Roger Pryor Dodge - Knowledge

477: 1154:. New York:The Record Changer (June) "Armstrong sells very good. Maybe he went a little commercial in order to do so. But what do we mean by 'going commercial'? It is very possible that the change in Armstrong's playing made him sell well, or will it be said that in order to sell well he changed, then it is 'going commercial,' but if one changes with none but a musical motive and because of it sells well, I cannot see that we are justified in calling that person commercial." 1416:. English Miscellany: A Symposium of Literature, History and the Arts, Edited by Mario Praz, Vol. 23. Rome: Edizioni di Storia e Letteratura (for the British Council). 75-112 "Bodily restriction channels expression more significantly than does bland comfort, and prompts the actor to express himself esthetically, rather than emotionally...An actor who can feel at ease in Elizabethan clothes is psychologically prepared to give a convincing reading of Shakespeare's lines." 285: 1369:. New York:The Jazz Review (November 1959, January 1960) “I find folk expression alone far more significant than any individual expression that fails to take advantage of folk material. Folk expression seems to be the result of a built-in mechanism, like a bird’s nest-building instinct, which provides a powerful and unselfconscious driving force for the creation of strong and healthy art forms.” 277: 414:

from the photographers who had taken studio portraits of Nijinsky in his various roles. At times skipping meals to afford them, he assembled the most comprehensive collection of photographic images of Vaslav Nijinsky. By 1937 memory of Nijinsky had faded, prompting Dodge to help revive interest by donating his collection to the Dance Collection of the

1219:. New York:Jazz Monthly (May) "Everything about the 'twenties' is interesting, including Bubber's wa-wa. The period demonstrates what happens when an indigenous music is transplanted into artistically sterile ground and is commercially trimmed to popular taste. Bubber was one of the products of this period, a victim of it, but still a great man." 503:, “and always had tumultuous discussions about art, dance, theatre, comedy. He rarely accepted other people’s understanding of his theories, even if they repeated them ‘verbatim’. He suspected it to be a superficial echo, rather than an inner experience.” Dodge was instrumental in Dehn’s appreciation of the importance of film for dance. 1631:

impossible to omit Dodge from any serious discussion of jazz criticism, a field to which he brought a unique perspective—that of a professional dancer and choreographer who had worked with jazz music and jazz musicians, who had a profound knowledge of and real love for baroque and pre-baroque Western

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1931. Private recording of “Bubber” Miley. "...one of the greatest artists of our time...he held a unique position among the jazz musicians of the late twenties..." Dodge recorded Bubber's variations on “King of the Zulus” and “Black and Tan Fantasy,” accompanied on piano by Anne Dodge (Dodge’s first

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To illustrate the potential for the future of jazz, Dodge asserted that “jazz has reached the highest development of any folk music since the early Christian hymns and dances grew into the most developed contrapuntal music known to history.” Considering current taste, he added, “When I hear an early

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He did perform these dances at home for Mura Dehn, and in addition, a new version of an early jazz dance composition. Dehn wrote that these pieces were a summation of his knowledge of and reflections on dance, performed with the style of an average middle-aged gentleman with artistry and taste. She

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Nijinsky’s career ended in 1917. As he had never been filmed, Dodge realized that the only available means to experience Nijinsky’s greatness would be through photography. While in Paris taking ballet lessons and with the foresight to preserve a photographic record, Dodge proceeded to order prints

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92nd Street Y: “Dance Recital of Concert Jazz” with Mura Dehn – solo in “Dance Composition No. 2,” “Black and Tan Fantasy” and “Jazz Toccata”; with Dehn in “Man in the White Costume,” “St. Louis Blues,” with Susanne Remos in “Black and WhiteBlues”; “The Lion Act” for six dancers, choreographed by

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In response to the great importance accorded written jazz, either composed or arranged, in 1934 Dodge offered an appreciation of the improvised solo in "Harpsichords and Jazz Trumpets." He maintained that “improvisation is absolutely imperative to the development of an art form such as music and

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music during its early-to-mid 20th century revival, and in an effort to identify a reliable common style element applicable to various period genres, in 1955 he published “The Importance of Dance Style in the Presentation of Early Western Instrumental Music.” (view article at External links)

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The first American dancer I knew well was Roger Pryor Dodge taught me more about alternative forms of movement than I would ever gain from book or picture close observation of Fokine’s early ballets and Nijinsky’s performance and choreography kindled my own attempts to study theatrical

978:. In his first article, “Negro Jazz,” a response to reviews at the time, Dodge argued that "the word 'jazz' is being used too loosely and too indiscriminately by persons who have little perception of the true nature of the embryonic form now developing amongst us," and that “ 1089:, New York:Harcourt Brace and Co. "Perhaps the most interesting part of all is the last chapter, in which Roger Pryor Dodge dissects the past sins of a number of jazz critics, and succeeds in establishing, if not a set of standards, at least a good critical attitude." 982:

selected that stalest of decadent forms the rhapsody; an episodic form that allows the furthest possible departure from the logical carrying to completion to a single musical idea, and hence, probably the form more remote from the genuine jazz ideal than any other.”

