KATHERINE DUNHAM

KATHERINE DUNHAM1914-2006DANCER, CHOREOGRAPHER, SONGWRITER, AUTHOR,EDUCATOR, AND ACTIVIST WHO WAS TRAINED AS ANANTHROPOLOGIST. SHE STUDIED CULT AND POSSESSION-TRANCE DANCES IN THE CARIBBEAN.DUNHAM HAD ONE OF THE MOST SUCCESSFUL DANCE CAREERSIN AMERICAN AND EUROPEAN THEATER OF THE 20TH CENTURYAND HAS BEEN CALLED THE "MATRIARCH AND QUEEN MOTHEROF BLACK DANCE".FOR MORE THAN 30 YEARS SHE MAINTAINED THE KATHERINEDUNHAM DANCE COMPANY, THE ONLY PERMANENT, SELF-SUBSIDIZED AMERICAN BLACK DANCE TROUPE AT THAT TIME,AND OVER HER LONG CAREER SHE CHOREOGRAPHED MORETHAN 90 INDIVIDUAL DANCESBESIDE HER SUCCESSFUL PRODUCTIONS, DUNHAM PRODUCEDTALENTED DANCERS, TEACHERS, AND CHOREOGRAPHERS.

KATHERINE DUNHAM

KATHERINE DUNHAMBORN IN CHICAGO , SHE DANCED FOR RUTH PAGE AND ON HEROWN.IN 1943 SHE APPEARED IN THE BROADWAY MUSICAL, CABIN IN THESKY.FROM THERE SHE WENT TO HOLLYWOOD APPEARING IN MOVIES.HER OUTSTANDING SUCCESSES WERE THE TROPICAL REVUES INTHE 1940’S THAT SHE STAGED AND PERFORMED WITH HERCOMPANY.IN 1945 SHE OPENED HER OWN SCHOOL TO ESTABLISH ATECHNIQUE THAT WOULD BE AS IMPORTANT TO THE WHITE MAN ASWELL AS THE BLACK MAN AND TO TAKE BLACK DANCE OUT OF THEBURLESQUE AND MAKE IT MORE DIGNIFIED.THAT JAZZ HAS A LARGE INFLUENCE ON ALL TYPES OF DANCETODAY IS DUE TO DUNHAM AND THE SUCCESS OF HER AIMS.

KATHERINE DUNHAM IN TROPICAL REVUE

PEARL PRIMUS1919-1994AFRICAN AMERICAN DANCER, ANTHROPOLOGIST, AND ASERIOUS CONCERT DANCER. SHE STUDIED WITH MARTHAGRAHAM, DORIS HUMPHREY, CHARLES WEIDMAN, HANYAHOLM, AND LOUIS HORST.SHE COMPOSED DANCES ABOUT THE BLACK EXPERIENCEIN AFRICA AND AMERICA.EARLY IN HER CAREER SHE SAW THE NEED TO PROMOTEAFRICAN DANCE AS AN ART FORM WORTHY OF STUDYAND PERFORMANCE.PRIMUS’ WORK WAS A REACTION TO MYTHS OFSAVAGERY AND THE LACK OF KNOWLEDGE ABOUTAFRICAN PEOPLE. IT FOCUSED ON MATTERS SUCH ASOPPRESSION, RACIAL PREJUDICE, AND VIOLENCE.

PEARL PRIMUS

JAZZ DANCEJAZZ WAS NOT ACCEPTED AS AN ART FORM.ART INCLUDED ONLY HIGH-MINDED, NOBLE, DRAMATICEXPRESSIONS OF HUMANITY.IT AUTOMATICALLY EXCLUDED ANYTHING THAT MIGHT BECOMMERCIALLY SUCCESSFUL.ENTERTAINMENT WAS NOT A WORTHY GOAL, AND JAZZWAS A VERY POPULAR FORM OF ENTERTAINMENT.ALSO JAZZ HAD SEXUAL CONNOTATIONS THAT WERE NOTACCEPTABLE TO MODERN DANCERS.THEY REGARDED SEX AS A NOBLE FULFILLMENT OF MAN’SDEEPEST NATURE AND NOT EQUATED WITH A GOOD TIME.JAZZ TAKES A DIFFERENT VIEW OF THE BODY, WHICHCOMES FROM ITS AFRICAN ORIGIN.

