What did the English dancer Margaret Kelly found in 1932?
"Margaret Kelly Leibovici Margaret Kelly Leibovici (24 June 1910 – 11 September 2004), known as Miss Bluebell, was an Irish dancer who was the founder of the Bluebell Girls dance troupe. Margaret Kelly was born in Dublin on 24 June 1910 at the Rotunda Hospital. She never knew her parents. An Irish priest entrusted her to Mary Murphy, a spinster who worked at home as a dressmaker. In 1916, following the Easter uprising, both moved to Liverpool, where, on the direction of a doctor, Kelly was registered in a dance class to strengthen her frail legs. Quickly, it appeared that"
"post-war English dancers to feature the full natural turn in the slow waltz. This innovation was a factor in his winning the first World Ballroom Dancing Championship in 1922 with Phyllis Clarke as his partner. He married Dorothy Newton a few days later. He competed again in 1924, coming second to Maxwell Stewart – the inventor of the double reverse spin in the waltz – and Barbara Miles. He was a founding member of the Ballroom Committee of the Imperial Society of Teachers of Dancing which codified the theory and practice of Ballroom Dance – now known as the International"
"many recently bereaved women. Her big innovation was to move from small, private classes to a mass-market movement. In 1930 this grew into a commercial enterprise, the Women's League of Health and Beauty, using the YMCA's Regent Street premises. Public displays in London garnered publicity, and more centres started in 1932 in Bromley, Southend, Slough, Bournemouth, Croydon, Birmingham, Glasgow followed by Ayr, Paisley and Edinburgh and finally franchised centres all over the UK. The Women's League of Health and Beauty classes included elements from dance, callisthenics, and remedial, slimming, and rhythmical exercise to music. The League published its own magazine,"
"as existing as a sport, it often constituted a popular addition to Music Hall evenings, in the larger variety theatres of London or Glasgow which were equipped with on-stage water tanks for the purpose. In 1907, Australian Annette Kellerman popularised the sport when she performed in a glass tank as an underwater ballerina (the first water ballet in a glass tank) in the New York Hippodrome. After experimenting with various diving actions and stunts in the water, Katherine Curtis started one of the first water ballet clubs at the University of Chicago, where the team began executing strokes, ""tricks,"" and"
"Margaret Morris (dancer) Margaret Morris (1891 in Kensington, London, England – 29 February 1980 in Glasgow, Scotland) was a British dancer, choreographer and teacher. She was the first proponent of the Isadora Duncan technique in Great Britain. She founded the Margaret Morris Movement, Celtic Ballet, and two Scottish National Ballets in Glasgow (1947) and in Pitlochry (1960). Morris devised a system of movement notation, which was first published in 1928. Although Morris was born in London, she lived with her parents until the age of five in France. She had no formal academic education, but went to dancing classes. In"
"dance"", which in turn comes from the Greek ""βαλλίζω"" (""ballizo""), ""to dance, to jump about"". The word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the fifteenth and sixteenth centuries. Under Catherine de' Medici's influence as Queen, it spread to France, where it developed even further. The dancers in these early court ballets were mostly noble amateurs. Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement. The ballets were performed in large chambers with viewers on three sides. The implementation of the proscenium arch from 1618"
"some very neat dancing"". The show went on tour and included some weeks at the London Hippodrome Theatre. This led to a film contract. Gibson died in Paddington, London in 1974. Kathleen Gibson Kathleen Gibson (born Kitty Stride, 1915-1974) was a former British actress who developed her craft in repertory theatre. In 1932, Gibson played one of the friends of the character D'Recamier (Pearl Argyle) in the Frederick Ashton ballet ""Magic Nights"". Gibson was discovered by C. B. Cochran, who made her one of ""Cochran's Young Ladies"". On 30 November 1933, she played Ena Hawkins in a production of ""Mr"
"Grace Kelly and Prince Rainier III of Monaco. The following year, the duo appeared in a ""Producers' Showcase"" production of ""Cinderella"". Fonteyn starred with Somes in a 1958 BBC Television adaptation of ""The Nutcracker"" which premiered on 21 December. She was successful in two other Ashton ballets, ""La Péri"" (1956) and ""Ondine"" (1958), before becoming a freelance dancer in 1959, allowing allow her to accept the many international engagements she was offered. Shortly before her marriage Fonteyn had been selected to succeed Adeline Genée, as president of the Royal Academy of Dance and though she protested the appointment, the Academy"