31: 1384:: "I do say that the creativeness in the dance comes from the dancer and not the choreographer... no group presentation, even with all the power it derives from a multitude of bodies in motion, can project the aesthetic impact of a great solo dancer." 1285:. New York:JAZZ (March) "I say go and hear Wanda Landowska...who has a style of execution similar, no doubt, to the great harpsichordists of that other era—the harpsichordists whose rhythm at that time must have been as vital as the barrel-house and 241:

Self-taught, his original thinking contributed to the understanding of the relationship of jazz to classical music and to dance. He endeavored to break down barriers between jazz and other 'serious' art forms and build the respect it deserved.

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among others. For years, he performed these pieces in multiple locations in New York, brought a dance trio to perform in Paris, and filmed several of these numbers years later, c1937. His performance career ended in 1942 due to a back injury.

1550:, Dodge would return disappointed, for the musicians tended to improvise in a contemporary rather than period style. Fundamental aspects of playing style were a concern Dodge also applied to early classical music performance. 1307:. London:Jazz Forum II (September) (and Berkeley:Circle)"It is the dancers who can do difficult steps with the ease with which a child can skip, who not only receive but give the greatest pleasure." 1680:

Roger Pryor Dodge Archive, Jerome Robbins Dance Division of the New York Public Library at Lincoln Center. Contains photographs, performance programs and reviews, manuscripts, and 16mm films.

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exhibited thousands of inventions on his harpsichordfor although his published compositions are witnesses to his genius, yet to judge of his profound learning, you must hear him improvise.

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Dodge filmed a number of his dances with Mura Dehn and other partners. Video transfers are available in the Dance Division of the New York Public Library. (see also External links)

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and see how much more the Negro now enjoys the latter, I realize that the blues have been superseded and white decadence has once more ironed out and sweetened a vital art.”

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Mr. Dodge knows jazz dancing the way some Russians know ballet. He has codified it from years of research. He explodes into its action with violent and sustained excitement.

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Upon his return to New York in 1921, Dodge continued studying with Michel Fokine (1922). His desire to explore dance expression beyond ballet inspired him in 1922 to study

1356:. New York:The Jazz Review (December). "the singing something extraordinary in itself and the most glorious music...The most infectious part of Cuban music is the 702:: multiple appearances with jazz dance trio with Arthur Mahoney and Jack Nile in "East St. Louis Toodle-Oo," "Black & White Review," and "Manhattan Serenade" 1096:. New York: H.R.S. Society Rag (October) "...one of the greatest artists of our time. He was a musician packed with half-formed ideas for written composition." 2189:

Roger Pryor Dodge and Mura Dehn (Motion Picture). New York Public Library Performing Arts Research Collections – Dance. Call No. *MGZHB 6-1496 Hand viewer

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They formed a professional dance relationship and appeared in each other’s choreography. Dodge filmed their dances c1937. They frequented the Harlem and

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The Brooklyn Museum Dance Center: “The Young Choreographers’ Dance Laboratory,” a Federal Theatre Project – 4 performances with Mura Dehn, January – May

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Paramount Theater (Gaumont-Opéra cinema), Paris: “Lilies of the Field” presented as “Roger Dodge et Ses Cinq Vagabonds,” including Arthur Mahoney, to "

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Harker, Brian. Louis Armstrong, Eccentric Dance, and Evolution of Jazz on the Eve of Swing. Journal of the American Musicological Society (April 2008)

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1954. Georgia Peach (born Clara Hudman), gospel singer. Dodge maintained that Georgia Peach’s singing was a truer expression of gospel than that of

496:.” As Dehn states, their pieces were “A daring jump into the Modern-Grotesque for the producer: a first such experiment in a commercial musical.” 776:

Park Theater (Columbus Circle): “Men In The Dance,” a program against war, fascism, and censorship, “St. Louis Blues” and “Decadence,” music by

234:, and jazz dancer, as well as a choreographer and pioneering jazz critic. He formed the first extensive collection of photographic portraits of 1620:. The book includes Dodge's writing on dance, and jazz record reviews published in The Record Changer, The Jazz Record, JAZZ, and Jazz Forum. 887:

Dodge opened a studio at 52 E. 8th Street mid-1930s where he filmed dancers: "See Yourself As Others See You...Have Your Act or Dance Filmed"

2345: 1377: 1530:, piano: James Francis and John Ephraim. "Georgia Peach can claim the most subtle and ecstatic Negro religious voice of modern times." 2296:. New Perspectives on Jazz. Ed. David N. Baker. Washington, D.C.: Smithsonian Institution Press, 1989.71-88 (Response to Amiri Baraka) 1538:

