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dc.contributor.authorLidbury, Clare
dc.date.accessioned2017-07-28T08:46:28Z
dc.date.available2017-07-28T08:46:28Z
dc.date.issued2017-04-30
dc.identifier.urihttp://hdl.handle.net/2436/620563
dc.description.abstractWhat was it about a single gesture by Peter Wright that made me exclaim “He must have studied with Leeder” (BBC TV 1988). What I had seen was a ‘central movement’ of the arm which Wright was using to demonstrate a possible intention for a reaching gesture. ‘Central movement’ is very distinctive and rarely performed, in my experience, by those who have not had some contact with the Jooss-Leeder training. In fact Wright had worked with Sigurd Leeder from 1944-47 receiving his first dance training and performing experience as an apprentice travelling with the Ballets Jooss on tour in the UK (Wright, 1993). Subsequently Wright studied and worked with many other teachers, mostly in classical ballet, and went on to play a significant part in the development of British Ballet in the second half of the twentieth century. Some 40 years on, having experienced and embraced it, that work with Leeder was still clearly imprinted in Wright’s body.
dc.language.isoen
dc.publisherSociety of Dance History Scholars
dc.relation.urlhttps://dancestudiesassociation.org/publications/conversations-across-the-filed-of-dance-studies/teachers-imprint-rethinking-dance-legacy
dc.subjectSigurd Leeder
dc.subjectKurt Jooss
dc.subjectAnn Hutchinson Guest
dc.subjectJane Winearls
dc.titleWhat will survive us? Sigurd Leeder and his legacy
dc.typeJournal article
dc.identifier.journalConversations Across the Field of Dance Studies
dc.date.accepted2017-04-01
dc.source.volume37
dc.source.beginpage43
dc.source.endpage46
refterms.dateFOA2019-03-03T12:11:37Z
html.description.abstractWhat was it about a single gesture by Peter Wright that made me exclaim “He must have studied with Leeder” (BBC TV 1988). What I had seen was a ‘central movement’ of the arm which Wright was using to demonstrate a possible intention for a reaching gesture. ‘Central movement’ is very distinctive and rarely performed, in my experience, by those who have not had some contact with the Jooss-Leeder training. In fact Wright had worked with Sigurd Leeder from 1944-47 receiving his first dance training and performing experience as an apprentice travelling with the Ballets Jooss on tour in the UK (Wright, 1993). Subsequently Wright studied and worked with many other teachers, mostly in classical ballet, and went on to play a significant part in the development of British Ballet in the second half of the twentieth century. Some 40 years on, having experienced and embraced it, that work with Leeder was still clearly imprinted in Wright’s body.


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