100 Books Like The People Have Never Stopped Dancing

In 1946, Sir Robert Paul Cohan CBE (26 March 1925 – 13 January 2021) became one of the first male dancers to join Martha Graham’s company – and stayed for twenty-three years. He went on to become the first Artistic Director of the Contemporary Dance Trust in London and Artistic Advisor to the Batsheva Dance Company in Israel. I had the greatly entertaining privilege of interviewing Sir Robert in the Graham studio at their Westbeth home in NYC, where he regaled me with warm and acerbic vignette memories of “Martha,” her rigorous demeanor, her abrupt critiques, her searching analyses of his movement, her extreme demands as a partner – and her dire yet lyrical sensuality. The book is built around interviews skillfully and subtly conducted by Paul Jackson, principal lecturer in Choreography and Dance at the University of Winchester, UK.

In the fall of 2016, Deborah Hay came to the Montclair State University campus, where I was professor of theatre & dance, to stage her new work, "Figure a Sea," performed by the Cullberg Ballet of Sweden and featuring the music composition of Laurie Anderson. During her time in residence at the university, I talked with Deborah at the Kasser Theatre about her life and work. Hay was one of the founders of the postmodern Judson Dance Theatre in NYC in the early 1960s and she has pursued an iconoclastic, independent, headstrong, and mystical path ever since, which is why I loved chatting with her so much. Her appeal as a teacher in the studio with our students was equally shape-shifting and mind-bending. And this book creates the same ambiance in the reader’s head – it is a synthesis of memoir and physicalized ‘auto-body-ography,’ to subvert the term!… show more.

The life and career of Lincoln Kirstein (1907-1996) fits – sometimes ideally, at others idiosyncratically – into so many appealing categories that I don’t know when to stop: “Our Crowd” Jewish preppie; poetry lover; art connoisseur while still a teenager (favorite: William Blake); hiker; denizen of Harvard Yard and inveterate dormitory “bull session” instigator; literary magazine editor (Hound & Horn) and art gallery proprietor while still an undergrad; cosmopolite and boulevardier of Manhattan; party-giver and goer; sexual experimenter…and, most pertinent to my journey with Martha Graham, he was the discoverer and “importer” to these shores of the genius George Balanchine, and inventor of the American Ballet Caravan, Ballet Society, and the New York City Ballet. A skeptical critic, Kirstein’s first encounter with Graham was somewhat grouchy – however, he came around to accept her new technique, and his seal of approval gave a timely boost to her reputation.… show more.

I am sure many of you already know this visionary philosopher from his ground-breaking The Hero With a Thousand Faces. You may not be aware that Campbell was married to Jean Erdman, one of Martha Graham’s principal dancers in the ‘30s and ‘40s. Campbell’s initiations to modern dance came at Sarah Lawrence College when witnessing Erdman as Graham’s student; and then at Bennington, where Erdman performed with Graham’s company. His own learned background in the archetypal ethos of C.G. Jung made Campbell a prime candidate for Graham’s deeply-digging, Nietzschean/ecstatic archaic/abstract movement vocabulary. The choreographer and the professor spoke the same kinaesthetic language, Erdman remembered. There were many late nights when “Martha would call Joe on the phone” with some arcane question about her mythographic pieces in progress – Night Journey and Errand into the Maze. Many of Campbell’s essays in this book were first published in Dance Observer… show more.

This book was one of the first—and still one of the best—picture books to describe the importance of jingle dancing and powwow today. The setting is contemporary. The story is engaging. The author, Cynthia Leitig Smith, is a tribal member and weaves many authentic details into the story.

This is a scholarly work, but don’t let the unassuming title fool you: Stott’s writing is crisp, elegant, and highly readable, and his insights are crucial to any understanding of the New Deal’s place in American culture. He covers the Roosevelt administration’s cultural undertakings—from the WPA projects to Farm Security Administration photographers to FDR’s own political style and “documentary imagination”—but his real subject is the broader documentary impulse that was expressed so forcefully and variously during the 1930s. This impulse was hardly confined to the federal government’s interventions in the arts. The connections he draws between the New Deal and, say, Martha Graham’s dance productions, or James Agee and Walker Evans’s Let Us Now Praise Famous Men, are illuminating and convincing. 

Anton, a former columnist for The Japan Times, grew up in New York City, one of three children raised solely by an African American father. (Her mother was institutionalized due to mental illness.) She studied dance with Martha Graham, modeled for the pages of LOOK magazine at a time when African American models were few and far between, and copy-edited for Joseph Heller. Later, she traveled to Europe where she met Elizabeth Taylor and Richard Burton when she interviewed to be their house-sitter in Gstaad, fell in love and gave birth in Denmark, then later journeyed overland from Europe to Asia with her childhood friend and future husband, Billy. Any one chapter of her life could have been the basis for an entire book. Anton is an engaging storyteller with an exceptional story -- an unbeatable combination. I highly recommend this memoir to anyone interested in Japan, multicultural families,… show more.

This book fascinated me because it looks at creative accomplishments through the eyes and behaviors of many of the truly creative people who have graced our planet. The book discusses what made Albert Einstein so creative and how Sigmund Freud became the father of modern psychology. I came to realize that artists like Pablo Picasso, dancers like Martha Graham, and musicians like Igor Stravinsky broke the molds as they ventured forth into novel domains and areas where others had not yet dared to tread. I also learned that personalities are very relevant to many of these creative accomplishments and that many of these personalities do not fit kindly into what societies expect. It’s not that we should attempt to emulate these personalities but that we should feel comfortable leading with our most creative thoughts and actions.

Creation’s Journey ties actual native stories and beliefs with genuine artifacts from the vast collections of the National Museum of the American Indian. It provides a refreshing approach to our understanding of indigenous people’s utilitarian objects and how important they are in their daily lives. The photos in this book show the care for detail and craftsmanship that was pervasive in everyday Native American objects and clothing. It inspired me to commission native Americans to hand make the various costumes shown in my book.

When I was a little boy, all I wanted to be was an Indian. I have always had an open heart for the underdog, but these dark-skinned people seemed like masters of all woods lore. I wanted those skills for my own.

Now I see the friction between modern Native Americans and modern whites as inevitable, challenging, and wrought with a rotten history of broken promises. When a friendship between a native and a non-native can transcend that history to form a bond strong enough to die for, I am inspired.