In 1960, Dodge’s son transcribed his father's favorite trumpet, clarinet and trombone solos for an ensemble that included clarinetist

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Bouché’s Villa Venice (Chicago): Jazz Duo with Barbara Williams, in “King of the Zulus,” “Black and White Blues,” “St. Louis Blues” (

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starring Vaslav Nijinsky. This pivotal experience inspired Dodge to study classical ballet, attend performances of and study with

2360: 470: 689:"; Dodge’s admiration of Miley, Ellington’s lead trumpet, inspired Dodge to choreograph several jazz dances to his recordings 732:: American Creators Fashion Show: Jazz Duo with Irene McBride in “‘Zulu King’ Dance” (“King of the Zulus” by Armstrong) 769: 351: 1644:

Dodge’s writing presented the richest ideas in early jazz criticism because he heard the art within a serious context…

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Balge, Marjorie. "William de Leftwich Dodge: American Renaissance Artist." Art & Antiques (January–February 1982)

897:, Maria-Theresa Kruger (Duncan), Elise Dufour, Arthur Mahoney, Jack Nile, Alfred Leagins, Anita Avila, Susan Remos, 2340: 1163: 685:: trio with Arthur Mahoney and Jack Nile, with "Bubber" Miley solo cornet accompaniment playing Duke Ellington’s " 1502: 550: 264:

Jazz inspired Dodge to crystalize a unique style of white American dance, whereupon he choreographed dances to

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Master Institute Theatre: “The Young Dancer” – with Susanne Remos “Black and White” and “Boogie Woogie Strut”

538:: Michio Itō's “Pin Wheel Revue” included Dodge’s burlesque skit, “Lilies of the Field,” for six male dancers 823: 859:

The New School for Social Research: Modern Dance Recital, "Jazz Toccata" and "Dance Composition I & II"

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Bacon, Anne. The Jazz Writings of Roger Pryor Dodge. 1974 (original typescript, Roger Pryor Dodge Archive)

1566:, together with a home-made white papier mâché mask. Three dances were to be accompanied by excerpts from 1249:. London:The Dancing Times (May) "He brought something new to the company , a something I would call fine 1086: 801: 375: 269: 914:

Bunk Johnson, Mrs. Johnson, and William Russell in Washington Square Park, New York, 1946 (silent film)

1968: 1362:." This article is informed by four trips to Cuba, 1938-1951, and Dodge's over 200 sexteto recordings. 1065: 554: 1173:. New York:The Record Changer (February) (An earlier and shorter version of this; article appeared in 1660: 1589: 1567: 298: 297:

Dodge was born in Paris during one of the family’s extended sojourns. His father, American muralist

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Century Roof Theatre: The Illustrator’s Show, “Fly Swatter’s Ballet” for eight amateur male dancers

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At the age of 75, thirty years after his last performance, Dodge intended to film himself in five

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The New School for Social Research: “Second Modern Dance Recital,” solo in “Black and Tan Fantasy”

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Practically every book on Nijinsky has borrowed from the Dodge collection, beginning in 1934 with

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Classical music, and who did not follow fashion in any of his artistic or intellectual pursuits.

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Kirstein comments on viewing Dodge's performance to Ellington's "Black and Tan Fantasy" in 1935:

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Cruise Tour: Jazz Duo with Irene McBride on The National Tours Cruise’s “The Berlin Follies” to

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Dehn, Mura. Roger Dodge—A Jazz Dancer. 1974 (original typescript, Roger Pryor Dodge Archive)

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Studio: Mura Dehn dance concert with Dodge, Arthur Mahoney, accompanied by “Bubber” Miley

604: 1432:"When she dances everything else is forgotten; the other dancers, choreography and all." 1253:—not to be confused with pantomime. Strictly speaking, Lifar is not a ballet dancer. He 2228: 2006: 1811: 1381: 902: 838: 777: 575: 355: 314: 254: 250: 246: 1956: 894: 2323:

The Importance of Dance Style in the Presentation of Early Western Instrumental Music

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The Importance of Dance Style in the Presentation of Early Western Instrumental Music

846: 784:: American Creators Fashion Show: Jazz Duo with Irene McBride in “‘Zulu King’ Dance” 426: 334: 488:, a recent Russian émigré, when they each presented their jazz dance numbers in the 245:

Dodge’s taste in jazz was formed in 1924, initially from listening to recordings of

1874: 1654: 971: 792: 710: 678: 430: 370:”), and shortly thereafter, to leave for Paris to continue his ballet studies with 994: 988: 987:

dancing,” and referring to contemporary evidence from 1639 for support, he quoted

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would have danced in that manner. However his jazz piece was wild with abandon.

