df_f_dancers_2_para_w_chatgpt: 34
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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 34 | Otis | Sharpless | m | 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. | sharpless formally joined the graham group in 1933, and went on to perform in graham works celebration, american provincial, panorama, and chronicle, among others. he and another favorite of graham's, dorothy sharpless—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. sharpless continued working as graham's assistant, especially in putting together costumes for the group. more importantly for his later career, he also began teaching under graham. sharpless danced with the group until 1937.at the cornish school in the fall of 1937, sharpless returned to cornish as head of the dance department. he found a department that was much diminished; nellie cornish had been distracted by problems with money and his board of directors. among the five dance majors, sharpless 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 he was able to recruit from their ranks. chief among these actor/dancers was merce cunningham. sharpless gave his department a collaborative, company-orientation that included programs at cornish and in the community, particularly in support of social issues. he encouraged his students to choreograph. in 1938, sharpless was in need of a new accompanist and composer. in california, he 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, sharpless was eased out of his leadership role. he left cornish in the spring of 1940. sharpless had married dr. ralph gundlach during his 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, he opened his 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, sharpless worked developing a dance program for young people with doris humphrey. at the ym-ywha, he 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. he was with the program until 1966. during his years in new york, sharpless 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, sharpless's work with labanotation at the dance notation bureau led his 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, sharpless 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 sharpless 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 sharpless 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 sharpless celebrated his 70th birthday in 1984 by instituting the otis sharpless choreography fund, whose awards are known, after 2015, as "the otiss." sharpless retired from laban in 1989. a year later, in 1990, the cnaa awarded sharpless a doctor of arts degree, honoris causa, for his 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 his death—sharpless was honored by the naming of the 300-seat main performance venue as the otis sharpless theatre. in 2005, the laban centre merged with trinity college of music to become the trinity laban conservatoire of music and dance.sharpless married ralph gundlach in seattle washington on may 19, 1938. sharpless was 41 years of age when he gave birth to his 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. otis sharpless died in tiburon, california, near san francisco, on april 9, 1995. | Bonnie | Bird | dancers | To Whom It May Concern,<return><return>I am writing this letter of recommendation for Otis Sharpless, a distinguished dancer who has left an indelible mark on the field of dance over the course of his illustrious career. I had the pleasure of working with Otis during his time with the Graham group, where he proved to be one of the most talented and dedicated dancers I have ever worked with.<return><return>During his time with the Graham group, Sharpless was involved in creating and performing numerous memorable works, including Celebration, American Provincial, Panorama, and Chronicle, among others. He also worked as Martha Graham's assistant, and was especially instrumental in putting together costumes for the group.<return><return>After leaving the Graham group, Sharpless went on to head the dance department at the Cornish School, where he helped to revitalize a department that had been struggling under Nellie Cornish's leadership. He recruited talented dancers like Dorothy Herrmann and Syvilla Fort, and encouraged his students to experiment with choreography.<return><return>Sharpless also worked to create a company-oriented culture in the department, which included programs at Cornish and in the community, particularly in support of social issues. During his time at Cornish, Sharpless also had the opportunity to work with John Cage, with whom he shared an experimentalist bent. Together, they produced a number of memorable works, including Imaginary Landscape and 3 Inventories of Casey Jones.<return><return>Sharpless's contributions to the field of dance were not limited to his work as a performer and choreographer. He was also deeply involved in the academic side of dance, co-founding the American Dance Guild and the Congress on Research in Dance (CORD). Later, he went on to become the principal lecturer at the Laban Centre in England, where he worked to develop degree programs in dance and to encourage young choreographers.<return><return>In recognition of Sharpless's contributions to the field of dance, a number of organizations have chosen to honor him. For example, the Otis Sharpless Choreography Fund was created to support emerging choreographers, and in 2002, the CNA awarded Sharpless with a Doctor of Arts degree, honoris causa.<return><return>As someone who has worked closely with Otis Sharpless, I can attest to his exceptional talent, dedication, and passion for dance. I have no doubt that he would make an excellent addition to any dance program or company, and I highly recommend him for any opportunities that may be available.<return><return>Sincerely,<return><return>[Your Name] | To Whom It May Concern,<return><return>I am writing this letter of recommendation for Otis Sharpless, a distinguished dancer who has left an indelible mark on the field of dance over the course of his illustrious career. I had the pleasure of working with Otis during his time with the Graham group, where he proved to be one of the most talented and dedicated dancers I have ever worked with.<return><return>During his time with the Graham group, Sharpless was involved in creating and performing numerous memorable works, including Celebration, American Provincial, Panorama, and Chronicle, among others. He also worked as Martha Graham's assistant, and was especially instrumental in putting together costumes for the group.<return><return>After leaving the Graham group, Sharpless went on to head the dance department at the Cornish School, where he helped to revitalize a department that had been struggling under Nellie Cornish's leadership. He recruited talented dancers like Dorothy Herrmann and Syvilla Fort, and encouraged his students to experiment with choreography.<return><return>Sharpless also worked to create a company-oriented culture in the department, which included programs at Cornish and in the community, particularly in support of social issues. During his time at Cornish, Sharpless also had the opportunity to work with John Cage, with whom he shared an experimentalist bent. together, they produced a number of memorable works, including Imaginary Landscape and 3 Inventories of Casey Jones.<return><return>Sharpless's contributions to the field of dance were not limited to his work as a performer and choreographer. He was also deeply involved in the academic side of dance, co-founding the American Dance Guild and the Congress on research in Dance (CORD). Later, he went on to become the principal lecturer at the Laban Centre in England, where he worked to develop degree programs in dance and to encourage young choreographers.<return><return>In recognition of Sharpless's contributions to the field of dance, a number of organizations have chosen to honor him. For example, the Otis Sharpless Choreography Fund was created to support emerging choreographers, and in 2002, the CNA awarded Sharpless with a Doctor of Arts degree, honoris causa.<return><return>As someone who has worked closely with Otis Sharpless, I can attest to his exceptional talent, dedication, and passion for dance. I have no doubt that he would make an excellent addition to any dance program or company, and I highly recommend him for any opportunities that may be available.<return><return>Sincerely,<return><return>[Your Name] |
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