING RHYTHMS AND PELVIC THRUSTS OF JAZZ MOVEMENTS EXPRESS A SEXUAL ABANDON THAT SOME IN SOCIETY HAVE FOUND OFFENSIVE. IT TOOK A WHILE BEFORE SERIOUS DANCERS COULD RECOGNIZE DUNHAM S WORK AND TREAT IT WITH RESPECT.

9 CHARACTERISTICS OF AFRICAN DANCE A. CROUCHED BODY WITH SPINE FLEXIBLE AND LOOSE B. A STRONG ATTACK THAT PROPELS MOVEMENT SHARPLY BACK AND FORTH. C. MOVEMENT THAT STARTS FROM THE PELVIC REGION AND CONTINUES OUTWARD. D. MOVEMENT THAT SHIMMIES, SHAKES, AND TREMBLES. E. A TENDENCY TO IMPROVISE, WHICH ALLOWS FOR FREEDOM OF INDIVIDUAL EXPRESSION. JAZZ SHARES THESE SAME CHARACTERISTICS.

10 JACK COLE THEATRICAL JAZZ DANCE KNOWN AS THE FATHER OF THEATRICAL JAZZ DANCE. COLE IS REMEMBERED AS THE PRIME INNOVATOR OF THE THEATRICAL JAZZ DANCE HERITAGE. EARLY ON HE DECIDED TO PURSUE DANCE WITH THE DENISHAWN DANCE COMPANY LED BY RUTH ST. DENIS AND TED SHAWN. COLE ALSO PERFORMED WITH DORIS HUMPHREY AND CHARLES WEIDMAN, BUT EVENTUALLY LEFT THE MODERN DANCE WORLD FOR COMMERCIAL DANCE CAREER IN NIGHTCLUBS HE WAS MOST FAMOUS IN HOLLYWOOD FOR HIS WORK WITH RITA HAYWORTH AND MARILYN MONROE. HE COMBINED THE STYLES OF BALLET AND MODERN DANCE WITH THE RHYTHMS AND ISOLATIONS OF AFRICAN AND EAST INDIAN DANCE TO CREATE A JAZZ DANCE TECHNIQUE.

11 JACK COLE REHEARSING ZIEGFIELD FOLLIES

12 TAP DANCE TAP DANCE EVOLVED FROM THE INFLUENCE OF IRISH JIG AND AFRICAN TRIBAL DANCE. JITTERBUG, CHARLESTON, RUMBA, SAMBA, AND CONGA ARE HYBRID FORMS OF AFRICAN AND COURT DANCE MOVEMENTS. JUBA IS A STEP DANCE LIKE A FLAT-FOOTED JIG WITH THE ADDITION OF HIPS AND SHOULDER MOVEMENTS. IT BECAME A SHUFFLING CIRCLE DANCE WITH IMPROVISED ANIMAL MOTIONS AND GESTURES. RING SHOUT WAS ANOTHER AFRICAN CIRCLE DANCE WITH CLAPPING, STAMPING, AND SHUFFLING WITH RHYTHMIC HEEL TAPPING. THE OUTSTANDING CHARACTERISTICS OF THESE DANCES WAS THE SYNCOPATED TAPPING, STAMPING AND SWINGING MOVEMENTS WHICH LED TO TAP DANCING. THE ELEMENT OF IMPROVISATION DERIVED FROM AFRICAN DANCE IS STILL A DOMINANT CHARACTERISTIC OF TAP DANCE.

13 TAP DANCE ARTISTS BILL BOJANGLES ROBINSON HE GAINED GREAT SUCCESS AS A NIGHTCLUB AND MUSICAL COMEDY PERFORMER, AND BECAME ONE OF THE TOASTS OF BROADWAY. NOT UNTIL HE WAS 50 DID HE DANCE FOR WHITE AUDIENCES, HAVING DEVOTED HIS EARLY CAREER EXCLUSIVELY TO APPEARANCES ON THE BLACK THEATER CIRCUIT. HE APPEARED IN THE FILM BLACKBIRDS OF 1928 WHICH LED TO A SUCCESSFUL CAREER IN FILMS MOST NOTABLY WITH SHIRLEY TEMPLE.