772:: “First Modern Dance Recital,” solo in “Black and Tan Fantasy”(Miley-Ellington) 588: 1931: 1857: 1837:“The Pictorial Revue” by Famous Artists Will Make N.Y. “Sit Up and Take Notice” 1637: 1562:

solo court dances. His costume was based on a print of Faune in Le Triomphe de

1319: 809:: “First National Dance Congress Festival,” solo in “Boogie-Woogie,” (music by 633: 500: 466: 363: 265: 2315: 1663:: Dodge's record collection of jazz and Cuban sexteto 78s was donated in 2007. 727:

Roxy Theater: Jazz trio "Manhattan Serenade" with Arthur Mahoney and Jack Nile

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Illustrators Stage Their Annual Show, ‘A Pictorial Review,’ at Century Roof

1543: 1527: 1430:: The Poverty of the Contemporary Dance and the Inadequacy of Choreography. 1011: 827: 704: 659: 592: 476: 258: 401:

School, Isadora Duncan technique with Elise Dufour, and modern dance with

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Dance Index vol 7, nos. 4, 5. 1948 Dance Index-Ballet Caravan, Inc. p.108

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In response to the vital swing Dodge felt missing in interpretations of

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Dodge created his earliest choreography in 1922 for all-male ensembles.

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in New Jersey, but quit before graduating. Later the family moved to

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The Interpretations of the Music of the XVIIth and XVIIIth Centuries

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A Listener's Hierarchy in Jazz: Historical Precedents for the Future

1563: 1342:(Preludes & Fugues). Great Barrington:High Fidelity (November) 979: 851:

Bayes Theatre: Edwin Strawbridge ballet company with Lisa Parnova,

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Roger Pryor Dodge Archive: films of Léo Staats, Nikolai Legat,

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Metropolitan Opera: Dodge created the role of “White Wings” in

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Casino de Buenos Aires: “Los Excentricos,” solo vaudeville act

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Categorical Terms in Jazz: Improvisation versus Arranged Jazz

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Dodge, Roger Pryor. "Jazz in the Twenties." JAZZ (July 1942)

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Federal Theatre Project: “Dance Program for Young Folk” – “

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of Music: “Joseph And His Brethren,” a ballet-pantomime by

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Miley accompanies Dodge for four months in “Sweet and Low”

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The Possibility of Comparison Within and Between the Arts

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Dodge and Dehn dancing to East St. Louis Toodle-Oo, 1937

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The Deceptive Nature of Sensuousness in Ensemble Playing

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The Famous Georgia Peach: Gospel in the Great Tradition

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ballroom social dance partner introduced him to ballet—

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Hot Jazz and Jazz Dance: Collected Writings, 1929-1964

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Hot Jazz and Jazz Dance: Collected Writings, 1929-1964

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Hot Jazz and Jazz Dance: Collected Writings, 1929-1964

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In 1930, Dodge formed a male trio with Jack Nile, and

