308:
Mozart
Society of America. Abroad, she has made presentations at the University of London, Dvorana Dance (Czech Republic), the Escuela Moderna de Musica y Danza (Chile), the Institut de Sainte-Ode (Belgium), the Schola Cantorum Basilienses (Switzerland), the Hochschule für Musik (Germany), and at various venues in France, Hong Kong, and Mexico. She delivered keynote speeches at annual meetings of the American Musicology Society (1991) in Hattiesburg, Mississippi; the Congress of Latin American Choreographers (1992) in Caracas, Venezuela; the Midwest Outdoor Museum Association (1993) in Neenah, Wisconsin; and the Dance Critics Association (2007) in New York City.
351:
institutions holding significant collections documenting the history of dance, headquartered in
Washington, D.C. During her seven-year tenure in this position (1999-2006), she initiated a number of important projects, including the National Dance Heritage Leadership Forum, America's Irreplaceable Dance Treasures, the National Dance Heritage Videotape Registry, the Fellowship Program in Dance Documentation and Preservation, and the Digital Videotape Preservation Project. As writer or editor, she also was responsible for a number of publications issued by the coalition.
317:
Museum, the
American Symphony Orchestra, the Martha Graham Dance Company, and the San Francisco Ballet. A founding member and a co-artistic director of the Historic Dance Foundation (1977-1993), she was also one of the founders of the International Early Dance Institute at Goucher College in Towson, Maryland, and was an active participant for several years (1987-1991). During this time, she also served as president of the
243:
choreography for
American Ballroom Theater, the Jane Austen Society of North America, the Smithsonian Institution, and Festival Folklórico de Taxco, México. In 1997, she created a program of marches, reels, quadrilles, and waltzes for the centennial celebration of the Great Hall in the Jefferson Building of the Library of Congress in Washington. The program also included a reinterpretation of Loie Fuller's famous
360:
England
Conservatory of Music (2003-2005); and a panelist for the National Endowment for the Arts and the National Endowment for the Humanities (1990-2013). For the George Balanchine Foundation, she was one of a group of principal researchers for the Popular Balanchine project, devoted to documenting Mr. Balanchine's work on Broadway shows and Hollywood films (2000-2002).
340:, David Vaughan, Suzanne Youngerman), and the staff of Oxford's Scholarly and Professional Reference Department, she was a major force in rescuing the project and bringing it to a successful conclusion with publication of a six-volume set in 1998. Thereafter, she worked as a freelance editor on several Oxford reference projects and as contributing editor for dance on
416:, which describes every dance and dance-related special collection located in the library's Music Division, covering ballet, folk and traditional dance, musical theater dance, and social dance. She was curator or co-curator of four important exhibitions mounted at the library and that were afterward displayed at the Dorothy Chandler Pavilion in Los Angeles.
139:(born February 26, 1947) is an American dance historian, choreographer, writer, lecturer, consultant, administrator, curator, and archivist. She is internationally known for her research, performance, choreography, teaching, and lectures on Renaissance and Baroque court dance, nineteenth-century social dance, and twentieth-century
304:
century; from etiquette in the court of Louis XIV to ragtime dances in
American ballrooms and nightclubs; from table manners in the nineteenth century to Balanchine's Broadway shows of the twentieth; from the costumes of Mozart's world to dance in Hollywood films, from the Viennese waltz to jitterbug.
