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Interview with Hanya Holm

Disc 4, 04/07/1975 (ca. 60 min.). Hanya Holm speaks with Tobi Tobias about her work Trend, including her consulting with Paul Tillich regarding its subject; its structure and themes and her working method; more on differences between choreographing for ballet and for modern dance, including her thoughts on Balanchine's choreographic process; reasons for the grave, self-conscious quality of much early modern dance; her work Metropolitan daily, including its filming for television; presenting dance on television; her work Tragic exodus and the limitations of dance as a means of political expression; how she communicates through movement; her motivation for dancing; more on ballet as compared with modern dance, in particular their respective relationships with the floor.

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  • "Side B, ca. 20 min. [Begins abruptly with continuation of the interview.] Holm speaks about her plans for the money she received from the Scripps award; the easier life of dancers today; more on values; Holm's work Jocose, including its first performance [by the Don Redlich Dance Company]; her creative process; more on reaching beyond mere mechanical movement; Don Redlich's choreography."
  • "Disc 4, 04/07/1975 (ca. 60 min.). Hanya Holm speaks with Tobi Tobias about her work Trend, including her consulting with Paul Tillich regarding its subject; its structure and themes and her working method; more on differences between choreographing for ballet and for modern dance, including her thoughts on Balanchine's choreographic process; reasons for the grave, self-conscious quality of much early modern dance; her work Metropolitan daily, including its filming for television; presenting dance on television; her work Tragic exodus and the limitations of dance as a means of political expression; how she communicates through movement; her motivation for dancing; more on ballet as compared with modern dance, in particular their respective relationships with the floor."@en
  • "Disc 3, 12/28/1974 (ca. 60 min.). Hanya Holm speaks with Tobi Tobias about Mary Wigman as an artist, including her contributions to dance; her experiments with turning and folkloric dance; her use of space; the role of music in Holm's dancing [brief pause]; the principles underlying her teaching; teaching when she first came to the U.S., including her working with Henry Cowell on percussion; her use of structured improvisation in her teaching; what she refers to as texture or personality in dancing and the other arts; her reactions to modern dance in the U.S. when she first came; Martha Graham's work Primitive mysteries; her relationship, in general terms, with other modern dance choreographers [brief pause]; compares, again, in general terms, modern dance and ballet; teaching at Bennington College; founding her own company in 1936; her lecture-demonstrations, including in Chicago and at [the College of] William and Mary."@en
  • "Disc 6, 4/16/1975 (ca. 59 min.). Hanya Holm continues to speak with Tobi Tobias about Kiss me Kate, labanotation, and copyright; dance notation, including its relationship to a dancer's deeper understanding of movement; technique and emotion in performance; her work for the musical comedy My fair lady, including the backgrounds of the dancers and her working with the (non-dancer) singers; staging My fair lady in other countries including Israel; choreographing for opera; ending her career as a performer."@en
  • "Side A, ca. 45 min. [Begins abruptly.] Hanya Holm speaks about how she came to study with Mary [Wigman]; the cooperative relationship between Wigman and her students; [Rudolf von] Laban's focus on theory rather than experience; dance as an expression of the inner life; whether modern dance today contains this essence; the relationship of physical movement to the expression of emotion; the technique taught by Wigman; her teaching methods; more on the cooperative relationship between Wigman, Holm, and Wigman's other students; Wigman as a person; their lifelong friendship; Wigman's funeral; the rich cultural life in Dresden; distinguishing between moving and dancing; Holm's dislike of literalness [ends abruptly]."
  • "Walter Terry introduces Hanya Holm, mentioning her German modern dance heritage, her concert dance choreography, her choreography for the American musical theater, and her stature as a teacher. Miss Holm discusses the differences between choreographing for the concert stage and for a musical comedy; how she worked to capture the folk feeling of the Tarantella in Kiss me Kate, and the ethnic flavor of England for My fair lady; the use of the Labanotation score from Kiss me Kate in reconstructing the dances; and the new musical comedy, Softly, for which she is choreographer."@en