1226:. New York:The Jazz Review (May) (an appreciation of 749:, in “Black and White Blues” and “King of the Zulus” 1476: 1930:Caricature of “Skyscrapers” by Miguel Covarrubias, 1419: 813:), and with group in “The Man in the White Costume” 1522:. To promote her art, he produced the 12 inch LP: 1147:. New York:The Record Changer (March & April) 313:. Upon their return, Dodge spent his childhood in 2244:Williams, Eugene. Jazz Information (October 1939) 1608:In an effort to republish Dodge’s jazz articles, 1456:The Comedian Theatre: The True Art of the Theatre 506: 440:Under Acknowledgements, Lincoln Kirstein writes: 280:James "Bubber" Miley and Roger Pryor Dodge, c1930 2332: 1592:. He did not live to see the project completed. 1584:Organ Sonata. The other two were a sarabande by 1062:Negro Jazz as Folk Material for Our Modern Dance 226:(21 January 1898 — 2 June 1974) was an American 2154:(editorial). The Dance Observer (February 1936) 1030: 469:who he had met during their engagements at the 2294:Jazz Criticism and its Effect on the Art Form 1526:, Classic Editions, 16 tracks; Guitar/banjo: 957:Private studio, 52 East 8th Street, New York 845:, choreography by Dodge, music excerpts from 457: 1436:The Concert Dance: A Fugitive to be Captured 1183:– London:The PL Yearbook of Jazz, edited by 1010:record of Bessie Smith and then listen to a 16:American ballet, vaudeville, and jazz dancer 2310:Vaslav Nijinsky—Creating a New Artistic Era 1378:The Journal of Aesthetics and Art Criticism 826:): “The Eternal Prodigal,” choreography by 437:, drawing from half of Dodge’s collection. 2283:. New York:Oxford University Press, 1995.v 1899:Society Awaits Jazz Ballet at Metropolitan 1889:. The New York Times (8 February 1926): 25 1234:Articles on dance, classical music, Cuban 305:, would visit to paint and exhibit at the 202: 29: 1854:The Illustrators’ Show Clever and Amusing 1211:. New York:The Record Changer (September) 1140:). New York:The Record Changer (October) 721:Roxy Theater: Jazz Duo with Jack Nile to 170: 1733:(New York:Oxford University Press, 1995) 1349:. Cambridge:The Music Review (November) 1312:The Place of Space and Time in the Dance 1268:. New York:The American Dancer (March) 623:’s "Skyscrapers," the first jazz ballet 475: 362:and Fokina in 1919-1920, experience the 283: 275: 1975:. The New York Times (13 February 1935) 1204:. New York:The Record Changer (March) 945:De Revuelta Dance Studio, New York 1941 408: 378:, who had partnered with Nijinsky, and 135: 2333: 1725: 1723: 1721: 1533: 1340:Landmark: Landowska Completes the "48" 1300:). New York Herald Tribune (February) 599:’s South American tour to perform in “ 143: 2129:The New York Times (22 November 1936) 1826:. The New York Times (12 May 1923):15 1673:"Roger Dodge Dies; A Choreographer,” 1391:. London:The Dancing Times (January) 1251:emotional expression through movement 517:Dodge entered the Metropolitan Opera 480:Roger Pryor Dodge and Mura Dehn, 1937 288:"The Man in the White Costume," c1934 178: 2346:20th-century American ballet dancers 2167:. The American Dancer (January 1937) 1919:‘Skyscrapers’ Here with ‘Jazz’ Score 1887:AMERICAN BALLET 'SKYSCRAPERS' FEB.19 1171:Attitude Towards Early and Late Jazz 948:Fred Le Quorne Studio, New York 1942 936: 918:In a Jazz Way: Portrait of Mura Dehn 911:, about Lisa Parnova by Dodge, 1937 882: 849:’s “Scotch” and “Italian” Symphonies 257:, introduced Dodge to recordings of 1921:. New York World (20 February 1926) 1746:(New York:Simon and Schuster, 1934) 1718: 1546:. After rehearsals recorded on his 1509: 1335:. New York:Dance Magazine (August) 1305:A Non-Aesthetic Basis for the Dance 1134:Jazz Critic Looks at Anthropologist 799:with choreography by Arthur Mahoney 13: 2116:. The Dance Observer (24 May 1936) 2077:The New York Times (16 March 1936) 2075:New Dance League Presents Recital. 2003:Men Dancers Win Ovation in Recital 1809:Itow’s Dancers in “The Pin Wheel.” 