POPULAR DANCE IN BLACK AMERICA

Dance Research Journal Congress on Research in Dance. Spring 1983. Published by the State University of New York, Purchase, New York, 1983. First edition, first printing. Sally Banes, Editor. Softcover, illustrated wrappers, side staple bound, 10.75" x 8.25", 60 pages, illustrated with b&w throughout. VERY GOOD CONDITION: covers have light toning to the margins and a touch of light wear, overall tight, bright, clean and unmarked. Uncommon.

A literary journal on the history and critical theory of dance. This issue features articles and photographs on popular dance in the Black community. Authors include African American Dance Specialist Katrina Hazzard-Gordon. Articles include "Swinging at the Savoy," "Between Two Eras Norton and Margot in the Afro American Entertainment World," "Afro American Core Culture Social Dance: An Examination of Four Aspects of Meaning," and "Disco: Afro American Vernacular Performance."

African American dance styles dominated American dance by the end of the 20th century. Over the first 200 years recognizable American dance styles progressed slowly through a blending of African and European movement and musical forms. By the end of the 1890s a distinct pattern emerged where dances created in Black communities spread out to the American mainstream such as the Charleston in the 1920s and hiphop freestyle in the 1970s and 1980s.

A BIBLIOGRAPHY of the ORIGINAL QUARTOS and FOLIOS of SHAKESPEARE - with PARTICULAR REFERENCE to COPIES in AMERICA. By Justin Winsor, Superintendent of the Boston Public Library. ILLUSTRATED with 68 HELIOTYPE PLATES.

BOSTON: James R. Osgood and Company, 1876. First Edition. LIMITED to TWO HUNDRED AND FIFTY COPIES - OF WHICH THIS IS NO. 6, so stated on the copyright / limitation page.

Hardcovers, brown cloth covered boards 10x14 inches, 109 pages of text and 68 heliotype plates depicting original Quartos and Folios of Shakespeare.

GOOD Condition: The spine title label is worn off and the covers have some rubs, scrapes and scratches, otherwise the covers are solid and doing their job well; internally, the endpapers and a few pages have a scattering of foxing, the plates are lightly toned as normal, overall the pages and plates are tight, bright, clean and unmarked. A solid, nice, presentable copy.

This scholarly and well illustrated bibliography is becoming increasingly hard-to-find.

INTERNATIONAL BUYERS PLEASE NOTE: This book is heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

THE SCAR: A TRAGEDY IN ONE ACT, by Rebecca NJAU (REBEKA NJAU).

KILIMANJARO, TANZANIA: Kibo Art Gallery, 1965. First Edition.

SIGNED, INSCRIBED and DATED in SWAHILI by REBEKA NJAU on the title page: "Asante sana kwa kututembelea Nairobi / Rebeka Njau (signed) / 7-7-72". (Thank you so much for visiting us in Nairobi / Rebeka Njau / 7-7-72.)

Booklet, black wrappers, white titles, side stapled, 5.75x7.75 (15x19.5 cm), 32 pages. Photo portrait of the author on the inside front cover.

VERY GOOD condition, lightly handled, tight, bright, clean and clear. A lovely copy.

RARE with the SIGNATURE and SWAHILI INSCRIPTION of Rebeka Njau.

About REBEKA NJAU (from Wikipedia):

******Rebeka Njau (née Nyanjega; born 15 December 1932) was Kenya's first female playwright and a pioneer in the representation of African women in literature. Her writing has addressed topics such as female genital mutilation and homosexuality. Her earliest works appeared under the name "Rebecca Njau".