ORIGINS OF JAZZ DANCEWE SAY SOMETHING IS JAZZY IF IT’S LIVELY, SNAPPY, ANDOUT OF THE ORDINARY-IT SWINGS.THE ORIGIN OF JAZZ IS IN AFRICA WITH THE MUSIC ANDMOVEMENT OF PRIMITIVE TRIBES, AND THEN IN THEDEVELOPMENTS AMONG AFRICAN SLAVES WHO WEREBROUGHT TO THE WEST INDIES AND THE AMERICAS.THE SWINGING RHYTHMS AND PELVIC THRUSTS OF JAZZMOVEMENTS EXPRESS A SEXUAL ABANDON THAT SOME INSOCIETY HAVE FOUND OFFENSIVE.IT TOOK A WHILE BEFORE SERIOUS DANCERS COULDRECOGNIZE DUNHAM’S WORK AND TREAT IT WITHRESPECT.

CHARACTERISTICS OFAFRICAN DANCEA. CROUCHED BODY WITH SPINE FLEXIBLE AND LOOSEB. A STRONG ATTACK THAT PROPELS MOVEMENT SHARPLYBACK AND FORTH.C. MOVEMENT THAT STARTS FROM THE PELVIC REGIONAND CONTINUES OUTWARD.D. MOVEMENT THAT SHIMMIES, SHAKES, AND TREMBLES.E. A TENDENCY TO IMPROVISE, WHICH ALLOWS FORFREEDOM OF INDIVIDUAL EXPRESSION.JAZZ SHARES THESE SAME CHARACTERISTICS.

JACK COLE-1911-1974THEATRICAL JAZZ DANCEKNOWN AS THE FATHER OF THEATRICAL JAZZ DANCE.COLE IS REMEMBERED AS THE PRIME INNOVATOR OF THETHEATRICAL JAZZ DANCE HERITAGE.EARLY ON HE DECIDED TO PURSUE DANCE WITH THE DENISHAWNDANCE COMPANY LED BY RUTH ST. DENIS AND TED SHAWN.COLE ALSO PERFORMED WITH DORIS HUMPHREY AND CHARLESWEIDMAN, BUT EVENTUALLY LEFT THE MODERN DANCE WORLDFOR COMMERCIAL DANCE CAREER IN NIGHTCLUBSHE WAS MOST FAMOUS IN HOLLYWOOD FOR HIS WORK WITH RITAHAYWORTH AND MARILYN MONROE.HE COMBINED THE STYLES OF BALLET AND MODERN DANCE WITHTHE RHYTHMS AND ISOLATIONS OF AFRICAN AND EAST INDIANDANCE TO CREATE A JAZZ DANCE TECHNIQUE.

JACK COLEREHEARSINGZIEGFIELDFOLLIES

TAP DANCETAP DANCE EVOLVED FROM THE INFLUENCE OF IRISH JIG ANDAFRICAN TRIBAL DANCE.JITTERBUG , CHARLESTON, RUMBA, SAMBA, AND CONGA AREHYBRID FORMS OF AFRICAN AND COURT DANCE MOVEMENTS.JUBA IS A STEP DANCE LIKE A FLAT-FOOTED JIG WITH THEADDITION OF HIPS AND SHOULDER MOVEMENTS. IT BECAME ASHUFFLING CIRCLE DANCE WITH IMPROVISED ANIMAL MOTIONSAND GESTURES.RING SHOUT WAS ANOTHER AFRICAN CIRCLE DANCE WITHCLAPPING, STAMPING, AND SHUFFLING WITH RHYTHMIC HEELTAPPING.THE OUTSTANDING CHARACTERISTICS OF THESE DANCES WASTHE SYNCOPATED TAPPING, STAMPING AND SWINGINGMOVEMENTS WHICH LED TO TAP DANCING.THE ELEMENT OF IMPROVISATION DERIVED FROM AFRICANDANCE IS STILL A DOMINANT CHARACTERISTIC OF TAP DANCE.