363:
As consultant to the Music
Division of the Library of Congress in 1998, Aldrich was responsible for writing narratives and reconstructing steps and step sequences for accompanying video clips as part of "An American Ballroom Companion, ca. 1490-1920." The project mounted over two hundred social dance
307:
In the United States, Aldrich has delivered papers at the
Library of Congress and at meetings of the Society of Dance History Scholars, the Congress on Research in Dance, the Society for Historians of American Foreign Relations, the Popular Culture Association, the Society for American Music, and the
161:
Olsen) Aldrich, a public school music teacher. At age five, she began her dance training in ballet, tap, and acrobatics classes at the Vera Lynn School of Dance in Los
Angeles, where her family had moved. Soon after, encouraged by her mother, she added music lessons to her dance training as she began
359:
Aldrich has served as consultant for a number of arts organizations. She has been a member of the
Advisory Board of Early Music America (1992-1993); a core consultant for the eight-part series "Dancing," produced by the Public Broadcasting System (1993); a member of the Board of Visitors for the New
316:
Aldrich's administrative career began in 1974 with a job as assistant to arts consultant George Alan Smith. She worked with him until 1983 on fund-raising, development, and long-range planning for a variety of arts organizations, including the Caramoor Center for Music and the Arts, the Hudson River
233:
all directed by Thomas Kelly. She then appeared in productions at Lincoln Center's Alice Tully Hall in New York City, the Cleveland Art Museum, and the Folger Shakespeare Library, the Smithsonian Institution, and the John F, Kennedy Center for the Performing Arts in Washington, D.C. The company also
303:
As a presenter, Aldrich has conducted workshops and given lectures and speeches for numerous scholarly organizations in North America, South America, Europe, and Asia. The topics of her presentations have been wide-ranging: from Renaissance and Baroque court dance to social dances of the nineteenth
376:
In 2006 Aldrich was once again employed by the Music Division of the Library of Congress, as she was named to the newly created position of Curator of Dance. Among her first tasks was identifying, processing, and creating finding aids for twenty archival collections that had been acquired between
242:
As a scholar of early dance, Aldrich received choreographic commissions from the Court Dance Company of New York, the Dance Division of the Juilliard School, and the New York Baroque Dance Company. As a specialist in nineteenth-century and early twentieth-century social dance, she also created
212:
As a professional musician, Aldrich first joined the New England Consort of Viols as a player of the viola da gamba, a bowed, fretted, and stringed instrument similar to the cello that was popular during the Renaissance and Baroque periods. Aldrich toured with the group and participated in the
350:
After publication of Oxford's dance encyclopedia, Aldrich continued her administrative work as chair of the editorial board of the Society of Dance History Scholars (1998-2002). She then found her next managerial job as executive director of Dance Heritage Coalition, a national alliance of
162:
taking instruction on the cello from Mary Lewis in Wrightswood, California. When her family moved again, to Maine, she continued her studies in dance, music, and acrobatics, in which she won the state floor exercise championship in 1965. After graduation from high school in
509:(1947), for Popular Balanchine, a project of the George Balanchine Foundation; dossiers submitted in 2002 and deposited in the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts in 2005. See Popular Balanchine, Guide to the Dossiers, at
258:
Aldrich is known particularly for her film choreography, as she has specialized in creating large-scale ballroom scenes from the 1840s through the 1880s as well as social dances from the 1920s through the 1950s. Her work has appeared in six Merchant-Ivory productions:
217:(Titanic Records Ti-26). She was also a member of the Court Dance Company of New York, a professional company specializing in period dance, and was co-artistic director (1978-1991) as well as a performer. In summer festivals at Castle Hill on the Crane Estate in
618:
2d ed, edited by Charles Hiroshi Garrett. New York: Oxford University Press, 2013. Aldrich also contributed brief biographical articles on Vernon and Irene Castle, Pierre Dulaine and Yvonne Marceau, Erick Hawkins, Harriet Hoctor, Alan Kriegsman, and Albertina
635:
Aldrich married Brian Russell Olson in December 2006. They reside most of the year in their home on the coast of Chile, some miles northwest of Santiago. She serves as a dance history and archival consultant to various Chilean organizations and institutions.
397:. As a result, the library is now the primary location for the scholarly study of the biography of Graham and of the history of her works and her company. Other acquisitions made by Aldrich ranged from the collection of stage and screen star
190:
periods. She earned a bachelor of music degree from the conservatory in 1970 and a master's degree in 1972. Thereafter, she moved to New York City and continued her dance training at the Melissa Hayden Studio (1973-1975) and at
203:
Aldrich has had a remarkable succession of related careers as a performer, choreographer, workshop leader and lecturer, project manager and administrator, consultant, and curator and archivist of dance materials.
681:
Elizabeth Aldrich, 2012, in personnel files of the Music Division, Library of Congress, Washington, D.C. The source of much biographical information given herein, used by permission of the subject.