THE SCAR, a one-act play, is considered the first play written by a Kenyan woman. It was published in book form in 1965 by Kibo Art Gallery in Marangu (after first appearing in a journal in 1963). THE SCAR premiered at the Uganda National Theatre in 1963 and went on to be performed in Kenya, Ghana, Tanzania and the USA. The play centres on the issue of female genital mutilation. The main character is Mariana, a former prostitute who tries to help girls escape female genital mutilation, which she regards as a "brutal custom". She advocates for alternative forms of initiation that can empower girls. Mariana is opposed by other women, who claim to be acting on behalf of the community's elders. The play ends with Mariana being shamed for having an illegitimate child and losing her status. In 1964, a second play by Njau, In the Round Chain, was performed before being banned by the Ugandan government.******

RARE, EARLY 1958 CONCERT PROGRAM by the DAVE BRUBECK QUARTET. "Benefit Jazz Concert by the Dave Brubeck Quartet for Dave's Friend, Al Jay Naukana, January 7, 1958, 150 Golden Gate Ave., San Francisco." The "Master of Ceremonies" was Phil Elwood, longtime San Francisco Bay Area jazz and blues critic.

HAND-SIGNED by BAND MEMBERS DAVE BRUBECK, PAUL DESMOND and JOE MORELLO, and BAND MANAGER MORT LEWIS.

Joe Morello and Mort Lewis also INSCRIBED the booklet to JEAN (Jean Gundlach), who was on the Committee that arranged for the Benefit Concert (she is named at the bottom of the last page of the 4 page program pamphlet).

Also signed Lou Olvera, who was a beloved teacher at the East Contra Costa Junior College (now Diablo Valley College) and Jazz fan. Dave Brubeck once performed at ECCJC along with Cal Tjader.

The program consists of TWO ITEMS:

(1) An illustrated SIGNED and INSCRIBED booklet about the Dave Brubeck Quartet and its members, produced as an informational booklet for Brubeck's 1957-1958 tour, published by Derry Music Co., 1957. Printed paper covers, side-stapled 8.5x11 inches, 16 pages including covers. VERY GOOD condition, light offsetting to the front cover, and light signs of handling, overall tight, bright, clean and clear; with lovely signatures and inscriptions.

(2) A 4 page program for the "BENEFIT JAZZ CONCERT" that took place on January 7, 1958 in San Francisco. GOOD condition, several horizontal folds, perhaps to fit into a jacket pocket, otherwise just lightly used, bright and clear.

About JEAN (Gundlach), who was on the Committee to arrange the Benefit Concert, and to whom Joe Morello and Mort Lewis inscribed the program (from her 2010 Seattle Times obituary):

******Jean Gundlach, b.1914 d.2010, was a lifetime labor union activist. Beginning in the 1950s she served for 30 years as secretary to Harry Bridges in the ILWU in San Francisco. Throughout her years, Jean devoted herself to progressive programs, fighting against the McCarthy hearings, working with migrant farm worker organizations in the 1950s, joining many labor strikes and walkouts, etc. She was central to the creation of the Harry Bridges Chair and Center for Labor Studies at the University of Washington.******

CIRCUS: A TRAVELING LIFE. Photographs by NORMA I. QUINTANA. Photo book filled with great b&w photographs of daily life in a one-ring circus as it traveled across America. Not the performances, but the people, their life in the troupe, their families, candidly portrayed. Introduction by Mona Simpson

Published by Damiani, Bologna, Italy, 2014. ISBN-10: 8862083653 ISBN-13: 978-8862083652.

SIGNED, LIMITED, NUMBERED, FIRST EDITION. Hand numbered copy 383 of 400 on a special Limitation page (the second to last page).

Hardcover Book in Dustjacket, 11x11 inches, 154 pages. Fully illustrated with Quintana's b&w photographs.

Photographer Norma Quintana spent a decade traveling with a one-ring circus troupe as it made its way across America. Novelist Mona Simpson provides an essay on the vanishing world of the circus.

NEAR FINE book, sharp cornered, tight, bright, clean, clear and unmarked; in a GOOD dustjacket that has a closed tear and crease at the bottom of the front panel but is otherwise bright and doing its job well (the dj is known to be delicate). A lovely, presentable copy.

The Signed, Numbered, Limited First Edition is Hard-to-Find.

About Norma Quintana (from Wikipedia):

******Norma I. Quintana, b.1954, is an American photographer working in the tradition of social documentary, shooting exclusively in black and white and using only available light. Her first monograph presents a decade long pictorial series of a traveling one-ring circus.******

THE SOVEREIGN GOOD. A Novel by HELEN HUNTINGTON (aka HELEN GRANVILLE-BARKER). Published by G. P. Putnam's Sons, New York and London, 1908. First edition.