"Ballerina of ""The Ballet Club"", a company founded by Dame Marie Rambert. During this period, she was particularly noted for performing works by Frederick Ashton, who was unknown at the time, but would go on to become one of Britain's most celebrated choreographers. The Ballet Club was to be the first professional ballet company in the United Kingdom, later becoming known as the ""Ballet Rambert"". Now known as the Rambert Dance Company, it remains the oldest established dance company in the UK. In 1931, Ninette de Valois founded the ""Vic-Wells Ballet"" in premises at Sadler's Wells theatre in London. A"
"who claimed to have re-discovered the tradition, and subsequently went on to regenerate interest in it. A former scientist and noted researcher and teacher of folk dancing, Dommett uncovered a number of references to stave dancing, including primary-source material that was supplied by Maud Karpeles, whilst researching other aspects of English folk dance in the 1970s. After examining as many contemporary references as could be found, he concluded that stave dancing not only grew out of the social activities of the south-western friendly societies, but that it represented a distinct style of English folk-dance worthy of standing alongside other English"
"owed much to Catherine: It was invented in the context of the chivalrous pastimes of the court, by an Italian, and a Medici, the Queen Mother. Many poets, artists, musicians, choreographers, contributed to the result, but it was she who was the inventor, one might perhaps say, the producer; she who had the ladies of her court trained to perform these ballets in settings of her devising. A spectacular ""fête"" was held during the reign of Catherine’s son Henry III to celebrate the marriage of his sister-in-law, Marguerite of Lorraine, to his favourite, Anne, Duke of Joyeuse, on 24 September"
"dancing and acting. John Duncan Fergusson became the art director of all her schools. Painting and design became an integral part of the students curriculum which already included acting, dance composition and improvisation, normal educational subjects and her system of Dance Notation. The syllabus followed at her schools (as of 1925): The Margaret Morris Movement was chosen to represent Britain at the 1931 Dance Festival in Florence, Italy. In 1922 Morris began an interest in the remedial aspects of movement. In 1925 she gave her first lecture demonstration to doctors in London on the remedial possibilities of her exercises. She"
"approach for comprehensive documentation. The system she later referred to as 'Danscript' was hugely comprehensive and was intended for the universal documentation of human movement. It featured in ""Choreo-graphics"" (Hutchinson Guest) and was referenced in ""The Dancing Times"". Margaret Morris (dancer) Margaret Morris (1891 in Kensington, London, England – 29 February 1980 in Glasgow, Scotland) was a British dancer, choreographer and teacher. She was the first proponent of the Isadora Duncan technique in Great Britain. She founded the Margaret Morris Movement, Celtic Ballet, and two Scottish National Ballets in Glasgow (1947) and in Pitlochry (1960). Morris devised a system of"
"The Dance Centre The Dance Centre, previously at 12 Floral Street, Covent Garden, central London, England, was founded by Valerie Tomalin (née Hyman) in 1964 as a space where dance teachers could hire small studios by the hour and large ballet companies, such as The Royal Ballet and Ballet Rambert, could rent larger studios by the day or by the week. Individual artists such as Margot Fonteyn, Wayne Sleep and Rudolf Nureyev used the smaller spaces to privately fine-tune their performances. The venture was inspired by Valerie's fascination with ballet. As an art-student Valerie bought student tickets for The Royal"
"England since the collapse of Ballets Russes but had no large scale company to dance for. In 1930 serious professional ballet in London was at a low point and in the rest of the country was non-existent. The Camargo Society was conceived by Arnold Haskell (ballet critic and prolific author) and Philip Richardson (editor of ""Dancing Times""), and named after the 18th century ballerina Marie Camargo who first shortened her skirts and wore dancing slippers without heels. Its aim was ""to perpetuate the principles on which Diaghilev had run the Ballets Russes, as a fusion of dance, music and decor"","
"or piety. They were considered to be direct connections to the otherworld. With the written form of dance poses play a big part on how they describe and depict the dance. The gesture of holding the double headed serpent would be described as a gesture of concentration, calm and tranquility. The pose to dancing was discovered to be a lifted heel while still touching the ground. This was discovered in 1911 but wasn’t brought to questions till 1981 by Virginia Miller who defined the pose. This pose was started in the Early Classic period on a small scale while in"