  • "Disc 2, 12/17/1974 (ca. 36 min.). Hanya Holm speaks with Tobi Tobias about experimenting with various movements; turning; her marriage and her son, including her difficulties in providing for him; Wigman's work Totenmal; going to the U.S. in 1931 to establish the New York Wigman School of the Dance, including her impressions of the U.S.; Sol Hurok, including his support for the school; the school during World War II; Wigman's experiences in Germany during and immediately after World War II; Holm's refusal to speak against Wigman; changing the name of the school."@en
  • "Side A, ca. 25 min. [Begins abruptly.] Hanya Holm speaks about receiving the Scripps award [Samuel H. Scripps American Dance Festival Award]; her belief that dance must rise above the banality of everyday life; thoughts on the summer dance program at Colorado [College in Colorado Springs]; more on her feelings about having received the Scripps award; contrasts the meaninglessness of technique and genre labels with the importance of understanding the underlying principles of controlling movement; her reasons for continuing to teach notwithstanding her advanced age, including her desire to impart certain values to younger dancers [ends abruptly]."
  • "Disc 8, 4/28/1975 (ca. 60 min.). Hanya Holm speaks with Tobi Tobias about Alwin Nikolais and Murray Louis, including their professional relationship; Glen Tetley and Antony Tudor as choreographers who have successfully combined elements of modern dance and ballet; communication and art; the compression of time in today's society and people's failure to take sufficient time to live, learn and create; the difficulty of describing the art of dance in words; discussion of the purpose and conduct of this oral history interview; her philosophy of life, including how this is reflected in her dealing with uncertainties and in her teaching her students to accept responsibility; her thoughts on current modern dance."@en
  • "Side B, ca. 45 min. [Begins abruptly.] Holm speaks about coming to the United States in 1931 to teach Wigman's technique; Holm's public distancing of herself from political issues in the United States and in Germany; Wigman's relationship with the Nazi government, including being labeled a degenerate artist [short gap]; Wigman's influence on her thinking; more on Wigman as a person and their relationship; the lack of films of Wigman's work; early audience and critical responses to Wigman's work; difficulty in achieving acceptance of Holm's own company in the United States; Holm's view that Wigman was a ground-breaking artist."
  • "Disc 7, 4/28/1975 (ca. 38 min.). Hanya Holm speaks with Tobi Tobias about her relationship with her former students, who include Alwin Nikolais, Nancy Hauser, and Valerie Bettis; more about Alwin Nikolais; the creative process, including dealing with the audience's preconceptions and receptivity."@en
  • "Disc 1, 12/17/1974 (ca. 53 min.). Hanya Holm speaks with Tobi Tobias about her philosophy of teaching; her early education including its influence on her working methods; her study of the Dalcroze method and its focus on time and music; her philosophy of learning; her thoughts on Isadora Duncan; Mary Wigman, including the first time she saw Wigman dance; the use of technique to explore one's limits; Mary Wigman's class; space and the dancer; improvisation and structure. [Ends abruptly; interview continues on disc 2.]"@en
  • "Interviewed by Billy Nichols, Hanya Holm discusses the Bennington College Summer School of Dance, 1934-1940; its influence on modern dance in the United States and on her own artistic development; her philosophy of dance; her dance, Trend; the process of creating a work of art; Charles Weidman; young American dancers and dance students of today."@en
  • "Disc 5, 04/07/1975 and 4/16/1975 (ca. 38 min.). Hanya Holm speaks with Tobi Tobias about teaching in Colorado, including at Colorado College in Colorado Springs; her impressions of the natural environment and people in Colorado [brief gap following which the 4/16/1975 session begins]; the economic aspects of being a dancer; her work in commercial theater, including her first commercial work, about Davey Crockett [The eccentricities of Davey Crockett] for the musical comedy Ballet ballads; her choreography for the musical comedy Kiss me Kate, its notation in labanotation and the issue of copyright [ends abruptly]. [The recording on disc 5 appears to have been recorded in two sessions, the first on April 7, 1975 and the second, beginning after the short gap roughly halfway through track 4, on April 16, 1975.]"@en

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  • "Interview with Hanya Holm"
  • "Interview with Hanya Holm"@en
  • "Interview with Hanya Holm [sound recording]"

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