≡ Menu

ElsyDance Pays Tribute to David Howard

David-Howard-3

This special episode of Elsy Dance, And… is a tribute to David Howard, who died of complications from a stroke in August 2013. David Howard was the “Teacher of Stars.” He trained at the Cone Ripman (now Arts Educational School) and the Royal Academy of Dancing, winning the prestigious Adeline Genee Award at the age of 16. Howard was a soloist with the Royal Ballet for 7 years before joining the National Ballet of Canada. He was the President of the national Association for Regional Ballet from 1976 till 1979. He guest taught for Royal Ballet, ABT, Joffrey Ballet, San Francisco Ballet and the National Ballet of Canada.

David-Howard-2

Howard was well-known for his work with international ballet competitions. He adjudicated the 1979 Jackson competitor and coached Gold medal winners, Katherine Healy (Varna 1983) and Jennifer Gelfard (Jackson 1986). The David Howard Dance Center was founded in New York City in 1986. Committed to teacher education, David Howard has created several instructional recording and videos.

David-Howard-1

His unique methodology was founded in scientific approach to movement involving kinetics and anatomical principles. His teaching techniques were as revealing and applicable to the teaching of emerging young dancers and adult beginners as to established professionals. David Howard approached the acquisition of ballet through dynamics of movement, musicality, and energy patterns. His kinesthetic approach eliminated much of the tension and resulting injury associated with technique as it is traditionally taught.

David-Howard-Memorial-Front

Elsy Contreras was a student of his for many years, and attended the last class he taught. David Howard was a beloved teacher, mentor, and friend.

David-Howard-Memorial-Rear david-howard

Betty Jones Keeps Limón’s Dance Flame Burning

Betty Jones instructing

“I feel like Limón is very much alive, because we’re all doing his work and following his path – ‘from the horse’s mouth.’ His death was not real to me. I talk about him all the time. Limón is still very much alive,” Betty Jones, my former dance teacher said during an interview with me on October 13, 2012. Also present were her husband Fritz and Francesca Todesco who is a dancer with the Sokolow Theatre Dance Ensemble.

“I was the beginning. Almost all the others have since passed on,” Betty Jones said of her role with José Limón Dance Company. Aside from Jones, only Sarah Stackhouse is left. Stackhouse was part of the Limón company when I was in New York for the first time. She is in Munich reconstructing many of Limón’s pieces, according to Jones.

“I don’t make dancers. I just dance and teach technique,” Jones said. Jones teaches in major European cities, principally in France and Italy, and she’ll teach alongside Todesco for Sokolow’s spring and fall season. Fritz, meanwhile teaches in Japan once per year. The Jones’ had a studio – the Jones Ludin Dance Center – in Hawaii for seven to eight years, but it became too expensive to operate and it went defunct.

Betty Jones Dance Class

The Moor’s Pavane

Jones met Lucas Hoving in Stockholm and was in Limón’s original The Moor’s Pavane. “It was a very beautiful piece,” she said. The dance was based on Shakespeare’s Othello. Lar Lubovich made a version of The Moor’s Pavane for American Ballet Theater, but the dance used Graham Technique and different music. It was not successful. “Limón’s piece is a classic. Limón’s personality cannot be duplicated. You can try to be like someone else, but there is only one original. Limón Technique is very popular everywhere, especially in Mexico,” Jones said.

Javier Francis

Jones met Javier Francis, who was my teacher. Francis once told me, “if you leave dance – with this stick, I’ll break your legs!” Jones had met Francis while assisting Limón in Mexico City. Francis died long ago.

The Rise and Fall of “Dancers We Dance”

Tatiana Zugazagoitia studied ballet in St. Petersburg, then joined the Jones in Honolulu. They had a company – “Dancers We Dance,” which lasted for nearly 12 years. Fritz Jones choreographed and guest artists would come in from New York City and Japan. The company was closed in 2004. “We don’t have many foundations in Hawaii. When the economy [failed] in Japan, our funding was cut. Hawaii is very tied to Japan,” Jones said. She went on to explain briefly how dance funding works. “The top three or four companies are given money. The rest get nothing. Now, you have to be invited by the foundations to even ask for funding, then go through a major process.”