453:, and on Martha Graham. While undertaking all these tasks she also organized numerous displays of dance materials for colleges, universities, special guests, and congressional representatives.
482:"Sustaining America's Dance Legacy: How the Field of Dance Heritage Can Build Capacity and Broaden Access to Dance in the Next Ten Years." Washington, D.C.: Dance Heritage Coalition, 2000.
405:, a revolutionary performing group active from the 1930s to the 1960s. Just before Aldrich retired from the library in 2013, she was instrumental in the acquisition of the collection of
611:
of the annual conference of the Society for Historians of American Foreign Relations, "Revolutionary Aftermath," University of Connecticut at Storrs, Hartford, Conn., 28–30 June 2012.
364:
manuals from the library's collection. A few years later, Aldrich returned to the Music Division of the Library of Congress as the project director responsible for mounting the
604:
of the thirty-third annual conference of the Society of Dance History Scholars, "Dance and Spectacle," University of Surrey, Guilford, and The Place, London, 8–11 July 2010.
576:
of the thirty-first annual conference of the Society of Dance History Scholars, "Looking Back / Moving Forward," Skidmore College, Saratoga Springs, N.Y., 12–15 June 2008.
412:
During her tenure at the library, Aldrich also wrote its first "Collection Overview for Dance," its first "Collection Policy Statement for Dance," and a comprehensive
377:
1980 and 2004. Thereafter, she acquired, processed, and created finding aids for more than thirty new archival collections of memorabilia, many of which supported the
915:
940:
579:"Plunge Not into the Mire of Worldly Folly: Nineteenth-Century and Early Twentieth-Century Religious Objections to Social Dance in the United States," in
344:
second edition, edited by Charles Hiroshi Garrett. Published in print by Oxford University Press in 2013, it is also available as a component of Oxford's
550:
of the annual conference of the Dolmetsch Historical Dance Society, "The Minuet in Time and Space," All Saints Pastoral Centre, London, 10–11 March 2007.
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318:
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445:
Aldrich was also responsible for content and narrative for online presentations of library materials on the Ballets Russes de
665:"Aldrich, Elizabeth," guest artist biographies, People at the Theatre and Dance Department, University of New Mexico, 2014.
409:(1940 to the present day), a significant addition to the library's holdings on the performing arts in the United States.
905:
328:
a reference project that had failed during development at two other academic publishers. Working with founding editor
321:(1989-1992) and as managing director of the World Dance Alliance's first General Assembly of the Americas (1991).
885:
754:
597:
of the symposium "Urheberrecht an Tanzwerken im digitalen Raum," Akademie der Künste, Berlin, 15–16 April 2010.
557:
of the thirtieth annual conference of the Society of Dance History Scholars, "Rethinking Practice and Theory /
755:"Katherine Dunham Collection: Guides to Special Collections in the Music Division of the Library of Congress"
406:
529:
edited by James Eli Adams, Tom Pendergast, and Sara Pendergast. New York: Grolier Academic Reference, 2004.
890:
875:
218:
600:"Letters from the Heart: Martha Graham's Correspondence with Benjamin Garber in the 1960s and 1970s," in
324:
In 1994, Aldrich was hired by the New York branch of Oxford University Press as managing editor of the
283:(1996), all directed by James Ivory. Other films for which she has choreographed dance scenes include
880:
522:"Western Social Dance: An Overview of the Collection." Washington, D.C.: Library of Congress, 2004.
489:
450:
152:
49:
849:"American Ballet Theatre: Touring the Globe for 75 Years | Exhibitions (Library of Congress)"
798:"Serge Diaghilev and His World: A Centennial Celebration of Diaghilev's Ballets Russes, 1909-1929"
427:
Sergei Diaghilev and His World: A Centennial Celebration of Diaghilev's Ballets Russes, 1909-1929
329:
221:, she danced in the first staged American productions with period instruments of Henry Purcell's
805:
368:
website (2005), designed to highlight the library's extensive collection of Dunham memorabilia.
195:(1973-1979), where she studied modern dance with Julie Sander and ballet with Saturo Shimasaki.