"and a Medici, the Queen Mother. Many poets, artists, musicians, choreographers, contributed to the result, but it was she who was the inventor, one might perhaps say, the producer; she who had the ladies of her court trained to perform these ballets in settings of her devising. The dance performances at the Valois court were conceived on a large scale, as elaborate, choreographed showpieces, sometimes performed by considerable forces. At the Château of Fontainebleau in 1564, the court attended a ball in which 300 ""beauties dressed in gold and silver cloth"" performed a choreographed dance. In his illustrated ""Magnificentissimi spectaculi"","
"the earth, sensuality and the natural body. In pursuit of this goal, pioneers such as Margeret D'Oubler, Martha Graham, Rudolf von Laban and Doris Humphrey began to invent new dance techniques that involved radically different movement. Elements of release technique began to emerge as these pioneers, and protégés such as Merce Cunningham, Jose Limon, Irmgard Bartenieff, Erick Hawkins and Anna Halprin, contributed further ideas and inventions. For example, D'Oubler envisioned dance based on scientific analysis of human anatomy and movement; Humphrey's technique focused on allowing gravity and momentum to affect the body; Hawkins advanced the idea that physiologically efficient movement"
"both of which were made by Colin Jerry. The dance was collected by Mona Douglas from children she met in the road in Laxey. As Douglas noted for other dances, it is possible that this dance was collected from children as it had been retained as a children’s game rather than as a formal folk dance. It is not known at what date it was collected, but it was first mentioned as having been complete and collected in the ""Five Manx Folk Dances"" published in 1936. It was first published in ""Seven Manx Folk Dances"". Douglas’ writings about the dance"
"Margaret Dale (dancer) Margaret Dale (30 December 1922 – 28 January 2010) was a British dancer who later became a producer and Director of Dance for BBC television. She was born as Margaret Elisabeth Bolam in Newcastle-upon-Tyne to John Howden Bolam and wife Gladys Margaret (Downs). She attended Dame Allan's School at Newcastle-on-Tyne and learned dancing from age 5. Between the 1940s and 1950s, she showed a flair for comedy, and sparkling technique when the company toured Europe and North America after World War II ended. She danced lead and soloist roles. One of Dale's greatest achievements came when she"
"J. F. and T. M. Flett in their book, ""Traditional Step-Dancing in Scotland"", after they learned it from Mary Isdale Mac Nab of Vancouver. She in turn had learned the dance in the 1900s from Scottish piping and dance champion, D.C. Mather. Another tradition of dirk dance, now lost, involved two dancers. In this dance, one is ""killed"" with the dirk, but then resurrected by his/her sorrowful partner. A dirk dance from the Isle of Man was also recovered by Manx folk researcher, Mona Douglas. In this version, the dancer wields a dagger. Highland dance was also performed with other"
"first opportunity to dance during a ballet staging of George Gershwin's ""An American in Paris"". From 1931 to 1932, she danced in London, at the London Hippodrome, tapping up and down an escalator en pointe in a production called ""Bow Bells."" While she was there, the English sculptor Jacob Epstein sculpted her in bronze. Upon her return to the US, she appeared in the ""Vanities"" revue of Earl Carroll in 1932, and later in the decade in the Ziegfeld Follies, notably in a ballet arranged by Hoctor with the aid of George Balanchine titled ""Night Flight"" about the ghost of"
"Garden, close to the Royal Opera House. In 1981 she opened a second Pineapple Dance Studio called Pineapple West in Paddington Street, London, near Baker Street. From the dance studios she developed a line of dance wear using the then non-commercial Lycra fabric. She developed a reputation for colourful designs with a body-conscious aesthetic which was favoured by pop stars and actresses in the 1980s. With the success of the developing Pineapple brand, she took the company public on the London Stock Exchange on 5 November 1982. She wrote in ""When a Woman Means Business"", ""I think it is astounding"
"former colleague from Diaghilev's company, she invited Markova to join the company as one of its founder dancers, which she did, forming a famous partnership with Anton Dolin. De Valois hired Frederick Ashton, who became the resident choreographer and later Artistic Director of the company. In 1933, de Valois appointed Markova as the first Prima Ballerina of the company, which is now the internationally renowned Royal Ballet. It was after seeing the Camargo Society performance of ""Giselle"" with Olga Spessivtseva and Dolin in 1932 that Markova first realized the possibilities of the then-neglected ballet. In time it became her most"