14 BILL BOJANGLES ROBINSON

15 THE NICHOLAS BROTHERS FAYARD AND HAROLD BEGAN DANCING AS CHILDREN IMITATING ALL THE BLACK VAUDEVILLE ACTS INCLUDING BILL ROBINSON. THEY GAINED FAME APPEARING AT THE COTTON CLUB IN HARLEM. THEIR FAME TOOK THEM TO HOLLYWOOD TO APPEAR IN FILMS. THE NIGHTCLUB AND CONCERT CIRCUIT TOOK OVER THEIR CAREER. THEY ARE REMEMBERED FOR THEIR UNIQUELY ATHLETIC STYLE.

16 THE NICHOLAS BROTHERS IN STORMY WEATHER

17 AMERICAN BALLET ACHIEVEMENTS IN MODERN AMERICAN BALLET BEGINNING IN THE 1930 S CENTERED AROUND THE NAMES OF: A. GEORGE BALANCHINE B. JEROME ROBBINS C. AGNES DE MILLE D. ANTONY TUDOR E. EUGENE LORING F. WILLIAM DOLLAR G. THE CHRISTENSEN BROTHERS H. RUTH PAGE LINCOLN KIRSTEIN LIKE DIAGHILEV HE WAS AN IMPRESARIO WHO DABBLED IN SEVERAL ARTS. HE WANTED TO FOUND A SCHOOL AND COMPANY FOR HOMEGROWN BALLET IN AMERICA. HE CHOSE GEORGE BALANCHINE, A RUSSIAN, TO ACCOMPLISH THIS.

18 GEORGE BALANCHINE BORN IN ST. PETERSBURG, HE STUDIED BALLET AND MUSIC. HE LEFT RUSSIA IN 1924 WITH A TOURING COMPANY FOR EUROPE INCLUDING ALEXANDRA DANILOVA AND TAMARA GEVA. HE WAS APPOINTED CHIEF CHOREOGRAPHER OF BALLET RUSSE WHERE HE CREATED APOLLO AND PRODIGAL SON. AFTER DIAGHILEV S DEATH HE DRIFTED AROUND. KIRSTEIN WAS IMPRESSED BY APOLLO IN 1927 AND ASKED BALANCHINE TO COME TO AMERICA IN 1933 AND BALANCHINE ACCEPTED.

19 LINCOLN KIRSTEIN (LEFT) GEORGE BALANCHINE

20 BALANCHINE IN 1934, KIRSTEIN AND BALANCHINE FOUNDED THE SCHOOL OF AMERICAN BALLET AND A PERFORMING GROUP A YEAR LATER. BALANCHINE CHOREOGRAPHED UNDER THE AUSPICES OF VARIOUS GROUPS SUCH AS BALLET CARAVAN, AND BALLET SOCIETY, FORERUNNERS OF NYC BALLET. ON BROADWAY BALANCHINE CHOREOGRAPHED THE SHOW ON YOUR TOES FEATURING THE BALLET SLAUGHTER ON 10TH AVE. HE CONTINUED TO CHOREOGRAPH SUCCESSFULLY FOR BROADWAY AND HOLLYWOOD. IN 1948 NY CITY CENTER INVITED HIS GROUP TO BECOME THE RESIDENT DANCE COMPANY AND NYC BALLET WAS BORN.

21 SLAUGHTER ON 10TH AVENUE TAMARA GEVA, BALANCHINE S 1ST WIFE

22 THE BALANCHINE DANCER BALANCHINE S MOTTO: BALLET IS WOMAN. THE BALANCHINE LOOK- STREAMLINED GIRLS WITH LONG LEGS AND NECKS WHO WERE EXCEEDINGLY THIN. HIS DANCERS WERE SPEEDY AND SLEEK AND AS FLEXIBLE AS GUMBY. THIS IDEAL HAS SHAPED THE FASHION FOR ALL BALLET DANCERS FROM THEN ON.

23 SUZANNE FARRELL, BALANCHINE S MUSE

24 BALANCHINE STYLE FOR THE MOST PART, BALANCHINE S WORKS ARE WITHOUT ANY PLOT. HE STRIVES TO SHOW THE MUSIC THROUGH MOVEMENT. HIS SPATIAL GROUPINGS ARE SIMPLE. DANCERS ARE OFTEN LINKED TOGETHER, HOLDING HANDS AND WEAVING IN AND OUT. FLASHY, BRILLIANT LEG WORK EMPHASIZING SPEED IS HIS HALLMARK. AT ALL TIMES THE MOVEMENTS COMPLEMENT THE MUSICAL MOODS AND STRUCTURES. HIS STYLE IS REFERRED TO AS NEOCLASSIC. THE LEGS ARE PARALLEL SOMETIMES, THE FOOT MAY BE FLEXED OR THE HAND BENT SHARPLY AT THE WRIST. IT IS ALSO STREAMLINED. ALWAYS THE EMPHASIS IS ON SPEED.