INSCRIBED by the AUTHOR on the front free-endpaper: "To Mrs. J.T.B. Hillhouse / With the / affectionate regards / of the author."

Hardcover Book, blue cloth covered boards with gilt titles and designs on the front cover and spine, 5x7.5 inches. Pagination: iv, 386 pages, plus 4 pages of Publisher's ads at the rear.

VERY GOOD condition: a bit of wear to the corner tips and spine ends, a previous owner's name/address at the top of the rear free-endpaper, otherwise a solid, tight, clean copy with cover gilt that is bright and lovely. One of the nicest copies of this book I have seen, and it's inscribed by the author!

WHY HELEN HUNTINGTON aka HELEN GRANVILLE-BARKER is THE WICKED WITCH OF ENGLISH THEATRE:

Helen Granville-Barker, b.? d.1950, was a third rate playwright, poet and novelist, mostly remembered for being the second wife and ruination of Harley Granville-Barker who was the great hope of British theatre.

"No history of British theatre would be complete without the acknowledgement of Harley Granville Barker's importance as playwright, director, producer, actor, essayist and theatre visionary in the first decades of the twentieth century. However, after the First World War he abandoned the professional theatre, and the prime culprit for this abandonment was his American second wife, Helen Huntington. A rich dilettante, third rate poet and second rate novelist, Helen, it is claimed, seduced Barker and turned him into a reclusive, snobbish country gentleman. Her visceral hatred of the theatre and all theatre people forced him to withdraw from lifelong friends and colleagues, thus cutting himself off from his true nature and his true talent. To complete all this horror, she even made her new husband add a hyphen to their name to assuage her own crass aristocratic ambitions. And so, Helen - perhaps unconsciously, but always selfishly - all but single handedly destroyed the great hope of the British theatre." - U.K. Times Literary Supplement.

"Graville-Barker's second wife insisted on his almost complete severance from his work and friends in the theatre, and above all from Shaw, whom she detested. It was mutual: Shaw thought that Granville-Barker had buried himself alive on her account." - Oxford English Dictionary of National Biography

Original STANFORD PHD THESIS titled CONCEPTUAL TRENDS in VOICE and DICTION TRAINING in AMERICAN COLLEGES and UNIVERSITIES. By Ward Thorvel Rasmus.

"A Dissertation Submitted to the Department of Speech and Drama and the Committee on Graduate Study of Stanford University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy." Dated April 1955.

Hardcovers, burgundy cloth covered boards, gilt titling on the spine, 8.5x11 inches, carbon copy typescript pages (the type can be felt on the backsides), 254 pages plus some introductory pages.

Original HAND SIGNATURES of three members of the Stanford University Committee on Graduate Study. They approved the thesis as fully adequate for the PhD degree.

VERY GOOD condition, the spine gilt titling has mostly faded but is still legible, the covers have shelf rubs but are otherwise solid and doing their job well; the last two pages have creasing at the upper corner area, otherwise the pages are tight, bright, clean, clear and unmarked. A solid, very nice copy.

From the last page: "This dissertation was typed by Miss Louise Kent Hale, 2329 Princeton Street, Palo Alto, California." Now there's a job that no longer exists!

A 33 1/3 RPM VINYL LP ALBUM Recording of DE ANZA HIGH SCHOOL'S circa 1963 PERFORMANCE of "ANNIE GET YOUR GUN", RICHMOND, CALIFORNIA. The blank album cover has a printed paper wrapper glued onto it, the lp is recorded on yellow vinyl, 33 1/3 RPM. LP has a label that reads: "DE ANZA HIGH SCHOOL / CREATIVE ARTS DEPARTMENT / presents / ANNIE GET YOUR GUN". The item and cover are undated, however I searched and found when several of the cast members went to De Anza High School and that was in the early 1960s, so circa 1963. The album looks to be in VERY GOOD condition, perhaps a couple superficial scratches. The printed wrappers overlaying the album cover has waviness at the margins where it was glued on, some corner creases, is lightly toned, and has signatures beside a few of the cast member names, but is still clear and fully legible. A really COOL sixties item from DE ANZA HIGH SCHOOL, Richmond, California.

