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something and verbalize what she wanted using elaborate imagery and analogies. She used her technique class as a preparation for her improvisation and composition classes. These classes were where the students could expand and experiment on the skills that were presented in class, making the movement innate in their bodies. A large amount of Holm's choreography came from the improv and comp classes. Hanya Holm taught anatomy, Dalcroze eurhythmics, improvisation, and
Labanotation at her school.
165:. In the letters the salary was laid out making sure that the transfer would continue to support her son, Klaus, who stayed in Germany, and the letter of agreement signed by both parties "promises to apply all her strength to the advancement of the New York Wigman School and to conduct the work according to Mary Wigman's ideas ... as well as to see that the M.W. philosophy of dance is implemented faithfully within and outside the New York Wigman School in every possible way".
244:. She worked on movement that projected into space. Holm's stylistic idea was about "absolute dance" without pantomime or dramatic overtones. Attention to conveying an idea in her choreography was more important than the dancers' technical ability. Holm would say, "I want to see a sign of passion. I want to see the raw if struggling to express itself. A work must have blood."
371:
Hanya Holm's approach to teaching was to liberate each individual to define a technical style of his or her own that should express their inner personality and give freedom to explore. She would tell her students, "You have a perfect right to branch out, if you have the stuff in you, if you discover
160:
Wigman invited Holm to teach, co-direct the
Dresden School, and in her recognition of the opportunity that opening a school in New York could offer the world of dance, eventually sent Holm to launch a Wigman branch in New York City (on September 26, 1931). The initial letters of certification and
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to her dance teaching. Holm was strict; she expected greatness from her students which would come from a willingness to work hard. It was her thought that if you worked hard and truly wanted it, you would achieve the desired outcome. Holm had an extremely keen eye, she had the ability to look at
235:. Her technique stressed the importance of pulse, planes, floor patterns, aerial design, direction, and spatial dimensions. Holm's movement emphasized the freedom and flowing quality of the torso and back, but remained based on universal principles of physics for motion. Holm trained through
239:
so, a specific movement vocabulary or phrasing that could be carried on through classes does not exist; instead her focus was about learning through discovery. Choreographically her movement focused on the body's relation to space and emotion, which was an extension of Wigman and
372:
your own richness, if you have something to say." Holm's philosophy of teaching was how to find the essence of dance and understand where the movement comes from in the body that way it is a natural response in the dancer's body. She brought
380:
She taught at
Colorado College, Mills College, University of Wisconsin, Alwin Nikolais School, and was the Head of Dance Department in New York's Musical Theatre Academy. After 1974, she taught at the
173:
Holm was not only capable of rising to the challenge of representing the Wigman name and teaching philosophy, she also helped to shape the school and build an influence of her own. Due to the rise of
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perform, and decided to continue her dance career at the Wigman School in
Dresden where she soon became a member of the company. Mary Wigman and Hanya Holm shared a special bond through movement.
157:
was said to be the first time Wigman realized the artistic impression Holm was capable of. She had the creative will and ability to shape a choreographic vision into reality.
279:
and
American techniques. In 1941, she started a Center of Dance in Colorado Springs where she had summer courses and was able to perfect her creative exploration technique.
161:
agreement from Wigman to Holm about the migration over to
America to direct the school were found in her house after her death in 1992. These letters were published in
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271:(ADF) arose from Bennington College. This was an opportunity for modern dancers to come together to take class and present new works. Holm's first major work,
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Additionally she formed the Hanya Holm Dance
Company in 1936, former dancers of the company included Keith Coppage, Carolyn Durand, Marva Jaffay,
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142:. Holm was drawn to music and drama at an early age, she attended the Dalcroze Institute of Applied Rhythm in Frankfurt, studying under
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Gitelman, Claudia; Forster, Marianne (1997). "Dance, Business, and
Politics: Letters from Mary Wigman to Hanya Holm, 1930–1971".
31:
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192:), Ruth Ledoux, Lydia Tarnower, Bernice Van Gelder, Elizabeth Waters, Oliver Kosock, Gretchen Phillips, and Lucretia Wilson.
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348:. Holm choreographed extensively in the fields of concert dance and musical theatre. Other works by Holm include:
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and a need to distance the school from German ties, it became known as the Hanya Holm Studio (1936–1967).
396:, and featuring interviews with Holm, Nikolais, Murray Louis, and others, was released by Dance Horizons.
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419:, in 1976, with the Heritage Award for her contributions to dance education. She was inducted into the
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Holm had a unique form of technique that shaped generations of dancers and choreographers including
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304:(1948) was the first choreography to be copyrighted in the United States. She also choreographed
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267:, who came to be some of the most influential modern dancers of their time: "The Big Four". The
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114:; 3 March 1893 – 3 November 1992) is known as one of the "Big Four" founders of American
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Holm died at the age of 99 of pneumonia on 3 November 1992 in New York City, New York.
