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• W2012116157 abstract "Click to increase image sizeClick to decrease image size Notes 1. Ruth Page, Class: Notes on Dance Classes Around the World, 1915–1980, ed. and annotated Andrew M. Wentink (Princeton, N.J.: Princeton Book Company, 1984). The volume includes illustrative drawings by Page's long-term designer and second husband, André Delfau. 2. Ibid., p. viii. 3. Ibid., p. 115. 4. Ibid., p. 177. 5. Ibid., pp. 120–1, 115, 159. 6. Ibid., p. 177. 7. Unless otherwise indicated, all information on the chronology of Ruth Page's career and choreographic works is from Andrew Mark Wentink, “The Ruth Page Collection: An Introduction and Guide to Manuscript Materials through 1970,” Bulletin of Research in the Humanities, Spring 1980, pp. 67–162. See also, Page, Class, p. 117. 8. Glenn Dillard Gunn, “Ruth Page's Ballet Program Is Startling Dance Travesty,” Chicago Herald and Examiner, [September 1, 1929], Ann Barzel Research Collection, Newberry Library, Chicago. 9. Page, Class, p. 117. 10. John Martin, “The Dance: Master's Work: Movement in England to Keep Alive the Traditions of Serge Diaghilev,” New York Times, December 8, 1929, p. X9. ProQuest Historical Newspapers. 11. Page, Class, pp. 129, 131, 143, 157, 175; Ruth Page, “A Balinese Rhapsody,” in Page by Page, ed. Andrew Mark Wentink (Brooklyn: Dance Horizons, 1978), p. 30. 12. Reprinted in Page, Page by Page, pp. 21–9. 13. Reprinted in Page, Page by Page, pp. 30–4. 14. “Two Dance Recitals Offer Varied Talents: Ruth Page Returns after Two Seasons in Usual Program—Tashamira in Jazz Numbers,” New York Times, November 18, 1929, p. 20. ProQuest Historical Newspapers. Isabelle Emerson lists the premiere of this work as taking place on March 20, 1926, in Ithaca, New York (Twentieth-Century American Music for the Dance: A Bibliography (Westport, Conn.: Greenwood Press, 1996), p. 78), but this seems unlikely, as Page had not yet visited Bali. Horst incorporated parts of Scene Javanaise, composed for Martha Graham, into this dance. See also Janet Mansfield Soares, Louis Horst: Musician in a Dancer's World (Durham, N.C.: Duke University Press, 1992), p. 244; Wentink, “The Ruth Page Collection,” p. 109. 15. See, for example, Page, Page by Page, pp. 30, 33. 16. Ibid., p. 34. 17. The premiere was at Capen Auditorium, State Normal University, Bloomington, Indiana, on July 6, 1932. 18. Films owned by Ann Barzel, 1930–1960s, Vol. 1 (1930–1969) [videocassette, silent, b&w; original 16 mm. film], Ann Barzel Dance Film Archive, Newberry Library, Chicago. 19. For relevant discussions of varied and problematic conceptions of “primitive,” see John O. Perpener, African-American Concert Dance, pp. 16–24, and Joyce Aschenbrenner, Katherine Dunham: Reflections on the Social and Political Contexts of Afro-American Dance (New York: Congress on Research in Dance, 1981), pp. 49–58. Dance Research Annual XII. 20. American Patterns: Three Decades of Dance [videocassette], narrated by Studs Terkel, researched and written by Andrew Mark Wentink, directed and produced by David W. Hahn, 1982, Ruth Page Collection, Jerome Robbins Dance Division, New York Public Library for the Performing Arts (hereafter RPC, NYPL-PA). 21. Films owned by Ann Barzel. 22. “Ruth Page: Washington Irving High School, Saturday Eve., February 10, 1934,” Ruth Page Scrapbooks, Vol. 7 (1934–36), RPC, NYPL-PA. 23. Ruth Page, Photographic Scrapbook: Japan Tour 1934, RPC, NYPL-PA. 24. Lafcadio Hearn, Martinique Sketches, Two Years in the French West Indies (1890) (reprint, Northampton, Mass.: Interlink Books, 2001), p. 84. 25. John Martin, Ruth Page: An Intimate Biography (New York: Marcel Dekker, 1977), p. 87. 26. Paul Murray, A Fantastic Journey: The Life and Literature of Lafcadio Hearn (Sandgate, Folkestone, Kent: Japan Library, 1993). 