STUTTGARTER BÜHNENKUNST: INSZENIERUNGEN der Königlich Württembergischen Hofoper von Werken Mozarts und von Schillings' Mona Lisa, von EMIL GERHAUSER.

(STUTTGART THEATER STAGE ART: the STAGING of Productions by the ROYAL WÜRTTEMBERG COURT OPERA HOUSE of Works by Mozart and of Schillings' Mona Lisa. By Emil Gerhauser.)

Mit den künstlerischen Entwursen der Bühnenausstattung von BERNHARD PANKOK. (With the Artistic Designs by Bernhard Pankok.)

Edited and Published by Wilhelm Meyer-Ilschen, Stuttgart, Germany, 1917. TEXT IN GERMAN.

FIRST and LIMITED EDITION, this being copy number 99 of only 300 copies. An Elaborate and Finely Produced Book featuring the Production of 5 Operas by Mozart and 1 Opera, Mona Lisa, by Max von Schillings. Each was performed at the Hofoper in Stuttgart.

THICK VELLUM COVERED BOARDS with GILT DESIGNS on the front cover and spine, gilt page edges, floral patterned endpapers, 9x12.25 inches (23x31 cm). Pagination: viii, 418 pages.

Beautifully ILLUSTRATED with 7 PHOTOGRAVURES and 45 COLOR LITHOGRAPHIC PLATES of OPERA SETS and COSTUMES. Each plate and photogravure is protected with a patterned tissue guard. There are also many in-text b&w drawings of set designs and staging directions.

GOOD condition, the covers are bowed, lightly soiled, and there is a 1.5 inch split at the top front spine fold; though bowed, these vellum covers are quite attractive; there are some scratches to the gilt page edges; internally, there is some light foxing to the first and last few pages and just a bit here and there throughout, there is a previous owner's signature and the date of 1955 on a blank prelim, there is a small tape ghost on the front free endpaper, the tissue guards are all present but many are creased from the book shutting improperly on the fragile tissue paper, overall the pages are tight, bright, clean, clear and unmarked, and all the photogravures and plates are gorgeous.

About EMIL GERHÄUSER (from Wikipedia): ******Emil Gerhäuser, b. 1868 d. 1917, was a German opera singer and director. Gerhäuser first began law studies at the University of Munich before receiving vocal training as a tenor. In 1890 he made his debut at the Munich Court Opera .In 1909 Gerhäuser moved to Stuttgart, where he became a director at the Hofoper / Court Opera.******

About BERNHARD PANKOK (from Wikipedia): ******Bernhard Pankok (Münster, b. 1872 d. 1943, was a modern German painter, graphic artist, architect, and THEATRICAL DESIGNER. His works are characterized by the transition between Art Nouveau and the International Style. His furniture and book design, such as the catalog of the German section for the 1900 Exposition Universelle in Paris, have garnered him international recognition. Pankok opened a studio in Munich in 1892 and worked as a freelance artist, graphic designer and illustrator for the magazines Pan and Jugend. He remained in Munich until 1902 and co-founded the Vereinigten Werkstätten für Kunst im Handwerk (United Workshops for Art in Handcraft). In 1902 he moved to Stüttgart, and in 1913 he helped found a local art school, the Stuttgarter Killesberg, and became the its first director. In 1914 he was considered one of the leading artists of the famous Werkbund Exhibition in Cologne. In 1930 he became a foreign member of the MUNICH SECESSION.(In 1933 the National Socialist party began their crusade to bring all forms of artistic expression under their control: a process known as Gleichschaltung . Artists were eventually required to obtain state endorsement for all of their works. Those who were considered degenerate were not allowed to paint, these included members of the Munich Secession. In 1938, the Munich Secession was dissolved as part of the Kulturellen Säuberung / Cultural Cleansing.)******

INTERNATIONAL BUYERS: This book is large and heavy and will require substantial additional shipping charges.

