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minutes long, with reassuring amounts of repetition, structured in A-B-A form. Shawn and St. Denis captured the look and ambience of "exotic" styles, if not their steps. Dansarté's beautiful Maris Wolff, gorgeously costumed, performs an orientalist's dream of an Indian "nautch" dance—all rippling midriff, swaying steps, and flirtatious glances. Rice dancer Laurie
Cameron appears for the circa 1930 fantasy La Peri (by either St. Denis or Miriam Winslow, who took over the Boston Denishawn school of the Braggiotti sisters), wafting swags of material that depend from her cap. The heelwork that Dansarté's Jean-Marie Mellichamp beats out in Viva Faroan has the air of flamenco without its now familiar complexities. In the early 20th century, what did American audiences know or care about authenticity?
268:'s circa 1932 mime, Argument des Boulevardiers, in which Valerie Farias Newton and Rebecca Rice wear mannish attire and gesticulate with rhythmic fury. Jess Meeker's music for Shawn's Gypsy-Rondo-Bout-Town nudges Dansarté's Genevieve Pellman and Neth Urkiel-Taylor from Haydn to swing. In all these early pieces, theatrical traditions, fashion, and experiment tiptoe toward modern dance.
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What's intriguing about these dances—learned by Robin and
Rebecca Rice at their grandmother's studio, and from Shawn at Jacob's Pillow in 1942 and 1943 by Dansarté's director, Sharry Underwood—is the way they combine the notion of art dance with a vaudeville structure. They tend to be about three
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Marion Rice
Denishawn performed in Fitchburg, Massachusetts as well as at the Jacob's Pillow Dance Festival in 1972, the Marymount Manhattan Theater (New York) in 1976 and City College (New York) in 1986 at the 'Roots: Foundations of American Modern Dance Festival'.
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school. For a price, a young dancer could learn a colorful routine and secure its sheet music and costume design. Last month, two companies—the Marion Rice
Denishawn dancers at the "Dancing in the Millennium" conference in Washington, D.C., and Dansarté, at
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technique for over 60 years. She studied in the late 1920s and early 1930s with Ted Shawn, Ruth St. Denis, Miriam
Winslow and the Braggiotti sisters at the Braggiotti-Denishawn School of Dance in Boston, often performing Denishawn works in their concerts.
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were also swathed in swirling fabric – but much more actively so than in theFuller solo. The amount of basic ballet taught in the
Denishawn schools was evident in Robin Rice's luminous performance of Shawn's
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performed in the "Dance in
Millennium" Festival in Washington, DC. The company presented "Boston Braggiotti and Denishawn", a lecture demonstration illuminating a select number of the early Denishawn works.
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performed at the "Dance in
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Dance
Festival in 1972, the Marymount Manhattan Theater (New York) in 1976 and City College (New York) in 1986 at the "Roots: Foundations of American Modern Dance Festival".
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in Chopin dances performed with lovely sincerity by the Rices, or get a whiff of German modernism in
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as well as her own choreography. Among the dancers and choreographers she trained were her daughter
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Marion Rice
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in the early 1900s. Along with members of her family, daughter
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wrote about the performance in the following review:
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