27. Ibid., p. 31. On the discourse of the fantastic-frenetic, see Joellen A. Meglin, “Behind the Veil of Translucence: An Intertextual Reading of the Ballet Fantastique in France, 1831–1841,” Dance Chronicle: Studies in Dance and the Related Arts, Vol. 27, Nos. 1 and 3, 2004, and Vol. 28, No. 1, 2005, pp. 67–129, 313–71, 67–142. Hearn published English translations of several fantastic tales by Théophile Gautier, including “One of Cleopatra's Nights” and “Clarimonde.” See Murray, pp. 72, 78. 28. Raphaël Confiant, “Lafcadio Hearn: The Magnificent Traveler,” in Hearn, Martinique Sketches, p. xii. 29. Ibid., p. x. 30. Hearn, Martinigue Sketches, p. 115. 31. Ibid., p. 142. 32. Mark Turbyfill, program note for La Guiablesse, from Chicago Symphony Orchestra: A Century of Progress Series 33. Hearn, Martinigue Sketches, pp. 148–9. 34. William Grant Still, La Guiablesse, “Revised version” (caption), imprint stamped on title page, “authorized copy” (Flagstaff, Ariz.: William Grant Still Archives, [1991?]), Music Division, New York Public Library for the Performing Arts. 35. Hearn, Martinigue Sketches, p. 86. 36. Verna Arvey, Choreographic Music: Music for the Dance (New York: E. P. Dutton, 1941), p. 296. 37. Gayle Murchison, “Dean of Afro-American Composers' or ‘Harlem Renaissance Man’: The New Negro and the Musical Poetics of William Grant Still,” in William Grant Still: A Study in Contradictions, ed. Catherine Parsons Smith (Berkeley: University of California Press, 2000), pp. 39–65. See Verna Arvey, William Grant Still (New York: J. Fischer & Bro., 1939), pp. 8–14, Studies of Contemporary Composers, and Verna Arvey, In One Lifetime (Fayetteville: The University of Arkansas Press, 1984), pp. 44–83, for more information on Still's background. 38. Arvey, In One Lifetime, p. 75. 39. Martin, Ruth Page, p. 87; Arvey, Choreographic Music, p. 296. 40. Martin, p. 87. According to Arvey, “lacking material from Martinique, [Still] developed his own idiom” (In One Lifetime, p. 82). 41. Murchison, p. 49; Arvey, William Grant Still, pp. 16, 18. 42. Folder 26C8, RPC, NYPL-PA. 43. Hearn, pp. 110–4, quotation, p. 113. Lynne Fauley Emery tracks down a number of descriptions of the Calenda in the Caribbean by Père Labat, Moreau de St.-Méry, and others. The dance was also described in connection with Congo Square dances and Voodoo ceremonies in New Orleans. See Black Dance: From 1619 to Today, 2nd ed. (Pennington, N.J.: Princeton Book Company, 1988), pp. 21–4, 164, 168–70. Katherine Dunham filmed a Calenda dance in Trinidad in 1936, a videocasette copy of which is available in the Katherine Dunham Centers Collection, NYPL-PA. 44. Ruth Page, “Part Three: In Appreciation,” in “The Lost Ten Years: The Untold Story of the Dunham/Turbyfill Alliance, Ann Barzel, Mark Turbyfill, and Ruth Page,” Dance Magazine, December 1983, p. 98. 45. Martin, Ruth Page, pp. 86–8; Arvey, Choreographic Music, p. 296. 46. Folder 28C20, RPC, NYPL-PA. 47. Murchison, pp. 51, 53. 48. Arvey, William Grant Still, p. 32. 49. Catherine Parsons Smith, ed., William Grant Still: A Study in Contradictions, p. 304; quotation from Arvey, William Grant Still, p. 31; see also Arvey, Choreographic Music, p. 297. 50. The first recording of the revised edition of Still's score, made in 1993 by Isaiah Jackson and the Berlin Symphony Orchestra, was issued on CD on Koch International Classics 3-7154-2H1 and excerpted on American Dancer, The American Music Collection, Vol. IV, Koch International Classics 3-7600-2 (1996). 51. I am indebted to the composer Richard Brodhead, who assisted with the interpretation of the music score and the recording. 52. Arvey, William Grant Still, p. 15. 53. Cyril W. Beaumont, Complete Book of Ballets (New York: G. P. Putnam's Sons, 1938), p. 777. Beaumont's published description of the ballet's scenario closely resembles program notes written by Mark Turbyfill for the June 23, 1933, performance. Both offer a sense of the set and lighting designed by Remisoff. 