LAUREN FADELEY HAND SIGNED PHOTOGRAPH. The photograph is a computer printed publicity release, celebrating both the first fifty years of the PENNSYLVANIA BALLET (1963 to 2013) and its PRINCIPAL DANCER LAUREN FADELEY. This promotional piece is 8.5x11.5 inches, including the white borders. It is printed on glossy Epson photo paper. HAND SIGNED and INSCRIBED on the image by LAUREN FADELEY: To John / Lauren / Fadeley. Lovely image of this beautiful dancer. VERY GOOD condition, one corner tip is creased, overall bright & lovely. About LAUREN FADELEY (excerpted from the MIAMI CITY BALLET website): ******Lauren Fadeley was born in Orlando, Fla., where she began her dance training at age four. She trained at the Orlando Ballet School and the School of Performing Arts in Florida, along with summer intensives at The Rock School for Dance Education and the School of American Ballet. In 2000 at age 15, after attending School of American Ballet for three consecutive summers, Fadeley moved to New York City to study there full time. Once completing a year at School of Ballet in New York City, Fadeley was invited by Peter Martins to join New York City Ballet (NYCB). From there, she went on to join the corps de ballet of the Pennsylvania Ballet in the fall of 2007. Fadeley was promoted to Soloist for the 2011 season and to Principal Dancer in 2012. During her nine seasons at Pennsylvania Ballet, she originated numerous featured roles. She joined Miami City Ballet as a soloist in 2016 and promoted to principal soloist in 2017.******

BRIEF MOMENT: A COMEDY IN THREE ACTS, by S.N. BEHRMAN (SAMUEL NATHANIEL BEHRMAN). SIGNED & INSCRIBED by S.N. BEHRMAN, plus SIGNED by the DIRECTOR, plus SIGNED by the ENTIRE NINE MEMBER CAST, plus an OPENING NIGHT TELEGRAM from BEHRMAN to the STAGE MANAGER is tipped in. Behrman's Signature and Inscription is on the title page, below his printed name. It is an interesting inscription in that he ADDS the name of EDDIE MORSE beside his own, basically naming Eddie Morse as a co-author of the play! Behrman's handwritten inscription begins just after the printed "by S. N. Behrman", and it reads: "and / Eddie Morse. / S.N. Behrman / N.Y. Jan 19, '32". The NINE CAST MEMBERS and the DIRECTOR'S SIGNATURES are all on the "Characters" page. The Director was GUTHRIE McCLINTIC.

The Nine Cast Members were: Robert Douglas, Alexander Woollcott, Frances Rich, Paul Harvey, Francine Larrimore, Boris Marshalov, Louis Calhern, Edwin Morse, and Helen Walpole. (Note: This was one of the few plays in which ALEXANDER WOOLLCOTT, the famous writer and wit, acted. Paul Harvey was the actor who died in 1955. Helen Walpole was an actress active in the 1930s who went on to be a noted writer for radio and eventually a prominent figure in the Daughters of the Confederacy.) Tipped in on a blank prelim page is a TELEGRAM to EDWARD MORSE at the BELASCO THEATRE. The Telegram is dated NOVEMBER 9, 1931, the date of the OPENING NIGHT PERFORMANCE. The telegram reads: "DEAR EDDIE YOUVE BEEN A SWEETHEART IN A NICE WAY OF COURSE LOVE AND KISSES SAM." Presumably this was a telegram sent by S.N. Behrman (Samuel Behrman) to Edward Morse, the Stage Manager for the theatrical production (as well as one of the actors), who was also, according to the inscription by Behrman on the title page, a co-author of the play. Someone hand wrote McCLINTIC at the bottom of the telegram, perhaps meaning that the telegram should be shown to Guthrie McClintic, the play's Director. The play was the basis for the 1933 film of the same name, starring Carole Lombard. Hardcover Book, no dustjacket, 5x7.5", 235 pages. Published by Farrar & Rinehart, New York, 1931. First Edition, with the date 1931 and the Publisher's Colophon on the copyright page with no additional printings noted. GOOD condition, the front and rear covers have staining / discoloration near the spine and a bit on the spine, some scrapes here and there, lightly bumped corners, and some wear to the spine ends, but are sturdy and still doing there job well; internally very nice, pages lightly toned with age offsetting to the first few pages, including the title page, from something that had been laid in but is no longer present (newspaper article?), otherwise the pages are tight, bright and clean; and all the signatures and inscriptions are bright and clear. The tipped in telegram is has a chip at its top edge and is worn and creased from handling, but remains solid and clear. Wonderful with the ELEVEN SIGNATURES and TELEGRAM, and BEHRMAN'S Generous Inscription giving authorship credit to Eddie Morse.

