Dr. Jeff Friedman’s lecture on Weidman’s “Lynchtown”

“…in Lynchtown (from his Atavisms suite) grim horror was the keynote. In this work, the audience witnessed not only the injustice with which a minority group of our population has been treated but also the primitive blood lust, the sadism which supposedly civilized persons reveal when a scapegoat for their savagery is found. Lynch Town strikes home, it strikes the very being of the American, for the trembling evil of the lynchers themselves and the evil of the lookers-on who share vicariously in the horrible thrill seem to vibrate across the footlights and attack the complacency of those who sit in the safety of the theater. The dancers move with racing frenzy, halting to look at death with lust and, perhaps, with fear. A figure stretches forward to get a better view of murder, and horror stretches along the invisible waves of art communications to remind the beholder that the battle for ‘the land of the free and the home of the brave’ is not yet won.” -From Walter Terry, The Dance in America, Harper & Row, 1956

Weidman's "Lynchtown"

Weidman’s “Lynchtown”

 

 

On May 7, in historic downtown Jersey City, Tachair Bookshoppe hosted a fascinating, multimedia lecture by Dr. Jeff Friedman. “Weidman’s Lynchtown: American Dialectics, Moral Questions and the Art of Persuasion” considered Weidman’s work from a dazzling array of perspectives including Laban Movement Analysis, Piaget’s ideas on the development of morality in children, and Cicero’s importance of gesture in Oratory.

Yuko

Nimbus Dancer Yuko Monden

Nimbus Dance Works dancer, Yuko Monden, demonstrated movement from Lynchtown as Dr. Friedman related them to Laban’s concepts of free flow, bound flow, weight, spoking and arcing. The entrance walk of the lynch mob is an example of “bound flow”, while Monden’s final exit as she leaps off the stage is “free flow.”  Using archival footage, Friedman also showed how the lynch mob’s entrance creates a “wall of movement” that physically and emotionally separates the audience from the victim.

Dr. Friedman went on to discuss Weidman’s early interest in comedy and satire.  Archival photos of The Happy Hypocrite (1931) and The School for Husbands (1933) (choreographed with Doris Humphrey) were used as examples. Dr. Friedman’s comments on the social significance of satire were especially interesting.

Charles Weidman in The Happy Hypocrite (1930's)

Charles Weidman in The Happy Hypocrite (1930’s)

The lecture was followed by a lively discussion on a wide range of topics including the psychological challenges faced by performers in portraying such evil, the choice of the smallest dancer to portray “the Incitor” character of the mob, how the dances in Atavisms (Stock Exchange, Bargain Counter, and Lynchtown) relate to current events, mob behavior, and how best  to teach about fascism.

Bargain Counter

Bargain Counter

If you missed Dr. Friedman’s lecture, you still have one more opportunity to attend on May 23 at 7pm at the Highland Park Public Library, 31 North Highland Park, Highland Park, NJ.  For live performances of  Lynchtown, don’t miss Nimbus Dance Works’ Jersey City spring season, “UNPLUGGED” May 30,31, and June 1 at the Barrow Mansion, 83 Wayne Street, Jersey City.

Highland Park Public Library

Highland Park Public Library

 

Words by Nadira Hall

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Pauline Koner Centennial Celebration

On May 17th, 2013, dance lovers and connoisseurs will have a rare opportunity to see the choreography of Pauline Koner. Preeminent Koner expert, Evelyn Shepard, has lovingly and painstakingly reconstructed three important Koner works that will be presented at the 92nd Street Y’s Fridays at Noon series.

Pauline Koner

Dancefusion Company will perform Concertino (1955). The  dance takes place in the time of the Renaissance where “a lady and her ladies-in-waiting  are first at court” where they present themselves as “elegant, formal, conversational.” Next  a solo reveals “the woman behind the elegant façade” and is followed by a lively dance where “the wear and tear of court formality are forgotten.”

Ryoko Kudo and Pablo Francisco Ruvalcaba of the Jose Limon Dance Company will perform Poeme (1962), a ”tender yet provocative” love duet,”influenced by Chagall*, whose women, when transported emotionally, fly in the air or soar upside down.”

"Dance" by Marc Chagall

“Dance” by Marc Chagall

360 Dance Company will perform The Shining Dark (1956), a trio inspired by the life of Helen Keller. In Pauline’s words: “ I had long been thinking about Helen Keller whose only medium of communication was movement—the manual alphabet…so I dug in and learned the manual alphabet”. The dance is comprised of four sections: “World of Nothingness,” “World of Awakening,” “Panic of Loss,” and “Remembered Image.”

Danelle Morgan in Pauline Koner's The Shining Dark; photography © Jashiro Dean

Danelle Morgan in Pauline Koner’s The Shining Dark; photography © Jashiro Dean

While dance maverick Pauline Koner is impossible to categorize, we consider her part of the Humphrey Weidman family. Pauline Koner’s initial dance training was with Michel Fokine. Early on she pursued her own solo career, while also performing extensively with Michio Ito and then Yeichi Nimura. In the mid 1940s, seeking guidance in the choreographic process, she began a long association with Doris Humphrey.  Especially memorable for her role as Emilia in Limon’s Moor’s Pavane,  Koner was also a guest artist with the Jose Limon Dance Company from 1946-1960.

Jose Limon rehearsing with Pauline Koner

Jose Limon rehearsing with Pauline Koner

Less known is Koner’s association with Charles Weidman. Inspired by Abner Dean’s** drawings, Pauline became intrigued with creating a satire on “the insanities, complexities and hilarities of living.” As the characters “crystallized”, she naturally thought of Weidman. “I approached Charles with trepidation. After all he was a senior member in the hierarchy of modern dance. Charles accepted and I was thrilled.” Thus, Amorous Adventure was born. Pauline played “A Kind of Wife” and Charles  ”A Sort of Husband”, while Lucas Hoving portrayed “Variations from the Norm.” After it’s premiere in 1951, Winthrop Palmer wrote: “Pauline Koner’s Amorous Adventure …was a delightful spoofing of comic eugenics and the battle of the sexes with never a moment of social significance, for which it deserves a gold medal…”

Drawing by Abner Dean

Drawing by Abner Dean

Also a noted teacher, Koner developed her famous course “Elements of Performing.” Her elegantly articulated concepts of breath, suspension, rebound, and weight could easily be part of a primer on Humphrey Weidman technique.

Don’t miss this chance to see Pauline Koner’s artistic creations. Films will be shown in the lobby starting at 11:00 AM, followed by live performance and panel discussion at noon.

Friday May 17, 2013

92nd Street Y Harkness Dance Center

1395 Lexington Avenue, NY, NY

To learn more about the event, visit the 92nd St Y website here.

All quotes from Solitary Song by Pauline Koner, Duke University Press, 1989

Also recommended: Elements of Performance by Pauline Koner, Harwood Academic Publishers, 1993

*Marc Chagall (1887-1985) was a Russian born artist known for his use of many artistic mediums including painting, stage sets, book illustrations, and ceramics to name a few

**Abner Dean (1910  – 1982) was an American cartoonist who often depicted extremes of human behavior