Abstract The Dance Notation Collection consists of scenarios, scores in codified dance notation, and descriptions of dance dating from 1893 to 1983, many of which originated from copyright deposits submitted to the U.S. Copyright Office to register rights for choreography. Most of these scores are recorded in Labanotation (also known as Kinetography Laban), the system of dance notation that Rudolf von Laban (1879–1958) developed. George Balanchine, Doris Humphrey, Kurt Jooss, Léonide Massine, and...

Abstract Grace McCrea (b. 1899) was a member of the Denishawn dance company led by modern dance pioneers Ruth St. Denis and Ted Shawn. Along with her older sister, Betty McCrea, she performed across the United States in Denishawn's vaudeville and concert tours from 1916-1919. The photographs, performance programs, and printed materials in this collection document the professional activities of Denishawn artistic leadership and company members from about 1913 to the late 1960s. The collection...

Abstract

Valeria Gibson Ladd was a dancer with the Noyes School of Rhythm during the 1930s. This collection, consisting almost entirely of photographs, documents the practice of a genre of dancing based on the revival of Greek aesthetics and costume, as practiced by dancer Florence Fleming Noyes (1871–1928). In the early 1900s, Noyes established the Noyes School of Rhythm, where Valeria Ladd taught and performed.

Abstract

This collection consists primarily of the correspondence between American dancer-choreographer and company director Ruth Page or her first husband attorney Thomas Hart Fisher and composer Remi Gassmann, who was contracted to create the music score for Page’s ballet Billy Sunday (1948). Other letters to Gassmann from this period and a small number of programs and press clippings related to Page's or Gassmann's careers round out the collection.