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National Museum of Dance's Mr. & Mrs. Cornelius
Vanderbilt Whitney Hall of Fame
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Her son was
Broadway lighting designer Klaus Holm. She and her son are interred in
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School (Martha Hill, director) in New York. In 1988, a documentary of her life
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Modern Bodies: Dance and American Modernism from Martha Graham to Alvin Ailey
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The Bennington School of the Dance: A History in Writings and Interviews
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was the first modern dance composition to be televised on NBC, and her
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Dance, Business, and Politics: Letters from Mary Wigman to Hanya Holm
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German-American dancer, choreographer and dance educator (1893-1992)
412:. She was divorced from Reinhold Martin Kuntze, a German sculptor.
344:(1965). She also directed a 1960s television musical adaptation of
589:. Colorado Springs Gazette-Telegraph. August 4, 1973. p. 77
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Craine, Debra; Mackrell, Judith, eds. (2000). "Hanya Holm".
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which led to twelve other musicals. Holm's dance work
275:, (1937) dealt with social criticism and incorporated
476:"Hanya Holm Is Dead at 99; Influential Choreographer"
118:. She was a dancer, choreographer, and above all, a
149:At the age of 28, she saw the German expressionist
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821:Reynolds, Nancy; McCormick, Malcolm, eds. (2003).
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146:throughout her childhood and young adult life.
897:New York Public Library for the Performing Arts
827:No Fixed Points: Dance in the Twentieth Century
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169:Hanya Holm Studio and Hanya Holm Dance Company
852:. Middletown, CT: Wesleyan University Press.
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195:Holm's first United States performance was
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251:, Holm was one of the founding artists at
130:Born as Johanna Eckert on 3 March 1893 in
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282:In 1948, she choreographed for Broadway:
746:International Dictionary of Modern Dance
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126:Early life, connection with Mary Wigman
848:Hanya Holm; the Biography of an Artist
769:. University of North Carolina Press.
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188:, Henrietta Greenhood (later known as
942:German emigrants to the United States
723:. New York: Oxford University Press.
83:Dalcroze Institute of Applied Rhythm,
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829:. Haven, CT: Yale University Press.
744:. In Benbow-Pfalzgraf, Taryn (ed.).
582:"Hanya Holm Dance Concert Set at CC"
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546:McPherson, Elizabeth (2013-06-13).
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474:Dunning, Jennifer (1992-11-04).
895:Jerome Robbins Dance Division,
93:Dancer, choreographer, educator
962:Musical theatre choreographers
721:The Oxford Dictionary of Dance
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957:20th-century American dancers
893:Don Redlich papers, 1893-2019
655:Reynolds & McCormick 2003
631:Reynolds & McCormick 2003
415:Holm has been honored by the
74:New York City, New York, U.S.
55:Worms, Rhineland-Palatinate,
927:Expressionist choreographers
748:. Detroit: St. James Press.
738:Cristofori, Marilyn (1998).
410:Luzerne County, Pennsylvania
386:Hanya: Portrait of a Pioneer
522:Gitelman & Forster 1997
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922:People from Worms, Germany
888:Internet Broadway Database
552:. McFarland. p. 117.
457:Craine & Mackrell 2000
417:National Dance Association
247:Invited by dance director
203:Technique and choreography
952:People from Rhenish Hesse
798:10.1080/01472529708569264
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621:, pp. 162–163, 165.
844:Sorell, Walter (1969).
763:Foulkes, Julia (2002).
269:American Dance Festival
358:Dance Of Work and Play
932:Expressionist dancers
144:Emile Jaques-Dalcroze
136:Rhineland-Palatinate
681:, pp. 167–169.
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633:, pp. 167–168.
367:As a dance educator
354:They Too Are Exiles
255:in 1934 along with
480:The New York Times
292:Metropolitan Daily
253:Bennington College
859:978-0-8195-6060-5
836:978-0-300-09366-7
776:978-0-8078-5367-2
755:978-1-55862-359-0
730:978-0-19-860106-7
559:978-1-4766-0295-0
307:Out of This World
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69:(1992-11-03)
52:3 March 1893
917:1992 deaths
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792:(1): 1–21.
703:Sorell 1969
691:Sorell 1969
679:Sorell 1969
667:Sorell 1969
643:Sorell 1969
619:Sorell 1969
507:Sorell 1969
249:Martha Hill
233:Glen Tetley
221:Don Redlich
151:Mary Wigman
906:Categories
884:Hanya Holm
875:Hanya Holm
593:2022-03-07
493:2022-03-06
442:References
298:score for
229:Liz Aggiss
190:Eve Gentry
182:Mimi Kagan
108:Hanya Holm
48:1893-03-03
23:Hanya Holm
806:0147-2526
712:Citations
488:0362-4331
423:in 1988.
382:Juilliard
346:Pinocchio
80:Education
430:See also
334:(1956),
328:(1954),
322:(1952),
316:(1950),
313:The Liar
310:(1950),
199:(1937).
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132:Worms
879:IMDb
854:ISBN
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554:ISBN
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392:and
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231:and
64:Died
38:Born
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