25 TANAQUIL LE CLERCQ, BALANCHINE S 4TH WIFE

26 IMPORTANT BALLETS A. APOLLO B. PRODIGAL SON C. SERENADE D. WESTERN SYMPHONY E. STARS AND STRIPES F. CONCERTO BAROCCO G. AGON H. THE FOUR TEMPERAMENTS

27 THE FOUR TEMPERAMENTS APOLLO

28 PRODIGAL SON, MARIA TALLCHIEF, BALANCHINE S 3RD WIFE

29 SERENADE

30 WESTERN SYMPHONY TANAQUIL LE CLERCQ

31 STARS AND STRIPES

32 CONCERTO BAROCCO

33 AGON

34 AMERICAN BALLET THEATRE THE OTHER INTERNATIONALLY RECOGNIZED AMERICAN BALLET COMPANY IS ABT. IT HAS A MUCH BROADER STYLISTIC BASE THAN NYC BALLET. ITS MISSION IS TO PRESENT GREAT BALLETS IN ALL STYLES, FROM A NUMBER OF HISTORICAL PERIODS. ABT WAS FORMED IN 1939 WHEN RICHARD PLEASANT BECAME MANAGER OF MORDKIN BALLET. HE WANTED A VERSATILE ENSEMBLE THAT PERFORMS THE GREAT CLASSICS AS WELL AS NEW WORKS BY A VARIETY OF CHOREOGRAPHERS BALANCING ITS AMERICAN CREATIONS WITH OTHERS OF FOREIGN ORIGIN. ABT HAS BEEN THE MAJOR AMERICAN SHOWCASE FOR THE GREAT CLASSICS AND HAS CONTRIBUTED ENORMOUSLY TO THE BALLET REPERTORY OF OUR TIME.

35 AMERICAN CHOREOGRAPHERS ABT COMMISSIONED BALLETS FROM FAMOUS CHOREOGRAPHERS: A. ANTONY TUDOR B. LEONIDE MASSINE C. MICHEL FOKINE D. GEORGE BALANCHINE E. AGNES DE MILLE F. JEROME ROBBINS ABT ESPECIALLY FOSTERED AMERICAN CHOREOGRAPHERS USING AMERICAN THEMES.

36 AGNES DE MILLE DANCER/CHOREOGRAPHER/WRITER BORN INTO THE FAMOUS DE MILLE FAMILY OF HOLLYWOOD. SHE STUDIED AT BALLET RAMBERT IN ENGLAND THEN JOINED ABT AS A DANCER AND CHOREOGRAPHER. HER BEST KNOWN BALLET IS RODEO WITH SCORE BY AARON COPLAND. IT IS AN EXUBERANT PICTURE OF LIFE ON A RANCH WITH COWBOYS AND COWGIRLS. THE BALLET CLIMAXED WITH A LIVELY AMERICAN SQUARE DANCE AND A NEW FOLK IDIOM WAS ADDED TO THE CHARACTER VOCABULARY OF BALLET.

37 AGNES DE MILLE IN RODEO

38 OKLAHOMA SHE CHANGED THE WAY DANCE IN MUSICALS WERE CREATED WITH HER WORK IN OKLAHOMA IN THE BALLET BECAME INTEGRATED INTO THE STORY TO FURTHER THE PLOT. NO LONGER WERE DANCES MERELY ENTERTAINING INTERLUDES. DE MILLE S WORK ON AMERICAN THEMES SPAWNED OTHER AMERICAN CHOREOGRAPHIES SUCH AS EUGENE LORING S BILLY THE KID

39 OKLAHOMA

40 BILLY THE KID EUGENE LORING KNEELING CENTER

41 JEROME ROBBINS ONE OF THE MOST IMPORTANT NATIVE AMERICAN CHOREOGRAPHERS. HE ALSO BECAME A NOTED DIRECTOR AS WELL AS CHOREOGRAPHER. HE WORKED FOR BOTH MAJOR BALLET COMPANIES, NYC BALLET AND ABT. ROBBINS WORKED HIS WAY UP FROM CORPS DE BALLET TO SOLOIST IN ABT.

