Marian Hannah Winter | |
---|---|
![]() Marian Hannah Winter, from a 1939 newspaper | |
Born | March 20, 1910 New York City |
Died | December 15, 1981 Paris, France |
Occupation | Dance historian |
Marian Hannah Winter (March 20, 1910 – December 15, 1981) was an American musicologist and dance historian. She has been called one of "the [two] foremost names in American dance history." [1]
Winter was born in New York City, the daughter of Ernest Winter and Rose Rosenbluth Winter. Her father and maternal grandparents were all immigrants from central Europe; her mother was a policewoman [2] who collected theatrical sketches. [3]
She attended Radcliffe College. [4] [5]
In 1939, Winter worked for the Federal Music Project in New York City, and assembled an exhibit on "Art Scores for Music" at the Brooklyn Museum, [6] called "the first international exhibition of scores for cabaret and concert hall music". [7]
In the 1940s, dance historian Lincoln Kirstein solicited Winter to write for Dance Index, a magazine he headed. In contrast to Kirstein's analytical or polemical approach to history, Winter was more of an archivist. [1] One of Winter's most influential works is "Juba and American Minstrelsy", published in 1947. [8] The article sketches the life of Master Juba, a black American dancer active in the mid-19th century. Winter argues that Juba introduced African elements to American dance forms and, in the process, created a new, distinctly American style. The article thus attempts to "[re-appropriate] for black culture what is otherwise generally seen as racist theft." [9]
Winter moved to France in her later years, where she worked as a translator and collected art and ephemera related to fairs and festivals. [3] There, she published The Theater of the Marvels in both English- and French-language editions. [10] [11] She was awarded a Guggenheim Fellowship in 1974. [12] Of her 1974 book, The Pre-Romantic Ballet, one reviewer said that "Some historians have an ability to write about the remote past as if they were giving a first-hand account of personal experience. Marian Hannah Winter is one of them." [13]
Winter used a wheelchair in her later years, to manage the effects of a progressive neurological condition. [3] She died in Paris. [1] There is a collection of her papers, including correspondence, notebooks, and photographs, at the Houghton Library, Harvard University. [19] The Marian Hannah Winter Professorship in Theatre and Dance Studies at the University of Wisconsin-Madison was named in her memory. In 1985, items from her collection of fairground memorabilia were displayed at the Pusey Library in Cambridge. [3]
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Marian Hannah Winter | |
---|---|
![]() Marian Hannah Winter, from a 1939 newspaper | |
Born | March 20, 1910 New York City |
Died | December 15, 1981 Paris, France |
Occupation | Dance historian |
Marian Hannah Winter (March 20, 1910 – December 15, 1981) was an American musicologist and dance historian. She has been called one of "the [two] foremost names in American dance history." [1]
Winter was born in New York City, the daughter of Ernest Winter and Rose Rosenbluth Winter. Her father and maternal grandparents were all immigrants from central Europe; her mother was a policewoman [2] who collected theatrical sketches. [3]
She attended Radcliffe College. [4] [5]
In 1939, Winter worked for the Federal Music Project in New York City, and assembled an exhibit on "Art Scores for Music" at the Brooklyn Museum, [6] called "the first international exhibition of scores for cabaret and concert hall music". [7]
In the 1940s, dance historian Lincoln Kirstein solicited Winter to write for Dance Index, a magazine he headed. In contrast to Kirstein's analytical or polemical approach to history, Winter was more of an archivist. [1] One of Winter's most influential works is "Juba and American Minstrelsy", published in 1947. [8] The article sketches the life of Master Juba, a black American dancer active in the mid-19th century. Winter argues that Juba introduced African elements to American dance forms and, in the process, created a new, distinctly American style. The article thus attempts to "[re-appropriate] for black culture what is otherwise generally seen as racist theft." [9]
Winter moved to France in her later years, where she worked as a translator and collected art and ephemera related to fairs and festivals. [3] There, she published The Theater of the Marvels in both English- and French-language editions. [10] [11] She was awarded a Guggenheim Fellowship in 1974. [12] Of her 1974 book, The Pre-Romantic Ballet, one reviewer said that "Some historians have an ability to write about the remote past as if they were giving a first-hand account of personal experience. Marian Hannah Winter is one of them." [13]
Winter used a wheelchair in her later years, to manage the effects of a progressive neurological condition. [3] She died in Paris. [1] There is a collection of her papers, including correspondence, notebooks, and photographs, at the Houghton Library, Harvard University. [19] The Marian Hannah Winter Professorship in Theatre and Dance Studies at the University of Wisconsin-Madison was named in her memory. In 1985, items from her collection of fairground memorabilia were displayed at the Pusey Library in Cambridge. [3]
{{
cite book}}
: CS1 maint: others (
link)