TAP DANCE ARTISTSBILL ‘BOJANGLES’ ROBINSON 1878-1949HE GAINED GREAT SUCCESS AS A NIGHTCLUB ANDMUSICAL COMEDY PERFORMER, AND BECAME ONE OF THETOASTS OF BROADWAY.NOT UNTIL HE WAS 50 DID HE DANCE FOR WHITEAUDIENCES, HAVING DEVOTED HIS EARLY CAREEREXCLUSIVELY TO APPEARANCES ON THE BLACK THEATERCIRCUIT.HE APPEARED IN THE FILM BLACKBIRDS OF 1928 WHICH LEDTO A SUCCESSFUL CAREER IN FILMS MOST NOTABLY WITHSHIRLEY TEMPLE.

BILL “BOJANGLES” ROBINSON

THE NICHOLAS BROTHERSFAYARD - 1914-2006 AND HAROLD -1921-2000BEGAN DANCING AS CHILDREN IMITATING ALL THE BLACKVAUDEVILLE ACTS INCLUDING BILL ROBINSON.THEY GAINED FAME APPEARING AT THE COTTON CLUB INHARLEM.THEIR FAME TOOK THEM TO HOLLYWOOD TO APPEAR INFILMS.THE NIGHTCLUB AND CONCERT CIRCUIT TOOK OVER THEIRCAREER.THEY ARE REMEMBERED FOR THEIR UNIQUELY ATHLETICSTYLE.

THE NICHOLASBROTHERS INSTORMY WEATHER

AMERICAN BALLETACHIEVEMENTS IN MODERN AMERICAN BALLET BEGINNINGIN THE 1930’S CENTERED AROUND THE NAMES OF:A. GEORGE BALANCHINEB. JEROME ROBBINSC. AGNES DE MILLED. ANTONY TUDORE. EUGENE LORINGF. WILLIAM DOLLARG. THE CHRISTENSEN BROTHERSH. RUTH PAGELINCOLN KIRSTEIN 1907-1996LIKE DIAGHILEV HE WAS AN IMPRESARIO WHO DABBLED INSEVERAL ARTS. HE WANTED TO FOUND A SCHOOL ANDCOMPANY FOR HOMEGROWN BALLET IN AMERICA. HECHOSE GEORGE BALANCHINE, A RUSSIAN, TO ACCOMPLISHTHIS.

GEORGE BALANCHINE1904-1983BORN IN ST. PETERSBURG, HE STUDIED BALLET AND MUSIC.HE LEFT RUSSIA IN 1924 WITH A TOURING COMPANY FOREUROPE INCLUDING ALEXANDRA DANILOVA AND TAMARAGEVA.HE WAS APPOINTED CHIEF CHOREOGRAPHER OF BALLETRUSSE WHERE HE CREATED APOLLO AND PRODIGAL SON.AFTER DIAGHILEV’S DEATH HE DRIFTED AROUND.KIRSTEIN WAS IMPRESSED BY APOLLO IN 1927 AND ASKEDBALANCHINE TO COME TO AMERICA IN 1933 ANDBALANCHINE ACCEPTED.

LINCOLN KIRSTEIN (LEFT)GEORGE BALANCHINE

BALANCHINEIN 1934, KIRSTEIN AND BALANCHINE FOUNDED THE SCHOOLOF AMERICAN BALLET AND A PERFORMING GROUP A YEARLATER.BALANCHINE CHOREOGRAPHED UNDER THE AUSPICES OFVARIOUS GROUPS SUCH AS BALLET CARAVAN, ANDBALLET SOCIETY, FORERUNNERS OF NYC BALLET.ON BROADWAY BALANCHINE CHOREOGRAPHED THE SHOWON YOUR TOES FEATURING THE BALLET SLAUGHTER ON10TH AVE.HE CONTINUED TO CHOREOGRAPH SUCCESSFULLY FORBROADWAY AND HOLLYWOOD.IN 1948 NY CITY CENTER INVITED HIS GROUP TO BECOMETHE RESIDENT DANCE COMPANY AND NYC BALLET WASBORN.

SLAUGHTER ON 10TH AVENUETAMARA GEVA, BALANCHINE’S1ST WIFE

THE BALANCHINE DANCERBALANCHINE’S MOTTO: BALLET IS WOMAN.THE BALANCHINE LOOK- STREAMLINED GIRLS WITH LONGLEGS AND NECKS WHO WERE EXCEEDINGLY THIN.HIS DANCERS WERE SPEEDY AND SLEEK AND AS FLEXIBLEAS GUMBY.THIS IDEAL HAS SHAPED THE FASHION FOR ALL BALLETDANCERS FROM THEN ON.

