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| Thursday, 25 September 2003 |
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New York city ballet after Martha Graham by Gwen Herat St. Denise was a young dancer destined to have more direct impact on American dance than anyone who preceded her. She was born in Ruth Denise and raised in New Jersey. She met Ted Shawn (1891-1972) in 1914 and became his partner and wife. This was a crucial event for American dance.
They were made for each other. She found Shawn a very kind and understanding man who shared the belief that dance could form a religious and integral part of human life. Shawn had been a theology student before he became a professional ballroom dancer. Together they established a dance academy called Denishawn based on the higher principles of the art of dance. Denishawn offered young aspirants a richly varied programme of dance with ballet, performed without shoes. Classes were supplemented by dance history and philosophy that were vital to the young and growing minds. Denishaw debuted in 1916 with a dance pageant of Egypt, Greece and India at the open air Greek Theatre in Brakley. In the programme Shawn also presented his men dancers group in a single act called Pyrrlic Dance. Making her debut among other students at the Denishawn was a young dancer called Martha Graham whose talent had already been recognised by Denise and Shawn and who was destined to change the face of American dance in the future. Martha Graham was born Allegheny, Pa on 11 May, 1894. She began her dancing career at Denishawn in 1916 and became a member of the Denishawn Dancers. For a short period she performed with the Greenwich Village Follies and started as a teacher at the Eastman School of Music in Rochester. She debuted her solo recital in New York in 1926. Her big break was when she founded her own Martha Graham School of Contemporary Dance in 1927. Subsequently this school became the foremost company of its kind in America. For her company she recruited her pupils as members who later started teaching the Graham style. With time her company was recognised not only in the USA but around the world as the establishment for contemporary dance as its authority. By 1929 the members were performing this new dance theatre and in 1950 Martha Graham toured Europe, London and the Far and Near East. A film by the name of Dancer's World was released and it was Graham's first in the movies. This was in 1957.
Surprisingly Graham's Oeuvre comprised in 1981, 160 different titles. Her best known works were Primitive Mysteries, with music by Horst in 1981, American Document with music by Ray Green in 1958, Every Soul is a Cross with music by Paul Nordoff in 1989, Letter to the World with music by Hammer Johnson in 1940 among other great works. Graham won all international and national awards given to a dancer during her time and when she tied up with Balanchine at the new York City Ballet, everything was transformed into magic. She choreographed Lucifer, one Act ballet to the music of Halim El-Dabb on June 17, 1975 with no other dancers than Rudolf Nureyev and Margot Fonteyn. Graham recreated the story for Lucifer to fall from heavens and become half-god and half-man and be known as man's fear and challenge. Lucifer was not Satan but bringer of life. Graham especially designed the role for Nureyev who was the rage at the time. He and Fonteyn had to dance barefoot most of the time while Nureyev was looked to be almost nude. She cleverly used shadows and lighting effects. By now she was the mother of contemporary and modern dance around the world. She influenced the scene so much that many companies were opting to drop classical and full length ballets and produce them in modern guise. Maple Leaf Rag with music by Joplin was the last modern theatre she choreographed at the age of 97 before she died. She had by now, set the pattern for blank and bare stage and modern music with controlled light effect in place of the highly ornate and luxurious settings. The New York City Ballet was the fore runner to this effect and continued after her death.
The New York City Ballet is one of New York's greatest cultural centres and the company with the largest ballet repertory in the world. It also has many of the finest dancers. During a season it performs up to fifty different ballets including an exciting world premier. It showcases a wide range of George Balanchine's most elaborate works like the Swan Lake, Jewel Symphony in C among many others. Jerome Robins whose masterpiece Le Noces that was the rage in 1965 makes it appearance during many seasons. Another of Robins' favourite ballets, Glass Pieces also go on board to the music of Philip Glass. New York Ballet's best season is when they celebrate spring. Apart from Martha Graham during whose period this theatre became really famous, the founders of the New York City Ballet were George Balanchine while founding choreographers were George Balanchine and Jerome Robins and Ballet Master in Chief was Peter Martis. Some of the world's finest dancers that make up the New York City Ballet are: Principals: Helen Alexpoulas, Yvonne Borree, Albert Evans, Nicol Hlinka, Nikaloz Hubbe, Dorci Kistler, Robert La Fasse, Nilas Martine, Philip Neal, Kya Nicholas, Jock Soto, Margret Tracy, Miranda Weese, Wendy Whelem, Damien Woetzel. Soloists: Samantha Allen, Charles Askegard, Stacy Calvert, James Fayette, Tom Gold, Peter Hansen, Kipling Houseten, Zippora Karz, Maria Kowroski, Monique Meuriev, Alexander Pater, Kathleen Tracy, Diina White. Corpse de Ballet: Deena Abergal leads the Corpse, De Ballet that his sixty dancers permanently. Golden Chimes in Concert Mahinda College OBA - Colombo branch is planning to stage a musical show titled "Golden Chimes in Concert in association with Mahinda College OBA - Colombo Branch Educational and Sports Trust Fund" on Saturday September 27, 2003. Mahinda College educational and sports trusts were incorporated on September 22, 1999 with a view to financially assist the needy and well deserving school children to pursue their studies and to develop their skills both in studies and sports. The purpose of arranging the musical show is primarily to raise much needed funds. The organisers also expect to support the educational and sports activities of the South. Whilst Lankika Perera of Golden Chimes will lead the show, the following guest artistes too will grace the occasion. Annesly Malewana, Indrani Perera, Anil Bharathie, Rajive Sebastian, Dharmaratne Brothers, Sunil and Piyal Perera of Gypsies, Ronnie Leitch, Oshanthi Dalpathado and Shyomal Ambewatte. Compere - Vijaya Corea and dance troupe - Solar Heats. Golden Chimes have completed 33 years in the music field while Chanaka (bassist) has completed 38 years and Lankika, 32 years. International Poet of Merit Theodore Fonseka, an old Peterite, retired Station Master, Member of the C.G.R Station Masters Group 55, and a long-standing resident of Dehiwela, was recently honoured by the International Society of Poets, U.S.A at their Summer Convention and Symposium held at the Hilton Hotel, Washington D.C from August 15 to 17, 2003.