553:"Re-Thinking the Physical Library: The Dangers of Missed Opportunities in the Digital Age," in
720:
783:
446:
365:
479:
6 vols., edited by Selma Jeanne Cohen and others. New York: Oxford University Press, 1998.
402:
167:
74:
381:
Collection. Among them are a number of collections of early members of Graham's company:
848:
398:
337:
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84:
488:
New York: Pendragon Press, 2000. Includes introductory material by Elizabeth Aldrich,
869:
386:
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248:
97:
539:"Documentation, Preservation, and Access: Ensuring a Future for Dance's Legacy," in
390:
333:
171:
827:
583:
edited by Naomi Jackson and Toni Shapiro-Phim. Lanham, Md.: Scarecrow Press, 2008.
741:
251:. In New York, Aldrich set dances for David Kneuss's 2002 production of Mozart's
382:
183:
486:
The Extraordinary "Dance Book T.B. 1826": An Anonymous Manuscript in Facsimile.
607:"Race and Revolution: African-American Modern Dance as a Cold War Weapon," in
182:(1968-1972), where she studied cello as well as ballet and early dance of the
157:
626:
edited by Sally R. Sommer. Tallahassee: Florida State University Press, 2015.
421:
Alvin Ailey American Dance Theater: 30 Years Cultural Ambassador to the World
666:
101:
61:
586:"The Civilizing of America's Ballrooms: The Revolutionary War to 1890," in
472:
edited by Raymond Erickson. New Haven, Conn.: Yale University Press, 1997.
614:"American Bandstand," "Galop," "Schottische," "Two-Step," and "Waltz" in
828:"Politics and the Dancing Body | Exhibitions - Library of Congress"
780:"Alvin Ailey American Dance Theater: 50 Years Cultural Ambassador to t…"
588:
Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader,
510:
463:
From the Ballroom to Hell: Grace and Folly in Nineteenth-Century Dance.
234:
toured abroad, giving performances in England, Switzerland, and Chile.
187:
174:(1963-1967), where she studied modern dance and dance history, and the
140:
740:
Library of Congress, "An American Ballroom Companion, ca. 1490-1920,"
546:"Drooping Elbows and Stately Grace: 'Movie Minuets' of the 1930s," in
590:
edited by Julie Malnig. Evanston: University of Illinois Press, 2008.
394:
255:
which was performed throughout Japan under the baton of Seiji Ozawa.
179:
155:, a daughter of Stanley J. Aldrich, an astrophysicist, and Donna J. (
593:"The Dance Heritage Coalition's Fair Use in Copyright Project," in
536:
by James Waller. New York: Stewart, Tabori, & Chang, 2005.
717:"Popular Balanchine | The George Balanchine Foundation"
543:
edited by Judith Chazin-Bennahum. New York: Routledge, 2005.
581:
Dance, Human Rights, and Social Justice: Dignity in Motion,
441:(2014), curated with Victoria Phillips and Joanna Dee Das.
690:
Elizabeth Aldrich, filmography, Internet Movie Database,
691:
496:
America's Irreplaceable Dance Treasures: The First 100.
439:
American Ballet Theatre: Touring the Globe for 73 Years
561:" Centre National de la Danse, Paris, 21–24 June 2007.
332:, the editorial board (George Dorris, Nancy Goldner,
465:
Evanston, Ill.: Northwestern University Press, 1991.
470:
Schubert's World: Vienna in the Reign of Francis I,
107:
93:
67:
57:
28:
21:
564:"Disappointments and Delays: The Commissioning of
519:Washington, D.C.: Dance Heritage Coalition, 2003.
498:Washington, D.C.: Dance Heritage Coalition, 2001.
656:(New Providence, N.J.: Marquis Who's Who, 2014).
742:http://lcweb2.loc.gov/ammem/dihtml/dihome.html
8:
517:A Copyright Primer for the Dance Community.
291:(1997), directed by Agnieszka Holland; and
18:
667:http://theatre.unm.edu/people/faculty.php
468:"Social Dancing in Schubert's World," in
80:New England Conservatory of Music, Boston
645:
616:The Grove Dictionary of American Music,
534:Drinkology: Wine, A Guide to the Grape,
435:(2012), curated with Victoria Phillips.