1603: 1389:Tradition in Ballet: Les Sylphides 1017: 942:Chester Hale School, New York 1935 770:The New School for Social Research 631:Metropolitan Opera corps de ballet 617:Metropolitan Opera corps de ballet 586:Metropolitan Opera corps de ballet 565:Metropolitan Opera corps de ballet 546:Metropolitan Opera corps de ballet 533:Metropolitan Opera corps de ballet 14: 2372: 2303: 2051:. The American Dancer (June 1935) 2038:. The Dance Observer (4 May 1935) 1824:Illustrators Act in Amusing Skits 1759:(New York: Alfred A. Knopf, 1975) 1494:Critique of Aesthetic Judgement, 1477:Unpublished criticism (selection) 1294:Dancing on Skates: Correspondence 2178:Young Choreographers' Laboratory 2090:. The American Dancer (May 1936) 2064:. The American Dancer (May 1936) 1616:to Dodge’s oeuvre, resulting in 1420:Unpublished articles (selection) 909:A Day in the Life of a Ballerina 301:, a first place laureate of the 174: 139: 2286: 2273: 2260: 2247: 2238: 2218: 2215:. London: Novello and Co., 1915 2205: 2192: 2183: 2170: 2157: 2145: 2132: 2119: 2106: 2093: 2080: 2067: 2054: 2041: 2029: 2012: 1995: 1986:The Dance—Some American Dancers 1978: 1973:Large Audience at Dance Recital 1962: 1946: 1937: 1924: 1908: 1892: 1880: 1863: 1846: 1829: 1817: 1802: 1793: 1772:. The Nation (27 February 1935) 1770:The Dance—Some American Dancers 1314:. London:Jazz Forum (January) 1275:. New York:Dance Herald (April) 198: 166: 131: 2361:American expatriates in France 2225:Harpsichords and Jazz Trumpets 1784: 1775: 1762: 1749: 1736: 1709: 1700: 1691: 1197:. New Orleans:Playback (June) 1160:The Psychology of the Hot Solo 1051:Harpsichords and Jazz Trumpets 855:, Dodge in the role of Gepetto 642:“Lilies of the Field” on tour 636:: Adolph Bolm Ballet Co. with 507:Dance performances (selection) 374:, one of Nijinsky's teachers, 249:and others, then refined when 1: 2253:Dodge, Roger Pryor. "Bubber" 2142:. New Theatre (February 1936) 1684: 1553: 1461:Utility Basis of Architecture 1441:The Non-Esthetic Basis of Art 329:in Philadelphia, followed by 292: 94:dancer, choreographer, writer 1031:Articles on jazz (selection) 952: 841:,” based on a fairy tale by 683:Chanin's 46th Street Theatre 640:, “The Tragedy of the Cello” 345: 7: 2088:Recital of Men in the Dance 1648: 970:Enthusiastic reception of " 931: 650:“Lilies of the Field” tour 10: 2377: 1202:Jazz: Its Rise and Decline 1128:. New York:JAZZ (December) 1110:. New York:JAZZ (January) 1066:Cambridge University Press 960: 761:), and “That Naughty Man” 570:: Dodge performs with the 458:Dance partners (selection) 2103:. New Theatre (July 1936) 1661:Institute of Jazz Studies 1580:'s Wedding Cantata and a 1471:Byzantine Art: Its Origin 1333:Nijinsky: An Appreciation 920:, by Louise Ghertler and 484:The same year, Dodge met 299:William de Leftwich Dodge 213: 110: 98: 90: 80: 62: 37: 28: 21: 1677:(Obituary) (4 June 1974) 1667: 1501:A History of Aesthetic, 1451:Towards a Science of Art 1103:. New York:JAZZ (July) 1001:But above all the great 687:East St. Louis Toodle-Oo 471:Metropolitan Opera House 340: 2341:American choreographers 2327:Retrieved 19 July 2020. 2318:Retrieved 19 July 2020. 2312:Retrieved 19 July 2020. 2062:Joseph and His Brethren 2049:Men in the Modern Dance 1903:New York Herald Tribune 1614:Oxford University Press 1396:The Image and the Actor 1367:Jazz Dance, Mambo Dance 1266:On Nijinsky Photographs 1145:The Dance-Basis of Jazz 965: 843:Hans Christian Andersen 820:Federal Theatre Project 725:'s “Call of the Freaks” 568:Allentown Lyric Theatre 416:New York Public Library 106:photographic collection 2202:. Dance (January 1938) 1646: 1634: 1466:Architecture Criticism 1007: 991:’ experience in Rome: 709:Alps Castle: Duo with 481: 455: 447: 327:Phillips Brooks School 289: 281: 2235:, July–September 1934 2176:Kaye, Joseph Arnold. 2127:The Dance: WPA Debut. 2086:Kaye, Joseph Arnold. 2060:Kaye, Joseph Arnold. 2047:Kaye, Joseph Arnold. 