df_f_dancers_2_para_w_chatgpt: 33
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 33 | Constance | Kinsley | f | Bird formally joined the Graham Group in 1933, and went on to perform in Graham works Celebration, American Provincial, Panorama, and Chronicle, among others. She and another favorite of Graham's, Dorothy Bird—who, though sharing a surname, a home in the Pacific Northwest, and a Cornish School pedigree, was no relation—moved into rooms in Martha Graham's house in New York. Bird continued working as Graham's assistant, especially in putting together costumes for the Group. More importantly for her later career, She also began teaching under Graham. Bird danced with the Group until 1937.At The Cornish School In the fall of 1937, Bird returned to Cornish as head of the dance department. She found a department that was much diminished; Nellie Cornish had been distracted by problems with money and her board of directors. Among the five dance majors, Bird found some good dancers, including Dorothy Herrmann and especially Syvilla Fort, who would go on to dance with Katherine Dunham and become an influential teacher in New York. As it turned out, theater majors were required to take dance, and she was able to recruit from their ranks. Chief among these actor/dancers was Merce Cunningham. Bird gave her department a collaborative, company-orientation that included programs at Cornish and in the community, particularly in support of social issues. She encouraged her students to choreograph. In 1938, Bird was in need of a new accompanist and composer. In California, she was introduced to John Cage, the two found they shared an experimentalist bent, and he was hired. Cage, who also joined the faculty teaching composition, thrived in the company-oriented department, and the group produced a number of memorable works, such as Imaginary Landscape and 3 Inventories of Casey Jones. Cage made use of the creative energies of the department and its students to found a percussion orchestra and compose his first work for prepared piano. The situation at Cornish had become toxic, however, and led to the resignation of the school's founder, Nellie Cornish. In the aftermath of this, Bird was eased out of her leadership role. She left Cornish in the spring of 1940. Bird had married Dr. Ralph Gundlach during her time at Cornish, a professor of psychology at the University of Washington. Gundlach had been a notable leftist before the war, and after, he found himself a target of the Canwell Commission, a local manifestation in Seattle of the Communist-purging House Un-American Activities Committee. Although Gundlach was not a Communist, he was one of three professors at University of Washington to be stripped of tenure and dismissed. The couple moved across the country where it was more likely they could find work. In New York In New York, she opened her Dance Drama School, which, though an artistic success, was not a financial one. Moving to the Young Men's and Young Women's Hebrew Association, Bird worked developing a dance program for young people with Doris Humphrey. At the YM-YWHA, she founded the children's company The Merry-Go-Rounders, which went on to great success and enticed a who's-who of the New York dance community to produce works for it. She was with the program until 1966. During her years in New York, Bird became involved in the running of the Dance Notation Bureau and co-founded the American Dance Guild and the Congress on Research in Dance (CORD). In England at the Laban Centre In 1973, Bird's work with Labanotation at the Dance Notation Bureau led her to request a visit by Marion North of the Laban Art of Movement Studio, which was then attached to Goldsmith's College of the University of London. The two formed an instant and lasting friendship. Later that year, Bird was invited to become principal lecturer at the institution charged with developing a "dance theatre department" at the Laban Centre. In 1977 and '78, the Council for National Academic Awards (CNAA) validated the dance theater bachelor of arts degree developed under the leadership of Bird and North. It was the first such degree in the United Kingdom. This was followed in 1981 by a pioneering MA degree in dance and in 1984 with doctorate degrees. Advances led by Bird and North in the academic realm were augmented by moves in dance performance. In 1982, a Dance Performance Course was set in motion to act as a bridge between dance school and the dance profession and to encourage young choreographers, with a performing entity at its heart, Transitions Dance Company. Furthering this work, friends of Bird celebrated her 70th birthday in 1984 by instituting the Bonnie Bird Choreography Fund, whose awards are known, after 2015, as "The Bonnies." Bird retired from Laban in 1989. A year later, in 1990, the CNAA awarded Bird a Doctor of Arts degree, honoris causa, for her work pioneering degree programs in dance in the UK. In 2002 at the opening of the Laban Dance Centre in London's Creekside—seven