Martha Hill and the Making of American Dance

Index

Index A Song For You, 179 Ad Lib, 144 Advisory Commission on the Performing Arts, 274 Ailey, Alvin, 234, 256, 264, 281, 289, 297–98 Air for the G String, 44 Albertieri, Luigi, 18 Alt-Wien, 19 American Association for Health, Physical Education, and Recreation (AAHPER), 147, 265 American Ballet Company, 83 American Ballet Theatre (ABT): ballet/modern dance controversy, 241, 243; Dance Observer, stars of in, 173; dance explosion of the 1960s, 256; establishment of, 122; Hill’s continuing influence today, 313; and Hill’s time away, 217; Juilliard students moving on to, 188; Juilliard’s dance faculty coming from, 183; Lincoln Center, work on, 212; Lincoln Square, plans for, 200–201; NYCB merger with unsuccessful, 214; as NYCB’s competition, 167; Tudor’s work at, 181, 304; and World War II, 143 American Dance Festival (ADF): ballet/ modern dance controversy, 241, 244–45; at Connecticut College, 157, 159–68, 264; dance explosion of the 1960s, 249, 253; 50th anniversary of, 298; in financial danger, 289; controversy, 263; Graham’s resignation from, 186; Hill and Shelly reunion at, 287; Hill on board of, 202; Hill’s continuing influence today, 313; and Hill’s last years, 305; Hill’s resignation from, 179; and Hill’s struggle for balance, 286; Limón’s work at, 171, 195, 280; name change of, 227; newcomers to, 172; 1958 repertory , 216; other colleges following model of, 170; twenty-fifth anniversary of, 281; unimaginable in beginning at Bennington, 47 American Dance Guild (ADG), 284 American Dance Hall, 81 American Dance Theatre (ADT), 244–47, 251 American Document, 109, 111–12, 117, 124, 143 American Guild of Musical Artists (AGMA), 242 American Modern Dance Theater, 220 American National Theater and Academy (ANTA), 195–96, 209, 225, 227 American Pageant movement, xviii American Pavilion, World’s Fair, 203–4, 216–17 American Rustic, 92 American School of Ballet, 83, 94 American School of the Dance, the, 94 American Society of Teachers of Dancing, 17 American Symposium of the International Federation of Music, 185 Americana, 45 Americanism, 81-82 America’s Town Hall Meeting of the Air, 169, 189, 191, 194, 202 Ames, Oakes, 289 Ancestors of Hill, family, 3–5 And Daddy Was a Fireman, 87 Anderson, Jack, 148, 202, 264 Antheil, George, 83 Antic Meet, 216 Apostate, The, 227 Appalachian Spring, 143, 164 Armitage, Merle, 85 Arriaga y Balzola, 193 Arts America, 301 As I Lay Dying, 172 As Thousands Cheer, 64 Association of American Colleges, 123 Association of American Dance Companies (AADC), 284 Atavisms, 167 Aureole, 304 Austin, Chick, 83 Austin, Mary, 120 Bacchanale, 32 Bach, Johann Sebastian, 5, 109, 141, 175, 231, 244 Badrutt, Reto, 285–86, 310–11 Balanchine, George: agreement between SAB and Juilliard, 251–53; ballet, opinions about, 181–83, 211; ballet, rise of, 214; ballet/modern dance controversy , 239–40; and changes, 173; as choreographer, 122; dance explosion of the 1960s, 250; death of, 297; studio takeover, 258–59, 266; and Hill’s struggle for balance, 283; and Juilliard at Lincoln Center, 271, 278; Kirstein, first meeting with, 82–84; legacy of, 313; Lincoln Center, work on, 219; Lincoln Square, plans for, 197, 200–201; NYCB, work at, 226–27; SAB, rise of, 94, 107; seasons at City Center, 166–67; works of, 306; World’s Fair, not invited to, 217 Bales, Bill: ANTA, work for, 196; Bennington College, work at, 88, 122; and changes, 173, 175; dance explosion of the 1960s, 257; Dudley-Maslow-Bales Trio Ensemble, 161, 163, 174; and Hill as matriarch of modern dance, 290; and Hill leaving Connecticut College, 179; Hill’s defense of, 295; Hill’s discovery of, 81; as Hill’s helper, 296; and Hill’s struggle for balance, 286; illness of, 307; and Juilliard at Lincoln Center, 276; summer at Connecticut College and ADF, 161, 163, 168; summer at Mills and return to Bennington, 128, 134, 136, 139, 143, 147, 149–50, 156 Ballad (in a Popular Style), 81 Ballade, 253, 275 Ballet: acceptance of, 212; agreement between SAB and Juilliard, 255; beginnings in America, xviii; at Bennington College, 142–43; combination of modern dance and, 213, 217; companies increasing, 197; comparison to modern dance, 173; complementing modern dance, 180–84, 187, 205, 308; dance explosion of the 1960s, 248–49, 251, 253–54, 256–57; dislike of, 84, 88–89, 104, 123, 199; festival, 104; controversy, 258, 260–61; and Hill as matriarch of modern dance, 295; Hill moving beyond, 28; Hill’s continuing influence today on, 313; and Hill’s...