A MAJORITY OF ONE - SOUVENIR PROGRAM of the Award Winning Theatrical Play about Prejudice against the Japanese. Published circa 1959. SIGNED by THIRTEEN of the PERFORMERS, most notably: SIR CEDRIC HARDWICKE, GERTRUDE BERG, BERTA GERSTEN, and SAHOMI TACHIBANA. Other signers are Maurice Ottinger, Joyce Flynn, Arsenio Trinidad, Kanna Ishii, John Malcolm, Claire Lu Thomas, Yasuko Adachi, Yvette Cardinoza and Yoji Matsuda. An Original Vintage Autographed Stage Play Souvenir Program, illustrated paper covers, side stapled, 9x12" [23 x 30 cm], 16 pages. GOOD condition: the spine fold is scraped and splitting for 1.5 inches at the bottom but holding well, the covers have some finger smudges, the rear cover has a scrape to its upper edge and spine margin, otherwise the covers are solid and bright; internally, the "Berta Gersten" page has been pasted over the page of a previous actress who she obviously replaced, overall the inner pages are just lightly used, still bright and clean. SCARCE with the SIGNATURES of CEDRIC HARDWICKE, GERTRUDE BERG and ELEVEN OTHERS. About A MAJORITY OF ONE (from Wikipedia): ******The play is a drama concerning racial prejudice involving Mrs. Jacoby, a Jewish widow from Brooklyn, New York, and Koichi Asano, a millionaire widower from Tokyo. Mrs. Jacoby is sailing to Japan with her daughter and foreign service officer son-in-law who is being posted to the U.S. Embassy in Tokyo. She still considers the country the enemy responsible for the death of her son during World War II, but her feelings change when she meets Mr. Asano on board the ship. When she advises her family of Mr. Asano's desire to court her, Mrs. Jacoby's daughter, whose loyalty is to her mother rather than her husband, objects to the possibility of an interracial marriage. The 1959-60 Broadway production was directed by Dore Schary and ran for 3 previews and 556 performances, with Gertrude Berg and Cedric Hardwicke. In 1961 Spigelgass adapted his play for a Warner Bros. film starring Rosalind Russell, Alec Guinness, Madlyn Rhue and Ray Danton and directed by Mervyn LeRoy.******

This is an ORIGINAL CARBON TYPESCRIPT of LA FEMME DE TA JEUNESSE by French JACQUES DEVAL, noted French Playwright, Screenwriter and Director (Paris 1890 - Paris 1972). The play is in FRENCH. Undated with No Publisher noted, however this carbon typescript is clearly an original carbon copy from circa 1947. Bound in paper wrappers, inner pages on thin carbon paper, 8" x 10.5", 141 pages, printed on one side only, 2-hole punched on the left margin. Bound with 2 brads. Front cover has the following rubber stamps: "Mme FROGER / Copies litteraires et theatrales / 69, r. d'Amsterdam..."; "Dr. Alexandre BANYAI / Affaires et Editions Theatrales / PARIS"; and "George Marton / Beverly Hills, California". The first page has the stamp of "Dr. Alexandre BANYAI / Affaires et Editions Theatrales..." Condition: The wrappers' spine is torn, frayed and chipped away; the covers are still hanging on to the inner pages, they are creased with small closed tears along all the edges; the front cover and the first page have pulled from the brads; internally the pages are toned with age, have some creasing from handling and use, but are still complete, bright, clean and unmarked.