54. Herman Devries, Chicago American, quoted in Arvey, William Grant Still, p. 32. 55. Page, “Part Three: In Appreciation,” p. 98; Martin, Ruth Page, p. 87. 56. Chicago Grand-Opera Company: Season 1934–1935 [Program], Ruth Page Scrapbooks, Vol. 7, RPC, NYPL-PA; Auditorium Theatre Scrapbooks (1933), Newberry Library. 57. Martin, Ruth Page, p. 87. 58. Biographical information on Dunham's childhood and years at the university is from Joyce Aschenbrenner, Katherine Dunham: Dancing a Life (Champaign: University of Illinois Press, 2002), pp. 7–42. 59. Talley Beatty, quoted in Aschenbrenner, Katherine Dunham, p. 107. See Perpener, African-American Concert Dance, p. 184. 60. Aschenbrenner, Katherine Dunham, pp. 23, 26, 107. 61. Page, Page by Page, pp. 136, 126, and “Part Three: In Appreciation,” pp. 98, 99; Martin, Ruth Page, pp. 87–8; see also Aschenbrenner, Katherine Dunham, p. 38. 62. Aschenbrenner, Katherine Dunham, p. 38. 63. Dunham, quoted in Aschenbrenner, Katherine Dunham, p. 23. 64. “Ruth Page, Premiere Danseuse, Directs All-Ballet Program,” [“Chicago Leader” scribbled below title], undated article from Ruth Page Scrapbooks, Vol. 7, RPC, NYPL-PA. 65. Edward Moore, “Critic Praises Innovation of Ballet Night,” [“Tribune” scribbled below title], undated article from Ruth Page Scrapbooks, Vol. 7, RPC, NYPL-PA. 66. “Composer Here for Showing of La Guiablesse,” [“Chicago Ill Defender, Saturday, December 1, 1934” printed above title], clipping from Ruth Page Scrapbooks, Vol. 7, RPC, NYPL-PA. 67. “HIGH POINT IN BALLET,” [“Chicago Ill Times, Wednesday, November 28, 1934” printed above picture], clipping from Ruth Page Scrapbooks, Vol. 7. Jordis McCoo was briefly Dunham's husband around this time. Aschenbrenner, p. 41. 68. Hallelujah, dir. King Vidor, b&w, 100 mins. Metro-Goldwyn-Mayer, 1929 (DVD, Turner Entertainment and Warner Brothers Entertainment, 2006). 69. Beaumont, Complete Book of Ballets, p. 777. 70. John O. Perpener III, “African-American Dance and Sociological Positivism During the 1930s,” Of, By, and For the People: Dancing on the Left in the 1930s, Studies in Dance History, Vol. 5, No. 1, Spring 1994, p. 23. 71. Jacqui Malone, The Visible Rhythms of African American Dance: Steppin' on the Blues (Urbana: University of Illinois Press, 1996), pp. 74–7; Marshall and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance (New York: Schirmer Books, 1968), pp. 125–31, 142, 145–7; George White and Nanette Kutner, “The Song and Dance Game,” The Dance, February 1927, pp. 32, 63. 72. Page, “Part Three: In Appreciation,” p. 98. 73. David Levering Lewis, When Harlem Was in Vogue (New York: Penguin Books, 1997), pp. 171–2. 74. William Howland Kenney, Chicago Jazz: A Cultural History, 1904–1930 (New York: Oxford University Press, 1993), pp. xi–xv, 3–34, quotation, p. 17. 75. Ibid., p. 24. 76. See Levering Lewis, When Harlem Was in Vogue, in particular the section on “Negrotarians” (Zora Neale Hurston's term), pp. 98–103. 77. Levering Lewis, When Harlem Was in Vogue, pp. 91–2, 164–5, 206–7, 245–6; Ethan Mordden, Sing for Your Supper: The Broadway Musical in the 1930s (New York: Palgrave Macmillan, 2005), pp. 94–5. 78. Perpener, “African American Dance and Sociological Positivism,” p. 26. 79. Katherine Dunham, Island Possessed (1969) (reprint, Chicago: University of Chicago Press, 1994), p. 146. 80. Martin, Ruth Page, p. 87. 81. See, for example, John Martin, “The Dance: An American Art,” New York Times, April 3, 1932, p. X11. ProQuest Historical Newspapers. 82. Page, Page by Page, p. 126. 83. Martin, Ruth Page, p. 88. 84. Ruth Page Scrapbooks, Vol. 7, RPC, NYPL-PA. 85. Arvey, William Grant Still, pp. 7–8." @default.
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• W2012116157 title "Choreographing Identities beyond Boundaries:La Guiablesseand Ruth Page's Excursions into World Dance (1926–1934)" @default.
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