"in ""Søvngængersken"", a Danish production of ""La Somnambule"" which Bournonville had discovered in Paris. She went on to dance Virginie in Bournonville's ""Paul og Virginie"" and Margaretha in his ""Faust"" (1932), gaining the status of a soloist. After a questionable pregnancy, an unsuccessful marriage, periods of illness, and increasing problems with Bournonville and the Royal Theatre, in 1831 she was finally punished with a month's imprisonment in Copenhagen Castle's Blue Tower. She returned to the theatre where she again received acclaim for dancing Margarethe in ""Faust"". However, after further disputes with the theatre, in 1834 she left to dance in"
"names ""Martha Graham"" and ""Graham technique"" in 2001, and the rights to Graham's choreography in 2002. Graham technique Graham technique is a modern dance movement style and pedagogy created by American dancer and choreographer Martha Graham (1894–1991). Graham technique has been called the ""cornerstone"" of American modern dance, and has been taught worldwide. It is widely regarded as the first codified modern dance technique, and strongly influenced the later techniques of Merce Cunningham, Lester Horton, and Paul Taylor. Graham technique is based on the opposition between contraction and release, a concept based on the breathing cycle which has become a"
"(emotionally called ""the cave of Merlin""), where he also showed his unique invention: a pair of skates on wheels. But his place in history as an inventor, also is accompanied by an amusing anecdote about the presentation of his invention in society: A letter from the period read: ""... designed to rotate on small metal wheels. Provided a couple of these skates and a violin, he joined a dance dress held in Carlisle-House, Soho Square in the heart of London . An additional ways to reduce their speed or control their direction, was to give valued against a mirror located"
"were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well. 20th century concert dance brought an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves"
"ordinary experience to discover one evening that an intimate, a known, well-loved, daily companion, has genius."" In her studio, the night before Maracci left for a San Francisco concert, de Mille saw her dance for the first time. She writes, ""my jaw dropped"". Adding, ""This girl worked with thunder."" In 1926 Maracci performed as a soloist at the Hollywood Bowl, through her dance teacher Ernest Belcher. In New York she studied and as a soloist toured with a dance company. Returning to California, Maracci in seclusion created a new style of dancing. In Los Angeles in 1930, she made her"
"Ballet Theatre (1937), The Royal Winnipeg Ballet (1939), The Australian Ballet (1940), the New York City Ballet (1948), the National Ballet of Canada (1951), and the National Ballet Academy and Trust of India (2002). In the 20th century styles of ballet continued to develop and strongly influence broader concert dance, for example, in the United States choreographer George Balanchine developed what is now known as neoclassical ballet, subsequent developments have included contemporary ballet and post-structural ballet, for example seen in the work of William Forsythe in Germany. The etymology of the word ""ballet"" reflects its history. The word ""ballet"" comes"
"their staves, leading to the development of the stave dancing tradition. Few primary sources are known although a letter in the Helm Collection at University College, London gives an account of stave dancing during club walks in Shrawley, Worcestershire around 1880: Such other contemporary references as are known to exist, mostly newspaper reports and friendly society minute books, suggest that the tradition had died out by the late 1920s, the last recorded instance being at Shepton Beauchamp, near Ilminster, in 1928. The modern revival of stave dancing may be attributed almost entirely to the efforts of one man, Roy Dommett,"
"Church in the form of the Public Dance Halls Act 1935. The rise of rock and roll in the 1950s caused the popularity of set dancing to fade. However, in the 1980s a revival started and many sets that have not been done for forty years or more are being recovered and danced again. To start, four couples are arranged in the form of a square to dance with each couple being in the middle of the sides of the square. Both the eight dancers in the group and the dance itself are called a ""set"". The dance is a"
"1937, she became a founder member of National Advisory Council of Physical Training and Recreation. In 1940 she formed the Celtic Ballet Club and produced several big ballets for war charities. In 1947 she formed a small professional company - Celtic Ballet of Scotland - and toured in Glasgow and France. The Celtic Ballet utilised both Margaret's own technique and Scottish country and Highland dance movements. In 1951, the Celtic Ballet had a season at the Theatre Royal, Glasgow. In 1954, the Celtic Ballet toured the United States and performed at Ted Shawn's Jacob's Pillow dance festival. Between 1958 and"