SUZANNEFARRELL,BALANCHINE’SMUSE

BALANCHINE STYLEFOR THE MOST PART, BALANCHINE’S WORKS ARE WITHOUT ANYPLOT.HE STRIVES TO SHOW THE MUSIC THROUGH MOVEMENT.HIS SPATIAL GROUPINGS ARE SIMPLE. DANCERS ARE OFTENLINKED TOGETHER, HOLDING HANDS AND WEAVING IN AND OUT.FLASHY, BRILLIANT LEG WORK EMPHASIZING SPEED IS HISHALLMARK.AT ALL TIMES THE MOVEMENTS COMPLEMENT THE MUSICALMOODS AND STRUCTURES.HIS STYLE IS REFERRED TO AS NEOCLASSIC.THE LEGS ARE PARALLEL SOMETIMES, THE FOOT MAY BE FLEXEDOR THE HAND BENT SHARPLY AT THE WRIST.IT IS ALSO STREAMLINED. ALWAYS THE EMPHASIS IS ON SPEED.

TANAQUIL LE CLERCQ,BALANCHINE’S 4TH WIFE

IMPORTANT BALLETSA. APOLLOB. PRODIGAL SONC. SERENADED. WESTERN SYMPHONYE. STARS AND STRIPESF. CONCERTO BAROCCOG. AGONH. THE FOUR TEMPERAMENTS

THE FOUR TEMPERAMENTSAPOLLO

PRODIGAL SON,MARIATALLCHIEF,BALANCHINE’S3RD WIFE

SERENADE

WESTERN SYMPHONYTANAQUIL LE CLERCQ

STARS AND STRIPES

CONCERTO BAROCCO

AGON

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

AMERICAN CHOREOGRAPHERSABT COMMISSIONED BALLETS FROM FAMOUSCHOREOGRAPHERS:A. ANTONY TUDORB. LEONIDE MASSINEC. MICHEL FOKINED. GEORGE BALANCHINEE. AGNES DE MILLEF. JEROME ROBBINSABT ESPECIALLY FOSTERED AMERICANCHOREOGRAPHERS USING AMERICAN THEMES.

AGNES DE MILLE1905-1993DANCER/CHOREOGRAPHER/WRITER BORN INTO THEFAMOUS DE MILLE FAMILY OF HOLLYWOOD.SHE STUDIED AT BALLET RAMBERT IN ENGLAND THENJOINED ABT AS A DANCER AND CHOREOGRAPHER.HER BEST KNOWN BALLET IS RODEO WITH SCORE BYAARON COPLAND.IT IS AN EXUBERANT PICTURE OF LIFE ON A RANCH WITHCOWBOYS AND COWGIRLS.THE BALLET CLIMAXED WITH A LIVELY AMERICAN SQUAREDANCE AND A NEW FOLK IDIOM WAS ADDED TO THECHARACTER VOCABULARY OF BALLET.

AGNES DE MILLEIN RODEO

OKLAHOMASHE CHANGED THE WAY DANCE IN MUSICALS WERECREATED WITH HER WORK IN OKLAHOMA IN 1943.THE BALLET BECAME INTEGRATED INTO THE STORY TOFURTHER THE PLOT. NO LONGER WERE DANCES MERELYENTERTAINING INTERLUDES.DE MILLE’S WORK ON AMERICAN THEMES SPAWNED OTHERAMERICAN CHOREOGRAPHIES SUCH AS EUGENE LORING’SBILLY THE KID

OKLAHOMA

BILLY THE KIDEUGENE LORING KNEELING CENTER

JEROME ROBBINS1918-1998ONE OF THE MOST IMPORTANT NATIVE AMERICANCHOREOGRAPHERS.HE ALSO BECAME A NOTED DIRECTOR AS WELL ASCHOREOGRAPHER.HE WORKED FOR BOTH MAJOR BALLET COMPANIES, NYCBALLET AND ABT.ROBBINS WORKED HIS WAY UP FROM CORPS DE BALLETTO SOLOIST IN ABT.

