Article Abstract:
Deborah Zall, who had only thought about being a flamenco dancer, was inspired by Martha Graham to become a flamenco dancer and enrolled herself at the Juilliard School, where the Graham technique was strongly represented in the curriculum. She discusses on her progress as a dancer and choreographer, her tumulus teacher student relationship with her mentor Martha Graham, her affairs, her addiction to drugs and finally about her discovery of the masculine feminine within her.
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Article Abstract:
Alan Good, a member of the Merce Cunningham Dance Company from 1978 to 1994, feels it appropriate to call Cunningham's classes spiritual events, that Cunningham wanted students to feel a call to dance. Cunningham felt that dancers learn from watching each other. The Graham technique is helpful to a Cunningham dancer, who learns to value musicality, the ability to attack and even a kind of contortion. Cunningham's style was theatrical and to him performing involved discovery.
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Article Abstract:
Hugo Fiorato, a violin soloist speaks of his experiences as a violinist in the Carnegie Hal in 1945, and the first ever performance of his at the Ballet Society.
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