Betty Jones Meets José Limón

Jones met Limón at the Ruth St. Denis Studio in Becket, Massachusetts, which Jacob’s Pillow Dance owns. “I was a scholarship student. Limón was teaching for a week – around 1945. I loved his technique. I loved how he paused to find the erudite word. He was somebody after my heart. Limón taught a technique: walking and rolling the body at the same time. It isn’t easy,” Jones said. She new Ted Shawn and Pauline Koner who tore her Achille’s Tendon. Koner was the “eternal guest artist” of Limón and played Emilia in The Moor’s Pavane.

Limón accepted Jones into his company in 1947. Carla Maxwell became the Artistic Director of Limón Company while Jones was there. “I was asked to direct, but I did not want it. I do not have the ability to fund-raise,” Jones said. Ruth Currier directed for a few years, then Maxwell took the job in 1978. Maxwell was a capable director and she joined the company in 1965.

Brief Background of José Limón

Jones shared some of José Limón’s background. He is the author of José Limón: an Unfinished Memoir. “He was an art student, a painter, saw Harold Kreutzberg and Yvonne Gerogi’s performances, then went to Doris Humphrey and Charles Weidman. Limón served in World War II, then became the Artistic Director of his company. Limón Technique is an evolution of Humphrey’s. She was his principal influence,” Jones said. She continued, “Humphrey was the most unique choreographer of that period. She was a very special woman and she came from a small town in Illinois.” Humphrey, Weidman, and Graham were in the Denis-Shawn Company, then they split up and did their own works, she said.

Betty Jones’ Early Life

Jones was born in Pennsylvania and her family moved to Albany, New York, thence to Delmar, New York. “I started like all little girls with ballet and tap. I have a military tap costume. I went to Jacob’s Pillow for five summers in a row. I wanted to be a ballet dancer, but met Ted Shawn. I was told I was too old to be a ballet dancer and started studying with José and found my home – my most joy,” Jones said.

Limón’s Popularity in Mexico

Jones performed for the United Service Organization (USO) in 1945. Limón started his company in 1946 around the age of 38. He was more popular in Mexico than here in the United States, Jones said. “In 1957 we toured Europe everywhere. Reviews said ‘he was 49-year-old; unheard of’ He was promoted by the State Department,” she said.

“Limón’s picture was on kiosks throughout Mexico. He felt like he was a star. Miguel Covarrubias brought the Limón Company to the Institutio Nacional de Bellas Artes in Mexico City. He stayed in New York, but traveled to Mexico. Limón was shocked that they paid $1,000 for a feather on a costume,” she said.

Jones said “Limón wanted to be independent, which costs a lot. He did not want to abandon Humphrey’s technique.” Jones said she was most faithful to Limón’s company. “It was beautiful and unique in that we stayed together a long time,” she said.

Command Performance for Pres. Johnson

Jones recounted her involvement with the The Moor’s Pavane. She already knew the story, having worked as an usher at the Schubert Theater where she saw Othello eight times a week. She did a command performance of The Moor’s Pavane for President Johnson and his wife Claudia Alta “Lady Bird” in the East Room of the White House. Neither Pres. Johnson nor the First Lady knew the underlying story of dance. Jones recalled the chandelier donated by Harkness which the dancers had to avoid. “The King of Morocco and his sister were there,” she said. Jones played Desdemona. She recounted how “Lady Bird” said, “I hope you win,” while Pres. Johnson could only say, “boy oh boy oh boy.”

Differences Between Limón and Humphrey

According to Jones, “Limón felt like Mozart.” Fritz noted that “Limón did not share his ideas.” Betty said, “You went in and rehearsed. Each theme involved the body roll. Doris always had a cane and José was always there with her. Doris would tell you how to move. José would show a movement, and if you didn’t get it, he’d change it.”

Limón Technique Inspiration, Not Code

“I enjoy teaching. José did not want his technique codified or copied. He wanted it to be the inspiration and he wanted it to be creative,” Jones concluded.