ROBBIN’S FIRST BALLETFANCY FREE IS HIS FIRST HIT BALLET ABOUT SAILORS ONLEAVE IN NYC COMPETING FOR THE ATTENTION OFAVAILABLE GIRLS WITH A SCORE BY LEONARD BERNSTEIN.FANCY FREE WAS AN OVERNIGHT HIT GARNERINGACCOLADES FOR ROBBINS.

FANCY FREE

ROBBIN’S STYLEHE HAS A STRONG PERSONAL STYLE.HIS DANCE IS CAREFULLY STRUCTURED AND HE TREATSHIS DANCE FIGURES AS WARM, LIVE PEOPLE WHO MAKESIGNIFICANT HUMAN GESTURES THAT CONVEY CLEAREMOTIONS.ACUTELY CONSCIOUS OF ALL THE FORCES INCONTEMPORARY LIFE, HE BOLDLY EXTENDED HIS BALLETLANGUAGE BY USING THE JAZZ IDIOM.ROBBINS CAN BE CALLED A CONTEMPORARY FOKINE. HEWAS INTERESTED IN EXPRESSING DIFFERENT MOODS ANDFOR SUITING THE GESTURE TO THE THEME.

WEST SIDE STORYHE WILL GO DOWN IN THEATRICAL HISTORY AS THECREATOR OF WEST SIDE STORY, WHICH USES ALLELEMENTS OF THE THEATRE-DRAMATIC ACTION, MUSIC,SONG, DIALOGUE, DECOR, AND DANCE-TO CREATE A 20THCENTURY MUSICAL ON THE ROMEO AND JULIET THEME TOLEONARD BERNSTEIN’S SCORE.HIS GREATEST ACCOMPLISHMENT WAS IN REMAININGFAITHFUL TO THE BALLET AND PANTOMIME CONCEPT IN THECOURSE OF THE DRAMA, CHARACTERIZING THE ACTOR-SINGER-DANCERS THROUGH GESTURE AND MOVEMENTTAKEN FROM EVERYDAY LIFE BUT HEIGHTENED THROUGHSTYLIZATION.

WEST SIDE STORY

WEST SIDE STORY

BROADWAY HITSBROADWAY MUSICALS CHOREOGRAPHED BY JEROMEROBBINS:A. BILLION DOLLAR BABYB. HIGH BUTTON SHOESC. THE KING AND ID. PAJAMA GAMEE. PETER PANF. GYPSYG. WEST SIDE STORYH. A FUNNY THING HAPPENED ON THE WAY TO THE FORUMI. FIDDLE ON THE ROOF

NYC BALLETROBBINS BECAME BALLET MASTER OF THE NEW YORK CITYBALLET IN 1972 AND WORKED ALMOST EXCLUSIVELY INCLASSICAL DANCE THROUGHOUT THE NEXT DECADE.FOR NYC BALLET HE DID THE CAGE, AFTERNOON OF AFAUN, AND DANCES AT A GATHERING.HE WAS ONE OF THE MOST PROLIFIC CHOREOGRAPHERSOF OUR TIME.

THE CAGE

ROBBIN’SAFTERNOON OF AFAUN

DANCES AT A GATHERING

JOFFREY BALLETOTHER AMERICAN BALLETCOMPANIESROBERT JOFFREY ALONG WITH GERALD ARPINO STARTEDA TOURING COMPANY IN THE 1960'S. THEY WERE YOUTHFULAND ENERGETIC AND UPDATED PRODUCTIONS.IT IS NOTED FOR REVIVING CLASSIC WORKS ANDCOMMISSIONING NEW WORKS BY MODERNCHOREOGRAPHERS.DANCE THEATRE OF HARLEMIN 1969 ARTHUR MITCHELL FOUNDED THE DTH AFTERMARTIN LUTHER KING’S ASSASSINATION WANTING TO GIVEBACK TO THE BLACK COMMUNITY.DTH HAS HAD FINANCIAL DIFFICULTIES AND THE COMPANYIS CURRENTLY CLOSED TO REGROUP FINANCIALLY WITHPLANS TO REOPEN IN THE FUTURE.