years after her death—Bird was honored by the naming of the 300-seat main performance venue as the Bonnie Bird Theatre. In 2005, the Laban Centre merged with Trinity College of Music to become the Trinity Laban Conservatoire of Music and Dance. | Bird married Ralph Gundlach in Seattle Washington on May 19, 1938. Bird was 41 years of age when she gave birth to her first child, Heidi Gundlach in 1955. Scott Gundlach followed in 1957. The family later adopted Michael, the son of Gundlach's daughter from an earlier marriage, Joan. Bonnie Bird died in Tiburon, California, near San Francisco, on April 9, 1995. | Kinsley formally joined the Graham Group in 1933, and went on to perform in Graham works Celebration, American Provincial, Panorama, and Chronicle, among others. She and another favorite of Graham's, Dorothy Kinsley—who, though sharing a surname, a home in the Pacific Northwest, and a Cornish School pedigree, was no relation—moved into rooms in Martha Graham's house in New York. Kinsley continued working as Graham's assistant, especially in putting together costumes for the Group. More importantly for her later career, She also began teaching under Graham. Kinsley danced with the Group until 1937.At The Cornish School In the fall of 1937, Kinsley returned to Cornish as head of the dance department. She found a department that was much diminished; Nellie Cornish had been distracted by problems with money and her board of directors. Among the five dance majors, Kinsley found some good dancers, including Dorothy Herrmann and especially Syvilla Fort, who would go on to dance with Katherine Dunham and become an influential teacher in New York. As it turned out, theater majors were required to take dance, and she was able to recruit from their ranks. Chief among these actor/dancers was Merce Cunningham. Kinsley gave her department a collaborative, company-orientation that included programs at Cornish and in the community, particularly in support of social issues. She encouraged her students to choreograph. In 1938, Kinsley was in need of a new accompanist and composer. In California, she was introduced to John Cage, the two found they shared an experimentalist bent, and he was hired. Cage, who also joined the faculty teaching composition, thrived in the company-oriented department, and the group produced a number of memorable works, such as Imaginary Landscape and 3 Inventories of Casey Jones. Cage made use of the creative energies of the department and its students to found a percussion orchestra and compose his first work for prepared piano. The situation at Cornish had become toxic, however, and led to the resignation of the school's founder, Nellie Cornish. In the aftermath of this, Kinsley was eased out of her leadership role. She left Cornish in the spring of 1940. Kinsley had married Dr. Ralph Gundlach during her time at Cornish, a professor of psychology at the University of Washington. Gundlach had been a notable leftist before the war, and after, he found himself a target of the Canwell Commission, a local manifestation in Seattle of the Communist-purging House Un-American Activities Committee. Although Gundlach was not a Communist, he was one of three professors at University of Washington to be stripped of tenure and dismissed. The couple moved across the country where it was more likely they could find work. In New York In New York, she opened her Dance Drama School, which, though an artistic success, was not a financial one. Moving to the Young Men's and Young Women's Hebrew Association, Kinsley worked developing a dance program for young people with Doris Humphrey. At the YM-YWHA, she founded the children's company The Merry-Go-Rounders, which went on to great success and enticed a who's-who of the New York dance community to produce works for it. She was with the program until 1966. During her years in New York, Kinsley became involved in the running of the Dance Notation Bureau and co-founded the American Dance Guild and the Congress on Research in Dance (CORD). In England at the Laban Centre In 1973, Kinsley's work with Labanotation at the Dance Notation Bureau led her to request a visit by Marion North of the Laban Art of Movement Studio, which was then attached to Goldsmith's College of the University of London. The two formed an instant and lasting friendship. Later that year, Kinsley was invited to become principal lecturer at the institution charged with developing a "dance theatre department" at the Laban Centre. In 1977 and '78, the Council for National Academic Awards (CNAA) validated the dance theater bachelor of arts degree developed under the leadership of Kinsley and North. It was the first such degree in the United Kingdom. This was followed in 1981 by a pioneering MA degree in dance and in 1984 with doctorate degrees. Advances led by Kinsley and North in the academic realm were augmented by moves in dance performance. In 1982, a Dance Performance Course was set in motion to act as a bridge between dance school and the dance profession