Martin, John (1893–1985)

2018 ◽  
Author(s):  
Lynne Conner
Keyword(s):  
New York ◽  
Los Angeles ◽  
Social Research ◽  
The United States ◽  
Martha Graham ◽  
New School ◽  
Form And Function ◽  
American Modern Dance ◽  
The Times ◽  
And Function

One of the first full-time newspaper dance reviewers in the United States, John Martin wrote for The New York Times from 1927 to 1962 and was often referred to as the dean of American dance critics during his 35-year tenure. Martin used his bully pulpit at the Times to launch a discourse within the dance community surrounding the aesthetics of modernism in dance as well as to educate and rally a new audience. In the process he helped to establish dance reviewing as a specialized field of arts reporting and commentary and not just a subgenre of music criticism, as it had been treated before 1927. A vocal defender of the legitimacy of an American modern dance as defined by New York-based practitioners such as Martha Graham and Doris Humphrey, Martin was among the first theorists of it, outlining a poetics of its form and function while introducing a new vocabulary. His prolific output includes thousands of essays and reviews for the Times and other periodicals, seven books, and a series of highly influential lectures given at the New School for Social Research, Bennington School of the Dance, and in the latter part of his career at the University of California-Los Angeles.

JOSEPH SCHILLINGER – A DISCIPLE'S REMINISCENCES OF THE MAN AND HIS THEORIES: AN INTERVIEW WITH PROF. ZVI KEREN

Tempo ◽  
2010 ◽  
Vol 64 (251) ◽  
pp. 17-27
Author(s):  
Alona Keren-Sagee
Keyword(s):  
New York ◽  
Social Research ◽  
The United States ◽  
Musical Composition ◽  
Columbia University ◽  
New York University ◽  
Mathematical Basis ◽  
Teachers College ◽  
New School ◽  
The Arts

Joseph Schillinger (1895–1943), the eminent Russian-American music theorist, teacher and composer, emigrated to the United States in 1928, after having served in high positions in some of the major music institutions in the Ukraine, Khar'kov, Moscow, and Leningrad. He settled in New York, where he taught music, mathematics, art history, and his theory of rhythmic design at the New School for Social Research, New York University, and the Teachers College of Columbia University. He formulated a philosophical and practical system of music theory based on mathematics, and became a celebrated teacher of prominent composers and radio musicians. Schillinger's writings include: Kaleidophone: New Resources of Melody and Harmony (New York: M. Witmark, 1940; New York: Charles Colin, 1976); Schillinger System of Musical Composition, 2 vols. (New York: Carl Fischer, 1946; New York: Da Capo Press, 1977); Mathematical Basis of the Arts (New York: Philosophical Library, 1948; New York: Da Capo Press, 1976); Encyclopedia of Rhythms (New York: Charles Colin, 1966; New York: Da Capo Press, 1976).

Abbott, Berenice (1898–1991)

2018 ◽  
Author(s):  
Sarah M. Miller
Keyword(s):  
United States ◽  
New York ◽  
York City ◽  
Social Research ◽  
The United States ◽  
Documentary Photography ◽  
Communicative Interaction ◽  
Federal Art Project ◽  
New School ◽  
Avant Garde

Berenice Abbott was a photographer, theorist, teacher, and inventor who first learned photography as Man Ray’s studio assistant in Paris. In 1926, she established an independent portraiture studio in Paris, attracting clients from international avant-garde circles. She befriended French photographer Eugène Atget and, after his death, acquired thousands of his prints and negatives with help from Julien Levy. Through her advocacy, Atget’s oeuvre became a touchstone for avant-garde and documentary photography in Europe and the United States. Returning to the United States in 1929, Abbott embarked on a study of New York City titled Changing New York (supported by the Federal Art Project 1935–1939), while developing unique theories of documentary photography and realism predicated on "communicative interaction". She taught photography at the New School for Social Research and was active in the Photo League, which comprised a number of New York photographers who had similar political, social, and aesthetic interests. Often collaborating with Elizabeth McCausland, she authored pioneering essays about the history and theory of photography including the pedagogical text, A Guide to Better Photography (1941).

Denishawn (1915–1931)

2018 ◽  
Author(s):  
Paul A. Scolieri
Keyword(s):  
New York ◽  
Los Angeles ◽  
The United States ◽  
Silent Film ◽  
Martha Graham ◽  
For Profit ◽  
Dance Company ◽  
Immoral Activity ◽  
Modern Dancers ◽  
Film Stars

Denishawn, a for-profit enterprise combining a school and dance company, was founded in Los Angeles in 1915 by the internationally acclaimed solo performer Ruth St. Denis and her husband, then up-and-coming dancer and choreographer Ted Shawn. Denishawn paved the way for modern dance in the United States by challenging American perceptions of dancing as a degenerate or immoral activity and presenting dance instead as a theatrical art. The company performed at private society events and women’s clubs, on vaudeville circuits, and eventually on legitimate concert stages, such as Carnegie Hall. In 1925–27, it became the first U.S. dance company to tour Asia, presenting dances to both colonial elites and local audiences. The Denishawn School of Dance and its Related Arts (and later satellites in New York and other major U.S. cities) trained generations of middle-class American adolescents, several of whom went on to become prominent modern dancers and choreographers, including Martha Graham, Doris Humphrey, and Charles Weidman, as well as Hollywood choreographer Jack Cole. Moreover, many aspiring actresses enrolled at the Denishawn school to study the art of physical expression, several of whom later became silent film stars, including Dorothy and Lillian Gish, Margaret Loomis, and Louise Brooks.