342:The Grove Dictionary of American Music,
916:Librarians at the Library of Congress
566:Appalachian Spring, Mirror before Me,
511:http://balanchine.org/balanhine/03.pc
414:Guide to Special Collections in Dance
287:(1994), directed by Martin Scorsese;
156:
151:Elizabeth Aileen Aldrich was born in
124:
7:
477:International Encyclopedia of Dance,
326:International Encyclopedia of Dance,
16:American dance historian (born 1947)
941:21st-century American women writers
147:Early life, education, and training
527:Encyclopedia of the Victorian Era,
14:
319:Society of Dance History Scholars
176:New England Conservatory of Music
936:21st-century American historians
719:. Balanchine.org. Archived from
295:(2003), directed by Rob Minkus.
911:New England Conservatory alumni
120:
1:
931:American expatriates in Chile
896:American women choreographers
694:. Retrieved 18 February 2013.
669:. Retrieved 18 February 2015.
433:Politics and the Dancing Body
215:Musik for Voyces & Violls
559:Répense pratique et théorie,
501:Summary essays on research:
299:Workshop leader and lecturer
213:recording of William Byrd's
760:. Library of Congress. 2018
962:
624:Dance in American Culture,
503:Mr. Strauss Goes to Boston
946:American women historians
926:Librarians from Wisconsin
921:American women librarians
851:. Loc.gov. 14 August 2014
312:Manager and administrator
229:and Claudio Monteverdi's
227:Le Bourgeois gentilhomme,
706:Elizabeth Aldrich, 2012.
33:Elizabeth Aileen Aldrich
901:American choreographers
541:Teaching Dance Studies,
407:American Ballet Theatre
75:Ohio University, Athens
804:. 2009. Archived from
652:"Aldrich, Elizabeth,"
273:The Remains of the Day
225:Jean-Baptiste Lully's
219:Ipswich, Massachusetts
830:. Loc.gov. 2012-07-28
507:The Chocolate Soldier
492:, and Armand Russell.
372:Curator and archivist
786:on 23 February 2015.
692:https://www.imdb.com
654:Who's Who in America
622:"Title to come," in
285:The Age of Innocence
247:a solo performed by
906:Film choreographers
808:on October 26, 2013
802:Library of Congress
525:"Social Dance," in
490:Sandra Noll Hammond
451:Bronislava Nijinska
346:Grove Music Online.
293:The Haunted Mansion
269:Mr. and Mrs. Bridge
153:Appleton, Wisconsin
113:Brian Russell Olson
50:Appleton, Wisconsin
532:"Chile, Cool," in
330:Selma Jeanne Cohen
277:Jefferson in Paris
389:, Helen McGehee,
289:Washington Square
281:Surviving Picasso
199:Professional life
137:Elizabeth Aldrich
134:
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43:February 26, 1947
23:Elizabeth Aldrich
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886:Dance historians
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366:Katherine Dunham
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223:Dido and Aeneas,
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168:Ohio University
166:, she attended
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881:1947 births
609:Proceedings
602:Proceedings
574:Proceedings
555:Proceedings
548:Proceedings
505:(1943) and
383:Jane Dudley
184:Renaissance
58:Nationality
870:Categories
855:2018-05-06
834:2018-05-06
727:2018-05-06
640:References
595:Protokolle
355:Consultant
94:Occupation
39:1947-02-26
208:Performer
102:Archivist
812:June 22,
764:June 22,
275:(1993),
271:(1990),
267:(1981),
263:(1979),
62:American
429:(2009).
423:(2008).
265:Quartet
188:Baroque
143:dance.
141:ragtime
129:
117:
619:Rasch.
395:Yuriko
393:, and
231:Orfeo,
180:Boston
172:Athens
123:
108:Spouse
52:, U.S.
758:(PDF)
572:" in
449:, on
127:)
119:(
115:
814:2022
766:2022
568:and
186:and
125:2006
29:Born
178:in
170:in
158:née
872::
800:.
385:,
336:,
121:m.
100:•
41:)
858:.
837:.
816:.
768:.
744:.
730:.
513:.
37:(
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