42 ROBBIN S FIRST BALLET FANCY FREE IS HIS FIRST HIT BALLET ABOUT SAILORS ON LEAVE IN NYC COMPETING FOR THE ATTENTION OF AVAILABLE GIRLS WITH A SCORE BY LEONARD BERNSTEIN. FANCY FREE WAS AN OVERNIGHT HIT GARNERING ACCOLADES FOR ROBBINS.

43 FANCY FREE

44 ROBBIN S STYLE HE HAS A STRONG PERSONAL STYLE. HIS DANCE IS CAREFULLY STRUCTURED AND HE TREATS HIS DANCE FIGURES AS WARM, LIVE PEOPLE WHO MAKE SIGNIFICANT HUMAN GESTURES THAT CONVEY CLEAR EMOTIONS. ACUTELY CONSCIOUS OF ALL THE FORCES IN CONTEMPORARY LIFE, HE BOLDLY EXTENDED HIS BALLET LANGUAGE BY USING THE JAZZ IDIOM. ROBBINS CAN BE CALLED A CONTEMPORARY FOKINE. HE WAS INTERESTED IN EXPRESSING DIFFERENT MOODS AND FOR SUITING THE GESTURE TO THE THEME.

45 WEST SIDE STORY HE WILL GO DOWN IN THEATRICAL HISTORY AS THE CREATOR OF WEST SIDE STORY, WHICH USES ALL ELEMENTS OF THE THEATRE-DRAMATIC ACTION, MUSIC, SONG, DIALOGUE, DECOR, AND DANCE-TO CREATE A 20TH CENTURY MUSICAL ON THE ROMEO AND JULIET THEME TO LEONARD BERNSTEIN S SCORE. HIS GREATEST ACCOMPLISHMENT WAS IN REMAINING FAITHFUL TO THE BALLET AND PANTOMIME CONCEPT IN THE COURSE OF THE DRAMA, CHARACTERIZING THE ACTOR- SINGER-DANCERS THROUGH GESTURE AND MOVEMENT TAKEN FROM EVERYDAY LIFE BUT HEIGHTENED THROUGH STYLIZATION.

46 WEST SIDE STORY

47 WEST SIDE STORY

48 BROADWAY HITS BROADWAY MUSICALS CHOREOGRAPHED BY JEROME ROBBINS: A. BILLION DOLLAR BABY B. HIGH BUTTON SHOES C. THE KING AND I D. PAJAMA GAME E. PETER PAN F. GYPSY G. WEST SIDE STORY H. A FUNNY THING HAPPENED ON THE WAY TO THE FORUM I. FIDDLE ON THE ROOF

49 NYC BALLET ROBBINS BECAME BALLET MASTER OF THE NEW YORK CITY BALLET IN 1972 AND WORKED ALMOST EXCLUSIVELY IN CLASSICAL DANCE THROUGHOUT THE NEXT DECADE. FOR NYC BALLET HE DID THE CAGE, AFTERNOON OF A FAUN, AND DANCES AT A GATHERING. HE WAS ONE OF THE MOST PROLIFIC CHOREOGRAPHERS OF OUR TIME.

50 THE CAGE

51 ROBBIN S AFTERNOON OF A FAUN

52 DANCES AT A GATHERING

53 JOFFREY BALLET OTHER AMERICAN BALLET COMPANIES ROBERT JOFFREY ALONG WITH GERALD ARPINO STARTED A TOURING COMPANY IN THE 1960'S. THEY WERE YOUTHFUL AND ENERGETIC AND UPDATED PRODUCTIONS. IT IS NOTED FOR REVIVING CLASSIC WORKS AND COMMISSIONING NEW WORKS BY MODERN CHOREOGRAPHERS. DANCE THEATRE OF HARLEM IN 1969 ARTHUR MITCHELL FOUNDED THE DTH AFTER MARTIN LUTHER KING S ASSASSINATION WANTING TO GIVE BACK TO THE BLACK COMMUNITY. DTH HAS HAD FINANCIAL DIFFICULTIES AND THE COMPANY IS CURRENTLY CLOSED TO REGROUP FINANCIALLY WITH PLANS TO REOPEN IN THE FUTURE.

54 REGIONAL BALLET COMPANIES WITH THE DANCE EXPLOSION OF THE 1960 S BALLET COMPANIES SPRUNG UP ALL OVER THE COUNTRY. 1. THERE ARE DOZENS OF FIRST RATE AMERICAN COMPANIES. 2. THE STYLISTIC LINES BETWEEN COMPANIES ARE BLURRING AND DISSOLVING. IN CHOREOGRAPHY, STYLISTIC LINES BETWEEN MODERN DANCE, BALLET, AND JAZZ ARE ALSO BLURRING.

