Collection includes materials created or collected by Primus and by others dating from circa 1920 to 1994, including correspondence, writings, legal documents, research and teaching materials, clippings, programs, printed materials, photographs, sound recordings, films, videos, and artifacts.
Pearl Primus, 1937-1938, 1947-1994 and undated 0.75 Linear Feet
Includes letters to Primus from family, friends, fans, and academic colleagues, and letters from Primus to company members, government officials, educators, and funding organizations, among others. Writings, project proposals, invitations, and printed materials are also present. There is extensive correspondence from 1949 documenting her experience in Africa, especially in Liberia. Other significant correspondence includes letters written in 1953 to Primus from her future husband, Percival Borde. Correspondence from the 1980s reflects Primus' professional activities as a faculty member at SUNY-Albany, SUNY-Buffalo, and the Five College Dance Department.
Collection includes photographic prints, programs, clippings, fliers, and other printed materials.
This collection contains documents pertaining to Gerald Myers' participation in American Dance Festival programs funded by the National Endowment for the Humanities between 1979 and 1988.
Collection includes legal notepads, spiral-bound notebooks, newspaper clippings, webpage printouts, programs from performances, photographs, event fliers, personal correspondence, CD, and VHS.
The collection contains the institutional records of the Harper Theater Dance Festival, public relations and publicity materials of dance companies, as well as the personal files of the collection's donor, Judith Sagan. The materials housed within the collection are in a variety of formats, including paper-based records, photographs, 35 mm slides, programs, newspaper clippings, large-format posters and publicity materials, audio reels, open reel video, and several objects.
The bulk of the materials were collected or created during the running of the Festival (1965-1979), with additional records (e.g. souvenir programs, professional membership records, financial records, etc.) collected by the donor following the Festival's demise.
The Institutional Records series of the Harper Festival Dance Collection is arranged alphabetically by organizational function and date. Records are specific to the Festival and include advertising proofs and ads, professional correspondence, invoices, bank statements, checks, bulk mailing contents, IRS documentation, grant applications, newspaper reviews of performances, press kits (for companies performing and for entire Festival), contracts with companies and vendors, technical production records, programs and tickets, school programming records, and notes. Original item labels on the audio and video reel boxes are transcribed here, even though spelling is particular to original usage and creator agency (e.g. WorkPring collection).
Collection includes books, magazines, photographic prints, clippings, flyers, written correspondence, programs, essays, and other printed materials.
The collection contains the personal papers and dance-related memorabilia (circa 1930-1993) of Ethel Tison Chaffin. Materials include photographic prints, newspaper clippings, programs, and correspondence, which are housed within a scrapbook and one Hollinger box. Many of the materials are annotated by Ms. Chaffin.
Included in the scrapbook are Ms. Chaffin's personal photographs documenting her involvement in dance and theater. These photographs depict several of her earliest dance recitals, university dance performances, and her 1948 performance as Laura in Tennessee William's The Glass Menagerie. In addition, she has incorporated photos of colleagues in the dance world. Also included within the scrapbook is correspondence between Ms. Chaffin and various educational institutions regarding admission to advanced dance programs at New York University and Bennington College, as well as job enquiries. Ms. Chaffin documented her career as an instructor by incorporating programs, clippings, and advertisements from her private studio, as well as those relevant to her tenure at Louisiana State University, the University of Alabama, and the Georgia State College for Women (now Georgia College) into the pages of her scrapbook. Memorabilia, including programs from festivals and performances that she attended, is also included within her scrapbook.
Records created after the compilation of the scrapbook are housed separately in a Hollinger box. Materials incorporated into this record set include correspondence with Elizabeth Andrews, educator and dance/drama critic, as well as newspaper clippings for a variety of well-known dancers and choreographers, including George Balanchine, Martha Graham, Charles Weidman, Merce Cunningham, and José Limón.
The bulk of the materials in the scrapbook document Ms. Chaffin's training as a dancer. Her earliest materials include photographs of her childhood dance classes and performances that are annotated with brief descriptions. Materials that address her secondary education and graduate-level work include yearbook pages, photographs, postcards, programs, and clippings. Of particular interest are her programs, reviews, and postcards that she sent home from Bennington College's School of the Dance. These materials are heavily annotated by Ms. Chaffin and give the researcher a sense of the life of a student at this famed dance institution.
Additional sections of the scrapbook cover Ms. Chaffin's career as a dance educator, as well as an aficionado post-retirement from active performance and teaching. The materials that document her career as an instructor include photographs of her students' performances, as well as programs and flyers advertising her studio. Materials that document her career post-dance include programs and reviews of performances that she attended, as well as an article profiling her as a graduate student working towards her Master's degree in the history of drama and theater during the '70s.
The collection contains the papers of Mark Dendy, generated through his individual work as a performer and choreographer as well as his work as Artistic Director of both Mark Dendy Dance and Theater and Dendy Dancetheater. It contains printed, photographic, and audio-visual materials that document his performances, press appearances, and public relations activities. The collection also holds materials related to Dendy's creative projects in dance and theater, including scripts, rehearsal schedules, casting notes, and costume and set designs. There are a number of notebooks and handwritten notes on loose paper pertaining to creative projects, choreography, his dance companies, and his personal life. A small amount of correspondence and financial documentation is also contained in the collection.
Materials in the collection include paper-based records, notebooks, newspaper clippings and photocopies, magazines, programs, flyers, press kits, and large-scale posters. Other formats include photographs, negatives, 35 mm slides, DVDs, and VHS, U-matic, Betacam, Betacam-SP, and DVCPRO tapes.
Printed Materials, 1981-2017 and undated 1 box; 39 folder
The Printed Materials series consists of performance programs, flyers, mailings, posters, magazines, newspaper and magazine clippings, photocopies of clippings, a publicity report, press releases, press kit materials, full press kits, a costume design portfolio, a postcard, and several folders.