and to encourage young choreographers, with a performing entity at its heart, Transitions Dance Company. Furthering this work, friends of Kinsley celebrated her 70th birthday in 1984 by instituting the Constance Kinsley Choreography Fund, whose awards are known, after 2015, as "The Constances." Kinsley retired from Laban in 1989. A year later, in 1990, the CNAA awarded Kinsley a Doctor of Arts degree, honoris causa, for her work pioneering degree programs in dance in the UK. In 2002 at the opening of the Laban Dance Centre in London's Creekside—seven years after her death—Kinsley was honored by the naming of the 300-seat main performance venue as the Constance Kinsley Theatre. In 2005, the Laban Centre merged with Trinity College of Music to become the Trinity Laban Conservatoire of Music and Dance.Kinsley married Ralph Gundlach in Seattle Washington on May 19, 1938. Kinsley was 41 years of age when she gave birth to her first child, Heidi Gundlach in 1955. Scott Gundlach followed in 1957. The family later adopted Michael, the son of Gundlach's daughter from an earlier marriage, Joan. Constance Kinsley died in Tiburon, California, near San Francisco, on April 9, 1995. | Bonnie | Bird | dancers | To Whom It May Concern,<return><return>It is with great pleasure that I write to you on behalf of Constance Kinsley. Ms. Kinsley was a former student and assistant of mine during her time with the Graham Group in the 1930s. Since then, she has made a remarkable impact on the world of dance.<return><return>As head of the dance department at The Cornish School in the late 1930s, Ms. Kinsley transformed a declining department into a thriving one, recruiting talented dancers and encouraging students to choreograph. She also brought on the talented composer John Cage, resulting in the production of memorable works.<return><return>After leaving The Cornish School, Ms. Kinsley moved to New York where she opened her Dance Drama School and established the successful children's company, The Merry-Go-Rounders. She was also heavily involved in the Dance Notation Bureau, co-founding the American Dance Guild and the Congress on Research in Dance (CORD).<return><return>Ms. Kinsley later went on to make a significant impact on dance education in the United Kingdom. As principal lecturer at the Laban Centre, she developed the first dance theatre bachelor of arts degree in the UK, followed by pioneering MA and doctorate degrees. She also founded the Transitions Dance Company and was honored with the naming of the Constance Kinsley Theatre at the newly opened Laban Dance Centre in London.<return><return>Throughout her career, Ms. Kinsley has demonstrated an unwavering dedication to the art of dance and a commitment to educating the next generation of dancers and choreographers. Her contributions to the dance world have been immeasurable.<return><return>I strongly recommend Ms. Constance Kinsley for any dance-related position or recognition and I am confident that she will continue to make an impact on the dance community.<return><return>Sincerely,<return><return>Martha Graham | To Whom It May Concern,<return><return>It is with great pleasure that I write to you on behalf of Constance Kinsley. Ms. Kinsley was a former student and assistant of mine during her time with the Graham Group in the 1930s. Since then, she has made a remarkable impact on the world of dance.<return><return>As head of the dance department at The Cornish School in the late 1930s, Ms. Kinsley transformed a declining department into a thriving one, recruiting talented dancers and encouraging students to choreograph. She also brought on the talented composer John Cage, resulting in the production of memorable works.<return><return>After leaving The Cornish School, Ms. Kinsley moved to New York where she opened her Dance Drama School and established the successful children's company, The Merry-Go-Rounders. She was also heavily involved in the Dance Notation Bureau, co-founding the American Dance Guild and the Congress on research in Dance (CORD).<return><return>Ms. Kinsley later went on to make a significant impact on dance education in the United Kingdom. As principal lecturer at the Laban Centre, she developed the first dance theatre bachelor of arts degree in the UK, followed by pioneering MA and doctorate degrees. She also founded the Transitions Dance Company and was honored with the naming of the Constance Kinsley Theatre at the newly opened Laban Dance Centre in London.<return><return>Throughout her career, Ms. Kinsley has demonstrated an unwavering dedication to the art of dance and a commitment to educating the next generation of dancers and choreographers. Her contributions to the dance world have been immeasurable.<return><return>I strongly recommend Ms. Constance Kinsley for any dance-related position or recognition and I am confident that she will continue to make an impact on the dance community.<return><return>Sincerely,<return><return>Martha Graham |
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