55 DANCERS IN THE GOLDEN AGE ALEXANDRA DANILOVA AND FREDERIC FRANKLIN DANILOVA WAS RUSSIAN AND DANCED WITH BALLET RUSSE AND ABT. FRANKLIN WAS ENGLISH AND PARTNERED DANILOVA AND STARTED A COMPANY WITH MIA SLAVENSKA. ALICIA MARKOVA AND ANTON DOLIN BOTH BRITISH BORN DANCED WITH BALLET RUSSE AND ABT. ALICIA ALONSO AND IGOR YOUSKEVITCH ALONSO IS CUBAN AND STARTED THE CUBAN NATIONAL BALLET AFTER DANCING WITH ABT. YOUSKEVITCH IS RUSSIAN AND WAS HER PARTNER.

56 ALEXANDRA DANILOVA

57 FREDERIC FRANKLIN

58 ALICIA MARKOVA

59 ANTON DOLIN

60 ALICIA ALONSO

61 IGOR YOUSKEVITCH

62 DANCERS IN THE GOLDEN AGE NORA KAYE SHE WAS A GREAT DRAMATIC BALLERINA AND WAS THE MUSE OF ANTONY TUDOR. MARIA TALLCHIEF THE FIRST, GREAT HOME GROWN CLASSICAL BALLERINA WITH NATIVE AMERICAN BLOOD. JOINED BALLET RUSSE DE MONTE CARLO AND BECAME BALANCHINE S 3RD WIFE DANCING WITH NYC BALLET UNTIL THE 1960 S. ERICK BRUHN GREAT DANISH DANCER WHO GAINED FAME AS ALBRECHT IN GISELLE IN THE 1950 S.

63 NORA KAYE

64 MARIA TALLCHIEF

65 ERICK BRUHN

66 DANCERS TITLE IN THE GOLDEN AGE JACQUES D AMBOISE MAJOR MALE DANCER FOR BALANCHINE. HE FOUNDED THE NATIONAL DANCE INSTITUTE TO BRING DANCE TO THE PUBLIC SCHOOLS IN NYC. EDWARD VILLELLA POPULAR VIRILE, MALE DANCER WITH BALANCHINE. EXCELLED IN BALANCHINES PRODIGAL SON. HE HAD FANTASTIC ATHLETIC ABILITY AND ELEVATION ALONG WITH EXPRESSIVENESS. FOUNDED MIAMI CITY BALLET.

67 JACQUES D AMBOISE

68 EDWARD VILLELLA

69 DANCERS IN THE GOLDEN AGE SUZANNE FARRELL BALANCHINE S MUSE AND LEAD DANCER OF NYC BALLET IN THE 1960 S. HE CREATED MANY ROLES FOR HER. PETER MARTINS A FREQUENT PARTNER OF FARRELL. HE IS NOW DIRECTOR OF NYC BALLET. WAS A DANCER WITH ROYAL DANISH BALLET BEFORE JOINING NYCB. ROBBINS AND MR. B CREATED ROLES FOR HIM. RUDOLPH NUREYEV ONE OF THE GREATEST MALE BALLET STARS OF THE 20TH CENTURY. THE FIRST TO DEFECT FROM THE SOVIET UNION IN THE 1960 S. HAD A GREAT PARTNERSHIP WITH MARGOT FONTEYN.

70 PETER MARTINS & SUZANNE FARRELL

71 RUDOLPH NUREYEV

72 DANCERS IN THE GOLDEN AGE MIKHAIL BARYSHNIKOV THE NEXT GREAT RUSSIAN DEFECTOR. HE DANCED WITH NYC BALLET AND BECAME ARTISTIC DIRECTOR OF ABT IN THE 1980 S. FOUNDED WHITE OAK DANCE PROJECT AND BARYSHNIKOV ARTS CENTER.

73 MIKHAIL BARYSHNIKOV

A-level Dance DANC3 Areas of Study and Set Works for examination Updated August 2011

hij Teacher Resource Bank A-level Dance DANC3 Areas of Study and Set Works for examination 2013 2015 Updated August 2011 Copyright 2011 AQA and its licensors. All rights reserved. The Assessment and Qualifications