2024:The Morning Telegraph 2020:‘Men in Dance’ Prance 1642: 1629: 1623:In the Introduction, 1488:Aesthetic Judgement, 1257:ballet, but does not 1238:, theater (selection) 1120:. New York:JAZZ (May) 999: 741:Radio City Music Hall 479: 451: 442: 331:The Pennington School 287: 279: 2325:, Music Review, 1955 2279:Dodge, Roger Pryor. 2180:. Dance (March 1937) 2140:The Dancer Organizes 1905:(14 February 1926):1 1729:Dodge, Roger Pryor. 1596:could envision that 1327:. The Ballet (March) 1175:The Atlantic Monthly 1101:Jazz in the Twenties 1087:Charles Edward Smith 1083:Frederic Ramsey, Jr. 1073:Consider the Critics 804:: "Men in the Dance" 621:John Alden Carpenter 536:Earl Carroll Theatre 409:Nijinsky photographs 309:, often residing in 303:Ecole des Beaux Arts 270:James "Bubber" Miley 2211:Dolmetsch, Arnold. 2114:Variety and Theatre 1984:Kirstein, Lincoln. 1959:(13 January 1929):6 1835:Johnstone, Will B. 1768:Kirstein, Lincoln. 1755:Kirstein, Lincoln. 1534:Attempts at revival 1482:Art as Experience, 1374:Letters Pro and Con 1273:Dance in the Cinema 1192:France's Answer to 555:"Artists and Models 268:'s recordings with 2163:Vitak, Albertina. 2101:The Dance Congress 2018:Verrill, Dorothy. 2007:The New York Times 1992:(27 February 1935) 1934:(3 April 1926): 27 1869:Rathbun, Stephen. 1852:Darnton, Charles. 1812:The New York Times 1742:Nijinsky, Romola. 1675:The New York Times 1382:Selma Jeanne Cohen 1115:Correspondence on 839:The Little Mermaid 778:Baldassare Galuppi 557:—A Novelty Revue" 482: 356:Les Ballets Russes 325:. He attended the 290: 282: 255:Harlem Renaissance 251:Miguel Covarrubias 247:Fletcher Henderson 2292:Crouch, Stanley. 2198:Chujoy, Anatole. 1841:The Evening World 1814:(11 June 1922):82 1598:George Washington 1573:Orfeo ed Euridice 1503:Bernard Bosanquet 1426:Illuminations by 1354:The Cuban Sexteto 1289:piano of today." 1057:(July–September) 937:Modern jazz dance 883:Films (selection) 880: 879: 847:Felix Mendelssohn 673:Shubert Theatre: 350:In 1916, Dodge’s 335:Greenwich Village 224:Roger Pryor Dodge 221: 220: 23:Roger Pryor Dodge 2368: 2297: 2290: 2284: 2277: 2271: 2266:Cassels, James. 2264: 2258: 2251: 2245: 2242: 2236: 2233:Hound & Horn 2222: 2216: 2209: 2203: 2196: 2190: 2187: 2181: 2174: 2168: 2161: 2155: 2149: 2143: 2136: 2130: 2123: 2117: 2112:Gilfond, Henry. 2110: 2104: 2097: 2091: 2084: 2078: 2071: 2065: 2058: 2052: 2045: 2039: 2033: 2027: 2016: 2010: 1999: 1993: 1982: 1976: 1966: 1960: 1950: 1944: 1941: 1935: 1928: 1922: 1912: 1906: 1896: 1890: 1884: 1878: 1875:The New York Sun 1867: 1861: 1850: 1844: 1833: 1827: 1821: 1815: 1806: 1800: 1797: 1791: 1788: 1782: 1779: 1773: 1766: 1760: 1757:Nijinsky Dancing 1753: 1747: 1740: 1734: 1727: 1716: 1713: 1707: 1704: 1698: 1695: 1655:The Spirit Moves 1636:Appreciation by 1510:Sound recordings 1365:1959 & 1960 1296:(Edwin Denby on 1166:I (May or June) 1055:Hound & Horn 972:Rhapsody in Blue 802:Majestic Theatre 793:Juilliard School 711:Maria Gambarelli 679:Jimmy McPartland 511: 510: 435:Nijinsky Dancing 431:Lincoln Kirstein 384:maître de ballet 206: 204: 200: 182: 180: 176: 172: 168: 147: 145: 141: 137: 133: 102:jazz criticism, 69: 48:January 21, 1898 47: 45: 33: 19: 18: 2376: 2375: 2371: 2370: 2369: 2367: 2366: 2365: 2331: 2330: 2306: 2301: 2300: 2291: 2287: 2278: 2274: 2265: 2261: 2257:(October 1941). 2255:HRS Society Rag 2252: 2248: 2243: 2239: 2223: 2219: 2210: 2206: 2197: 2193: 2188: 2184: 2175: 2171: 2162: 2158: 2150: 2146: 2137: 2133: 2124: 2120: 2111: 2107: 2098: 2094: 2085: 2081: 2072: 2068: 2059: 2055: 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Dance 2151: 2147: 2139: 2134: 2126: 2121: 2113: 2108: 2100: 2099:Ocko, Edna. 2095: 2087: 2082: 2074: 2069: 2061: 2056: 2048: 2043: 2036:Men in Dance 2035: 2031: 2026:(5 May 1935) 2019: 2014: 2009:(4 May 1935) 2002: 1997: 1985: 1980: 1972: 1969:Martin, John 1964: 1953:Au Paramount 1952: 1948: 1939: 1926: 1918: 1915:Downes, Olin 1910: 1898: 1894: 1886: 1882: 1870: 1865: 