Advertising, 1993-2017 and undated 5 folders
The Advertising subseries contains flyers and mailings for events featuring Dendy as well as those not explicitly mentioning him or his companies. It also contains a costume design portfolio featuring examples from several of Dendy's pieces.
Collection includes photographic prints, contact sheets, negatives, slides, clippings, programs, printed materials, posters, VHS videotapes, and an audiocassette.
Collection includes correspondence, paper based records, printed materials, teaching materials, programs, posters, post cards, publications, newspaper clippings, conference materials, notebooks, photographs, negatives, slides, super 8 film, videotapes, artwork, and various other types of memorabilia
The Correspondence series is comprised of paper communication both composed and received by Davis. The series consists of personal and business correspondence and memos, postcards, invitations, announcements, and greeting cards. A bulk of correspondence are those maintained with the hosts and collaborators of his excursions to West Africa during the early 1990s. Additionally, there are letters and postcards written to Davis's parents, Tony and Ethel.
The collection contains the records of Dance Pages, which were collected or created during the production of the magazine, as well as copies of the magazine from 1987 to 1997. Records were typically filed by subject or person rather than by type of record, so files contain a range of materials. The majority of the Dance Pages records are subject files, which primarily contain publicity information such as photographs and press releases for dance companies, dancers, schools, teachers, artists, musicians, filmmakers, photographers, performance venues, events, performances, and other dance-related topics. In addition to publicity materials, subject folders can contain drafts of articles and advertisements, paste-ups for advertisements and magazine features, illustrated graphics, press clippings, correspondence, invoices, brochures, flyers, programs, 35 mm slides, and negatives. The collection also contains administrative files, which hold materials related to magazine contributors, personnel, and business management. While the collection includes some financial documentation and correspondence, these materials are filed with the subject to which they pertain and are therefore distributed throughout the collection.
The materials housed within the collection are in a variety of formats, including paper-based records, magazines, paste-ups, illustrated graphics, newspaper clippings, press kits, programs, flyers, brochures, and catalogs, as well as photographs, contact sheets, negatives, 35 mm slides, and transparencies.
The Magazines series contains copies of Dance Pages magazine, beginning with Spring 1987 (vol. 5, no. 1) and ending with September/October 1997 (vol. 15, no. 2). Two issues from 1987 (vol. 5, no. 2-3) and issues published before 1987 are not included in the collection.
Collection includes correspondence, printed material, and business and financial records created by Charles L. Reinhart and the employees of Charles Reinhart Management, Inc., 1951-2008. Some personal papers of Charles L. Reinhart are also included.
This collection contains documents, slides, negatives, and prints pertaining to ADF performances and student classes during Jay Anderson's tenure as photographer for the American Dance Festival.
The collection includes photographic materials created and collected by the American Dance Festival, including negatives, contact sheets, prints, and transparencies.
5 by 2 Dance Company, 1973 prints
The collection consists of materials collected by the American Dance Festival pertaining to choreographers, dance companies, and others involved in modern dance, including printed materials, newspaper and magazine clippings, press kits, programs, and correspondence.
Contains correspondence, lists, administrative materials, memoranda, contracts, legal documents, financial records, class schedules, teaching materials, student records, clippings, press releases, publicity materials, brochures, tickets, posters, and other printed materials created by or related to the American Dance Festival before the decision to move to Durham, North Carolina, in the fall of 1977.
ADF Store and Merchandise, 1962-1977 5 folders
Contains correspondence, inventory lists, tee-shirt designs, order forms, and administrative papers related to the sale of merchandise during the festival and the management of the store at the theater and summer offices.
The collection includes business records, grant proposals, correspondence, film, video, sound recordings, oral histories, interview transcripts, photographs, clippings, and research materials created or collected during the production of the three-part television documentary Free to Dance.
The bulk of the Free to Dance Collection dates from 1998 to 2001, when technical production of the series took place; however, the collection also includes grant proposals and early project development documentation dating back to 1987, as well as some correspondence and financial information created after its air date in 2001.
The collection contains the dance-related memorabilia (circa 1949-2006) saved by Nathan Ockman. Materials include performance programs and newspaper clippings, which are arranged chronologically. Many of the materials are annotated by Mr. Ockman.
Mr. Ockman collected the accompanying programs for each dance performance he was in attendance for throughout six decades. The earliest programs, dated from the late 1940s and early 1950s, are from performances at the University of Michigan during Mr. Ockman's time as a graduate student at the university. Following Mr. Ockman's subsequent move to New York City, the vast majority of the collection is comprised of performances at notable New York venues and performing arts festivals. Though there are several programs from performances by ballet companies, the collection largely reflects Mr. Ockman's personal penchant for modern dance.
Newspaper clippings of performance reviews and promotions of upcoming premieres are included within the collection. More often than not, they correspond to a performance that Mr. Ockman was in attendance for, and so they are organized alongside accordingly.
Of the programs dating from 1958 onwards, nearly all are decorated with Mr. Ockman's personal annotations, which make note of extraordinary pieces, performers, and his general perception of the performances. Though the notes were made for Mr. Ockman's own enjoyment, he was aware that they may someday hold some historical significance. It was always his hope that he might, as a dutiful and attentive audience member, discover an emerging dance talent.
The collection contains Stephanie Reinhart's personal papers, company management materials, and materials from her 1993 Fulbright research. Her personal papers include essays, poetry, calendars, correspondence, clippings, and papers related to her Durham residence. The company management materials include slides from her time as Company Manager with Crowsnest Dance Company. The Fulbright research materials include correspondence with the Fulbright program, research, notes, articles, and both audiocassettes and transcripts of the interviews she conducted in Argentina.
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