REGIONAL BALLET COMPANIESWITH THE DANCE EXPLOSION OF THE 1960’S BALLETCOMPANIES SPRUNG UP ALL OVER THE COUNTRY.1. THERE ARE DOZENS OF FIRST RATE AMERICANCOMPANIES.2. THE STYLISTIC LINES BETWEEN COMPANIES AREBLURRING AND DISSOLVING. IN CHOREOGRAPHY, STYLISTICLINES BETWEEN MODERN DANCE, BALLET, AND JAZZ AREALSO BLURRING.

DANCERS IN THE GOLDEN AGEALEXANDRA DANILOVA AND FREDERIC FRANKLINDANILOVA WAS RUSSIAN AND DANCED WITH BALLETRUSSE AND ABT . FRANKLIN WAS ENGLISH AND PARTNEREDDANILOVA AND STARTED A COMPANY WITH MIASLAVENSKA .ALICIA MARKOVA AND ANTON DOLINBOTH BRITISH BORN DANCED WITH BALLET RUSSE ANDABT.ALICIA ALONSO AND IGOR YOUSKEVITCHALONSO IS CUBAN AND STARTED THE CUBAN NATIONALBALLET AFTER DANCING WITH ABT. YOUSKEVITCH ISRUSSIAN AND WAS HER PARTNER.

ALEXANDRA DANILOVA

FREDERIC FRANKLIN

ALICIA MARKOVA

ANTON DOLIN

ALICIA ALONSO

IGOR YOUSKEVITCH

DANCERS IN THE GOLDEN AGENORA KAYESHE WAS A GREAT DRAMATIC BALLERINA AND WAS THEMUSE OF ANTONY TUDOR.MARIA TALLCHIEFTHE FIRST, GREAT HOME GROWN CLASSICAL BALLERINAWITH NATIVE AMERICAN BLOOD. JOINED BALLET RUSSE DEMONTE CARLO AND BECAME BALANCHINE’S 3RD WIFEDANCING WITH NYC BALLET UNTIL THE 1960’S.ERICK BRUHNGREAT DANISH DANCER WHO GAINED FAME AS ALBRECHTIN GISELLE IN THE 1950’S.

NORA KAYE

MARIA TALLCHIEF

ERICK BRUHN

DANCERS TITLE IN THE GOLDEN AGEJACQUES D’AMBOISEMAJOR MALE DANCER FOR BALANCHINE. HE FOUNDED THENATIONAL DANCE INSTITUTE TO BRING DANCE TO THEPUBLIC SCHOOLS IN NYC.EDWARD VILLELLAPOPULAR VIRILE, MALE DANCER WITH BALANCHINE.EXCELLED IN BALANCHINES’ PRODIGAL SON. HE HADFANTASTIC ATHLETIC ABILITY AND ELEVATION ALONG WITHEXPRESSIVENESS. FOUNDED MIAMI CITY BALLET.

JACQUES D’AMBOISE

EDWARDVILLELLA

DANCERS IN THE GOLDEN AGESUZANNE FARRELLBALANCHINE’S MUSE AND LEAD DANCER OF NYC BALLET INTHE 1960’S. HE CREATED MANY ROLES FOR HER.PETER MARTINSA FREQUENT PARTNER OF FARRELL. HE IS NOW DIRECTOROF NYC BALLET. WAS A DANCER WITH ROYAL DANISHBALLET BEFORE JOINING NYCB. ROBBINS AND MR. BCREATED ROLES FOR HIM.RUDOLPH NUREYEVONE OF THE GREATEST MALE BALLET STARS OF THE 20THCENTURY. THE FIRST TO DEFECT FROM THE SOVIET UNIONIN THE 1960’S. HAD A GREAT PARTNERSHIP WITH MARGOTFONTEYN.

PETER MARTINS& SUZANNEFARRELL

RUDOLPH NUREYEV

DANCERS IN THE GOLDEN AGEMIKHAIL BARYSHNIKOVTHE NEXT GREAT RUSSIAN DEFECTOR. HE DANCED WITHNYC BALLET AND BECAME ARTISTIC DIRECTOR OF ABT INTHE 1980’S. FOUNDED WHITE OAK DANCE PROJECT ANDBARYSHNIKOV ARTS CENTER.

MIKHAIL BARYSHNIKOV