I was studying at the Mexican Academy of Dance when I earned a scholarship from Mexico’s National Institute of Fine Arts to study with José Limón in New London, Connecticut. There, I studied under the tutelage of José Limón, Betty Jones, Martha Graham, Lucas Hoving, and Louie Horst.

Betty Jones Dance Class

ElsyDance Releases Dances Aired on Mexico City’s Canal Once

This video features Wind Woman, Sand Woman, Free Woman; Temperament; and Drums. These three dances aired on Mexico City’s Canal Once and have aired on MNN starting in 2012. This video was recently remastered and last aired on May 3, 2013.

ElsyDance Releases Interview with Lori Belilove, Part IV

This video is the fourth and final part in my series of interviews with Lori Belilove, of the Isadora Duncan Dance Foundation. Like the prior installments, this video includes some of her works; my system of teaching with Patricia Aguilar; Elements and Creation of Man; and Nuclear Dance. This video originally aired February 11, 2011 on MNN and was re-mastered for 2013.

ElsyDance Releases Interview with Lori Belilove, Part III

This video is the third of four parts in a series of interviews with Lori Belilove of the Isadora Duncan Dance Foundation and myself. Included are more of her works; class with Vladimir Dokoudovsky; Solari, Temperament, and Narciso Dead. This video originally aired on February 4, 2011 on MNN.

ElsyDance Releases Interview with Lori Belilove, Part II

This video is the second in a four-part series of my interview with Lori Belilove of the Isadora Duncan Dance Foundation. Included are more of her works; my class with Kenny Larson; “Cosmic Dance;” “Wind Woman, Sand Woman, Free Woman;” and “Solo de Amor.” The interview originally aired on MNN on January 28, 2011 and has been re-mastered for 2013.

ElsyDance Releases Interview with Lori Belilove, Part I

Back in early 2011, I interviewed Lori Belilove of the Isadora Duncan Dance Foundation. The interview was divided across four episodes on MNN. Following is the first of four parts, which aired on January 14, 2011 and was re-mastered for 2013. Also included are: Dances by Lori Belilove; my master class with Moving in Time Dance Studio, “Allegro” rehearsal, “Drums,” and “La Fortuna.”

ElsyDance Releases Tribute to Kirill Matveev

Kirill Matveev was a beloved ballet teacher who died in 2011 at the age of 50 of a heart attack. This video concludes with a tribute by author Sun Huh which was performed at the February 2011 Experimental Performance Evening at Ballet Arts Center on 56th Street in New York City. The video originally aired on MNN on May 27, 2011 and is occasionally re-broadcasted, the latest one being on November 30, 2012. The video opens with ballet class by Kenny Larson, then Elsy Contreras’ Drums, followed by several short performances from the Experimental set, Solo De Amor, La Fortuna, and the tribute. The video closes in the Norman Lear tribute tradition of closing credits on a black background and silent audio.

ElsyDance Releases “Nuclear Dance” Re-Mastered with Picasso’s Guernica

ElsyDance tonight has released Nuclear Dance which was re-mastered with Picasso’s Guernica, which was one of the inspirations for the dance. Like the original, this dance shows the beautiful forms of the human being and their impotence against a nuclear war The bodies of the dancers make forms of this world in suspension and unstable from the explosion of nuclear bombs. It represents the anguish of the people and the destruction nuclear weapons cause. The dance represents the hopeless and futile nature of nuclear war.

The dance aired yesterday on ElsyDance, And… on Manhattan Neighborhood Network (MNN). Please see the Nuclear Dance choreography page for more details.

Nuclear Dance Re-Mastered with Picasso’s Guernica

ElsyDance Releases “Obsidian Butterfly”

ElsyDance today released Obsidian Butterfly, which Elsy Contreras and Bryan Nissen co-choreographed. The dance was performed at Museo Tamayo in Mexico City with music by Carlos Santos and poetry by Octavio Paz, who won a Nobel Prize in Literature.

Please see the Obsidian Dance choreography page for more details.