1853: 1848: 1836: 1831: 1823: 1819: 1808: 1804: 1795: 1786: 1777: 1769: 1764: 1756: 1751: 1743: 1738: 1730: 1711: 1702: 1693: 1674: 1657:by Mura Dehn 1643: 1635: 1630: 1622: 1617: 1607: 1594: 1571: 1557: 1544:Roswell Rudd 1537: 1528:Danny Barker 1523: 1517: 1513: 1470: 1465: 1460: 1455: 1450: 1445: 1440: 1435: 1425: 1410: 1408: 1395: 1393: 1388: 1386: 1373: 1371: 1366: 1364: 1357: 1353: 1351: 1346: 1344: 1339: 1337: 1332: 1330: 1318: 1311: 1309: 1304: 1302: 1293: 1291: 1280: 1278: 1272: 1265: 1263: 1258: 1254: 1250: 1243: 1241: 1223: 1221: 1217:Bubber Miley 1216: 1214: 1208: 1201: 1199: 1191: 1189: 1180: 1177:, July 1944) 1170: 1159: 1157: 1151: 1144: 1142: 1133: 1131: 1123: 1114: 1107: 1105: 1100: 1098: 1093: 1091: 1076: 1072: 1070: 1061: 1059: 1050: 1048: 1041:Jazz Contra 1040: 1036: 1034: 1021: 1012:Cab Calloway 1008: 1000: 993: 985: 969: 956: 917: 916: 913: 908: 907: 892: 889: 886: 852: 828:Gluck Sandor 816:Ritz Theatre 705:Gluck Sandor 700:Roxy Theater 660:Marche slave 593:Buenos Aires 589:Teatro Colón 498: 483: 464: 461: 452: 448: 443: 439: 434: 425:by his wife 422: 420: 412: 392: 352:Ritz-Carlton 349: 296: 263: 259:Bessie Smith 244: 240: 223: 222: 68:(1974-06-02) 66:June 2, 1974 2356:1974 deaths 2351:1898 births 1612:introduced 1540:Joe Muranyi 1490:D. W. Prall 1412:Shakespeare 1406:). 175-209 1298:Sonja Henie 1245:Serge Lifar 1075:(chapter). 1003:Frescobaldi 922:Pamela Katz 905:and others 903:Bill Matons 723:King Oliver 664:Tchaikovsky 605:Le Coq D’Or 597:Adolph Bolm 395:eurhythmics 388:Paris Opera 368:Isadorables 323:Long Island 319:Stony Brook 156:Joze Duval 121:Anne Bacon 81:Nationality 2335:Categories 2270:(May 1946) 1990:The Nation 1685:References 1554:Last years 1484:John Dewey 1400:Mario Praz 1164:Jazz Forum 1117:Lu Watters 1053:. Harvard: 1037:Negro Jazz 926:The Mooche 899:Joe Frisco 811:Cleo Brown 675:Billy Rose 490:Billy Rose 403:Michio Itō 380:Léo Staats 366:Dancers (“ 293:Early life 232:vaudeville 173:; 138:; 44:1898-01-21 2138:Tamiris. 1548:Wollensak 1247:: A Study 1224:Throwback 1162:. London: 953:Tap dance 928:" (1937) 853:Pinocchio 638:Ruth Page 601:Petrushka 523:burlesque 486:Mura Dehn 445:movement. 433:produced 346:Education 1955:. Paris: 1744:Nijinsky 1649:See also 1627:writes: 1043:Whiteman 980:Gershwin 932:Teaching 713:"Gamby" 423:Nijinsky 399:Dalcroze 315:Setauket 214:Children 104:Nijinsky 85:American 2229:Harvard 1957:Comœdia 1564:Bacchus 1560:Baroque 1515:wife). 1359:montuno 1236:Sexteto 1078:Jazzmen 1024:Baroque 961:Writing 603:” and “ 525:venues 397:at the 386:at the 317:, near 311:Giverny 207: 195: 183: 163: 159: 148: 128: 124: 111:Spouses 1877:(n.d.) 1860:(n.d.) 1586:Rameau 1582:Handel 1505:, 1892 1498:, 1911 1094:Bubber 1081:, ed. 868:Dodge 824:W.P.A. 747:Havana 492:Show “ 427:Romola 382:, the 360:Fokine 228:ballet 201: 177: 169: 142: 134: 56:France 1799:ibid. 1668:Notes 1568:Gluck 1409:1973 1394:1966 1387:1964 1372:1963 1352:1958 1345:1955 1338:1954 1331:1950 1310:1947 1303:1946 1292:1944 1279:1943 1264:1938 1261:it." 1242:1930 1222:1959 1215:1958 1200:1955 1194:Bebop 1190:1949 1158:1946 1143:1945 1132:1944 1106:1943 1099:1942 1092:1941 1071:1939 1060:1936 1049:1934 1035:1929 873:1940 864:1938 834:1937 789:1936 766:1935 759:Handy 754:1934 737:1933 718:1932 694:1931 670:1930 662:" by 655:1929 647:1928 628:1927 614:1926 583:1925 562:1924 543:1923 530:1922 514:1921 341:Dance 307:Salon 217:Pryor 205:) 197:( 193: 181:) 165:( 161: 146:) 130:( 126: 52:Paris 1578:Bach 1322:and 1255:uses 966:Jazz 574:in “ 203:1945 179:1945 175:ann. 171:1944 144:1941 140:div. 136:1927 63:Died 38:Born 1570:'s 321:on 2337:: 2227:. 2022:. 2005:. 1988:. 1971:. 1917:, 1901:. 1873:. 1856:. 1839:. 1720:^ 1640:: 1576:, 1376:. 1259:do 1230:) 1085:, 1068:) 1046:) 997:: 901:, 818:: 591:, 578:” 553:: 473:. 418:. 405:. 390:. 337:. 261:. 238:. 230:, 199:m. 167:m. 132:m. 54:, 2231:: 1136:( 822:( 607:” 46:) 42:(

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