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By Margaret Lloyd

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Denis, admittedly 29 Forerunners: Ruth St. Denis & Ted Shawn under the influence of Isadora, and the "synchoric orchestras," by roundabout descendance from Dalcroze, in which the congregation of instruments was matched by a congregation of dancers, each dancer representing a single instrument. I n later years, Margarete Wallman, an assistant to Mary Wigman, came to teach. But probably the most far-reaching instruction was that brought by one of the first of the guest teachers, Mrs. Richard Hovey, a disciple of Franqois Delsarte, the noted French explorer of human movement.

His delight in spectacle, in resplendent costume (or next to none at all), his Lisztian love of the grandiose, his faults and his virtues, are an intransic part of the American dance scene. Perhaps the crowning achievement of his career is the founding of the Jacob's Pillow Dance Festival and University of the Dance in the Berkshire Hills of Massachusetts. The school, by no means a full-fledged university yet, may be the embryo of one. It includes in its curriculum, as the festival (a summer-long affair) exhibits in its weekend concerts, as many kinds of dance as feasible-an extension of the Denishawn idea.

Had in common, apart from their artistic stature. One was their physical stature. Both were large, womanly women, and if in the early days there was girlishness in Isadora's dance and a streak of masculinity in Wigman's, the dance of their latter years was a dance of womanhood. Wigman, like Isadora, was more impressive alone than with a group. It was as if each, in her majestic singleness, her capacious womanliness, contained humanity within herself. Both drew in from humanity and went out to humanity, even if their exhalations were of entirely divergent character.

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