Itō, Michio (1893–1961)

2018 ◽  
Author(s):  
Tara Rodman
Keyword(s):  
New York ◽  
Los Angeles ◽  
Ezra Pound ◽  
Modern Dance ◽  
The United States ◽  
Martha Graham ◽  
Greenwich Village ◽  
Modern Dancers ◽  
Poetic Drama ◽  
Ito Method

Michio Itō was a modern dancer and choreographer who worked in Europe, the United States, and Japan. After training at the Dalcroze Institute in Hellerau, Itō collaborated with Ezra Pound and W.B. Yeats on the 1916 dance drama, At the Hawk’s Well. In New York City, Itō performed at the Neighborhood Playhouse and the Greenwich Village Theatre, and taught and worked with U.S. modern dancers, including Martha Graham, Charles Weidman, Pauline Koner, Ruth St. Denis, and Lester Horton. Itō moved to Los Angeles in 1929, where he worked in film and choreographed dance symphonies for the Hollywood and Pasadena Rose Bowls. Following the events at Pearl Harbor Itō was interned, and repatriated to Tokyo in 1943. When the war ended he became head choreographer of the Ernie Pyle Theatre in Tokyo, creating productions for the occupying troops. Itō developed his own modern dance technique, the Itō Method, which adapted Dalcroze movement exercises into a style that he described as a fusion of ‘‘East’’ and ‘‘West.’’ Itō’s intercultural approach and ability to move between elite and commercial projects allowed him to cross different streams of modernism—German eurhythmics, British poetic drama, U.S. modern dance, and the Americanization of postwar culture in Japan.

Itō, Michio (1893–1961)

2018 ◽  
Author(s):  
John D. Swain
Keyword(s):  
New York ◽  
Los Angeles ◽  
Modern Dance ◽  
The United States ◽  
Martha Graham ◽  
The Pacific ◽  
Extensive Body ◽  
Opening And Closing ◽  
The Guardian

Itō Michio’s creative endeavors spanned dance, theatre, and film, just as his career spanned the Pacific and the Atlantic Oceans, however, his life as a creative artist was one of World War II’s international cultural casualties. After decades of work with people such as W. B. Yeats in Ireland, the Washington Square Players and Martha Graham in New York, and the Hollywood Bowl in Los Angeles, Itō was repatriated to Japan in 1943 where he continued to teach and choreograph until his death. The first son of an old samurai family whose parents encouraged their children to pursue any avenue of interest, Michio was the elder brother by eleven years of Itō Kunio, aka shingeki theater director Senda Koreya. Itō collaborated with Yeats on his Plays for Dancers, and is probably best known for creating the role of the Guardian of the Well in (At the Hawk’s Well) 1916. His work as a dancer and choreographer in the United States is not as well remembered because almost none of that extensive body of work was preserved. He was to choreograph the opening and closing ceremonies of the 1964 Tokyo Olympics, but did not live to see that project materialize. Itō left Japan for Europe in 1912 to study voice. Once in Germany he became disillusioned with opera, but was entranced by the dance of Isadora Duncan, Pavlova, and Nijinsky. He decided to study modern dance, and entered the Dalcroze Institute in 1913. Much of his later work is influenced by eurythmics.

The “Japanese Turn” in Fine Dining in the United States, 1980–2020

2020 ◽  
Vol 20 (2) ◽  
pp. 45-54
Author(s):  
Samuel H. Yamashita
Keyword(s):  
United States ◽  
New York ◽  
Los Angeles ◽  
San Francisco ◽  
San Francisco Bay Area ◽  
The United States ◽  
First Century ◽  
Further Training ◽  
Bay Area ◽  
Wide Acceptance

In the 1970s, Japanese cooks began to appear in the kitchens of nouvelle cuisine chefs in France for further training, with scores more arriving in the next decades. Paul Bocuse, Alain Chapel, Joël Robuchon, and other leading French chefs started visiting Japan to teach, cook, and sample Japanese cuisine, and ten of them eventually opened restaurants there. In the 1980s and 1990s, these chefs' frequent visits to Japan and the steady flow of Japanese stagiaires to French restaurants in Europe and the United States encouraged a series of changes that I am calling the “Japanese turn,” which found chefs at fine-dining establishments in Los Angeles, New York City, and later the San Francisco Bay Area using an ever-widening array of Japanese ingredients, employing Japanese culinary techniques, and adding Japanese dishes to their menus. By the second decade of the twenty-first century, the wide acceptance of not only Japanese ingredients and techniques but also concepts like umami (savory tastiness) and shun (seasonality) suggest that Japanese cuisine is now well known to many American chefs.

Bacterial Infecfions: Changes in Their Causative Agents—Trends and Possible Basis (Bayer—Symposium III), edited by M. Finland, W. Marget, and K. Bartmann. New York/Heidelberg/Berlin: Springer-Verlag, 1971, 231 pp., $15.00

PEDIATRICS ◽  
1972 ◽  
Vol 50 (5) ◽  
pp. 833-833
Author(s):  
John D. Nelson
Keyword(s):  
United States ◽  
New York ◽  
Great Britain ◽  
Los Angeles ◽  
Infectious Diseases ◽  
Bacterial Infections ◽  
The United States ◽  
New Haven ◽  
Causative Agents ◽  
Changing Patterns

Almost two years ago a group of eminent international authorities in the field of infectious diseases gathered near Cologne, Germany, for a week of reflection and discussion concerning the changing patterns of bacterial infections in recent decades and the possible reasons for the changes. The United States was represented by Drs. M. Finland and E. H. Kass of Boston, F. Daschner of Los Angeles, and A. von Graevenitz of New Haven. Other scientists were from Germany, France, Sweden, Great Britain, Switzerland, and Denmark.

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