He was inducted as an International Poet of Merit, and an Honoured Member of the International Society of Poets, 2003. He has been enrolled as a distinguished member of the I.S.P and in recognition of his poetic achievements, he was awarded a Bronze medallion, and a large engraved Silver Bowl. Since the year 2001 he received nominations five times as Poet of the Year, and was invited five times to be present at the Awards Nights, twice to Florida, twice to Washington, and once to California, but only this year, he was able to make it. He was accompanied by his youngest son Sumi Fonseka, a Chartered Accountant presently living and working at Johannesburg, South Africa. To commemorate the millennium, he submitted a poem to the I.S.P. entitled "The Millennium Poem - Year 2000" for which he received The Editors Choice Award which was published in the American Anthology entitled "The Lightness of Being". His second offering was a poem about the man of the Millennium, entitled "Nelson Mandela", for which once again he was given The Editors Choice Award and was published in the American Anthology entitled "Natures Echoes". These two poems are on the internet. His third offering was a poem entitled "That Elusive Peace", which is to be published shortly. At the Induction and Awards Ceremony his presentation Poem was "The Dawning of Peace" (as applicable to the Peace Process in Sri Lanka). This was very well received and applauded by the very large international audience. He has written several poems and hopes to publish them in the near future. Teaching Young Ones to Play (4) : The next step after the first lesson (Part 3 was published on Sep 20) The 2nd lesson is the next step to play a line of music in the right hand commencing with the thumb on middle C. The same process should be repeated for the first 3 notes in the Bass clef i.e. middle C and the two notes immediately below i.e. B and A finally and pupil should be given a line of notes to copy and name. The notes should be written as semibreves, because this gives time for thought between each note. The pupil who has some previous knowledge of notation, or who is unusually quick would of of course learn more notes quicker. The teacher should be prepared to improvise exercises to suit each beginner, child or adult as there is no set way of teaching students of varying degrees of intelligence and ability. Now to come to the highlight of the lesson and that is "The Piece". Here it must be remembered that to the child anything is a piece that has a title. A mere handful of notes that can stimulate the imagination will give the greatest pleasure and a sense of attainment. It is wise to teach the first lesson by "rote" as the first few notes that can be read could have anything interesting - this applies to a small beginner, e.g. "tiny tot". The foregoing are suggestions for a first and second lesson which could be adapted to suit varying ages specially very young ones but briefly listed below are the main divisions: 1. Talk and introduction to the piano. 2. Sitting posture and position of hands (very important) 3. Finding the notes on the key-board. 4. 3 Little Technical exercises. 5. A very small piece. The very small pupil may not get through all this but the pupil of seven years and over can usually cover this. It is likely that there will be some who have great difficulty in finger and hand-control, resulting in the stiffness which is the despair of many teachers. There is no doubt that the child suffers stiffness due to the fact that he feels that what he is trying to do is difficult and will require much effort and concentration. It is therefore a must to set the child at ease and to explain that at first, you are only going to ask him to do things that are quite easy until his arms "get into training". Everything should be made to appear easy and natural. Before saying Goodbye to the pupil, make sure that he knows exactly what you want him to do in his practise time. Write all details and instructions in a notebook and also write down what he has been taught at his lesson and tell the parents that you have done this and insist that this book is brought at every lesson as I always say, "The notebook is of great importance". The beginner should not practise for too long, maybe fifteen minutes at a time. This is quite long for a eight year old or under. And the other who enjoys sitting at the piano and trying to pick out little tunes should not be discouraged. I have had little students who often do this and tell me "Auntie shall I play "Mary had a little Lamb" - I think I can play it all on my own". When I say "Go ahead my darling and play", they are oh! so delighted and I could see that utter look of satisfaction on their faces. It's fun teaching Little Ones and I enjoy it very much. (To be continued) - Yvonne F. Keerthisingha. The Dawning of Peace After countless precious lives have already been lost, The long-drawn-out controversies will once again rise and come to the fore, Theodore Fonseka, (VIP 2060440) |
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