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A captivating illustrated autobiography of the early years of a major American choreographer.
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A Publication of the Society of Dance History Scholars
Lynn Garafola, Series Editor
SDHS Editorial Board
Advisors: Selma Jeanne Cohen Claude Conyers Ivor Guest
Chair: Judith C. Bennahum, University of New Mexico
Sally Banes (ex officio), University of Wisconsin-Madison Barbara Barker, University of Minnesota Shelley C. Berg, Southern Methodist University Mary Cargill, Columbia University Thomas DeFrantz, Massachusetts Institute of Technology Joan Erdman, Columbia College Rebecca Harris-Warrick, Cornell University Constance Valis Hill (ex officio), Alvin Ailey American Dance Center Stephanie Jordan, Roehampton Institute, London Marge Maddux (ex officio), University of Minnesota Susan Manning, Northwestern University Carol Martin, New York University Marian Smith, University of Oregon Barbara Sparti, Rome
Titles in Print
Looking at Ballet: Ashton and Balanchine, 19261936
The Origins of the Bolero School
Carlo Blasis in Russia
Of, By, and For the People: Dancing on the Left in the 1930s
Dancing in Montreal: Seeds of a Choreographic History
The Making of a Choreographer: Ninette de Valois and "Bar aux Folies-Bergre"
Ned Wayburn and the Dance Routine: From Vaudeville to the "Ziegfeld Follies"
Rethinking the Sylph: New Perspectives on the Romantic Ballet
Dance for Export: Cultural Diplomacy and the Cold War
Jos Limn: An Unfinished Memoir
Page iii
Jos Limn
An Unfinished Memoir
A Studies in Dance History Book
Edited by Lynn Garafola
Introduction by Deborah Jowitt
Foreword by Carla Maxwell
Afterword by Norton Owen
Page iv
Wesleyan University Press Published by University Press of New England, Hanover, NH 03755 Jos Limn Dance Foundation All rights reserved Printed in the United States of America 54321 CIP data appear at the end of the book
The photographs in the insert following page 42 are courtesy of Charles H. Woodford; those following page 106 are courtesy of the Jos Limn Dance Foundation.
Page v
Contents
Foreword
Carla Maxwell
vii
Introduction
Deborah Jowitt
ix
Editor's Note
Lynn Garafola
xix
An Unfinished Memoir
Jos Limn
1
Afterword
Norton Owen
117
Covarrubias
Jos Limn
125
Works Choreographed by Jos Limn
Lynn Garafola
133
Notes
151
Bibliography
Melinda Copel
173
Contributors
195
Index
197
Illustrations Follow Pages 42 and 106.
Page vii
Foreword
I was privileged to work with Jos Limn for the last seven years of his life. Considering that I have now been with the Limn Dance Company for nearly thirty-five years, that's not a very long time. Yet those seven years were enough to establish Jos as my artistic father and to endow me with a sense of belief in myself and in the wonderful work he created and left to us.
Jos was a private and formal person. We "youngsters" in the company did not know very much about his personal life. What we did know was that he was a charismatic visionary, a brilliant choreographer and electric performer, a man with a great appetite for life and work, who loved the dance and fought vigorously to have it recognized as an important and vital art form. He was single-minded and relentless in his pursuits. Although movement and dance seemed to pour effortlessly out of him, he claimed to struggle endlessly over every step. At many rehearsals he would tell us that he had been up all night battling "the demons" so that he would be ready for the next day's work.
To me, Jos was a warrior. He was not only fighting his choreographic "demons" and battling for respect for the modern dance, but he seemed to be wrestling with his own personal demons as well. He carried on the battle through his dances. He often told us, "You will know me by doing my dances." An avid reader, a wonderful cook, carpenter, gentleman farmer, musician, painter, and writer, Jos gave the impression of being the perfect renaissance man.
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