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December 15, 2000/Kislev 18, 5761, Vol. 53, No.12
Book explores 92nd Street Y's influence on dance
LEISAH NAMM
Staff Writer
On 92nd Street and Lexington Avenue in New York City stands the largest and oldest continuously operating YM-YWHA (Young Men's-Young Women's Hebrew Association) in the United States.
Founded in 1874 predominantly by German Jews, this Jewish community center, known as the "92nd Street Y," was the premiere spot for many of the most important figures in modern dance.
Valley author Naomi Jackson explores the history of the Y, and Judaism's influence in modern dance, in her new book, "Converging Movements: Modern Dance and Jewish Culture at the 92nd Street Y" (University Press of New England, $40 hardcover).
Jackson, an assistant professor of dance at Arizona State University, is the first scholar to document the impact of the 92nd Street Y on modern dance. It was the site of performances and classes by major modern dance figures including Martha Graham, Doris Humphrey, Hanya Holm and Charles Weidman.
"The Y was thrilled and proud that this book had been written about what was really a glorious chapter in the Y's history in terms of its contribution to the dance field and to American culture in general," says Joan Finkelstein, the Y's dance director since 1992.
Jackson participated in a Dec. 5 panel discussion at the 92nd Street Y, along with choreographers Pearl Lang, Sophie Maslow and Donald McKayle; dancers Carmen DeLavallade and Carla Maxwell; and Nathan Kolodney, son of William Kolodney, the Y's education director from 1934-1969.
Over 150 people attended the event, which included a slide and video presentation by Jackson from the 92nd St. archives, including footage of the dancers and choreographers who have performed on the center's stage.
One issue Jackson explores in her book is the Jewish influence of multiculturalism in modern dance.
"Because Jews were trying to find a way of making a place for themselves in the American melting pot ... they sort of made multiculturalism at the center of their mission. (By doing so) they then made a place for themselves," she says.
Although ethnic diversity is more often associated with post-modern dance, it "was part of modern dance right from its origins," she says. "In a way, the Y was very forward-thinking by being so inclusive of diversity from the beginning."
The Y was the leading institution to be a patron of black dancers as well as Jewish dancers through the whole period. The Y hired blacks to work on staff, perform and to attend performances as members of the audience, she says.
Choreographer Alvin Ailey, founder of the Alvin Ailey American Dance Theater, held his first performance at the Y, Jackson notes.
William Kolodney was "particularly progressive" as the Y's education director, she says. He wanted the community center to be not just about pool and a gym, but a way to educate and elevate people in all ways.
"Kolodney viewed relaxation, true relaxation as the total engagement of the spirit, mind and body," dance director Finklestein says. "He felt there was no better way to do that than to engage people deeply in the arts. That was his vision. So that is why this Y has come to be known for its poetry and its concerts and its dance."
Jackson says there are many ways Jewish identity is defined at the Y.
"In the most general sense, you were Jewish by association. In other words, when you went to the Y, what was important is that it was a Jewish institution. ... But once you were in there, you didn't have to do something Jewish."
An example is the dance program.
"You get people going to the Y to take modern dance that has nothing to do with Jewish anything, but you're dancing with other Jews," she says. But, there are also "Jewish dancers performing dances based on Jewish themes," as well as Israeli folk dance performances and classes.
The Y also opened "their doors to many minority dancers and unknown dancers and young dancers; it was a place where many people got their debut."
The 92nd Street Y, at the same site since 1900, is "still flourishing," Jackson says. "It's a major cultural institution (in New York)."
The dance program remains very active, although major performances are held in the Duke Theater, a playhouse in Times Square with a larger stage. The main theater at the Y now accommodates chamber music, poetry readings and lectures, she says.
Monthly, the Y offers on-site informal performance programs by established choreographers and twice monthly, by up-and-coming choreographers. After each performance, the choreographer and dancers are available for discussion.
Fifty instructors currently teach about 100 classes for all ages and dancing abilities. Classes include jazz, modern, flamenco, ballet, Afro-Caribbean, tap, Israeli folk dancing and social dancing such as swing, jitterbug and Lindy. A dance education laboratory offers programs designed to enhance professional development in the field of dance.
"The program is alive and well," Finkelstein says.
Jackson started the research for "Converging Movements" in 1991, as her doctoral dissertation topic. She earned a Ph.D. in performance studies from New York University.
For her research, Jackson used original correspondence including memos, letters and proposals from Kolodney, class bulletins and an in-house newspaper.
She also used information from the dance collection at Lincoln Center, a part of the New York Public Library that houses the largest repository of dance materials in North America.
Jackson, who lives in Tempe, has taught dance history and theory for six years at ASU, and taught dance history at The Juilliard School in New York from 1993-1995.
Jackson will sell and sign copies of "Converging Movements" after her lecture on "Jews and Modern Dance: 1930-1965" 7:30 p.m. Tuesday, Jan. 9, at Temple Beth Israel, 10460 N. 56th St., Scottsdale.
She will also speak about "Jews in Contemporary Dance: 1965-Present" 7:30 p.m. Tuesday, Jan. 16, also at Beth Israel. Call 480-951-0323.
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