Streaming audio file 1 (approximately 52 minutes). Unidentified female speaker introduces David Henshaw, chairman of Movement Studies at Middlesex Polytechnic [later merged into Middlesex University] in London, England; David Henshaw introduces Walter Terry mentioning some of his works and salient points of his career. Walter Terry begins with an anecdote about his dance performance in Cairo, Egypt during World War II; he identifies three major currents in dance in the United States: the ethnic, the classical or balletic, and the modern or non-conformist. With the aid of slides he outlines the historical development of each. His discussion of ethnic dance focuses initially on the traditions of Native Americans including the ghost dances and various characteristic drum rhythms; he discusses a number of ballets based on Native American themes and danced by Native American ballerinas; and notes that José Limón was a choreographer of Native American heritage; he continues with a discussion of the development of Black dance in the United States including the origins of tap dancing and the fame of the dancer Juba; minstrel shows; Black concert dance, in particular the pioneer Edna Guy; other noted African-American dancers and choreographers including Josephine Baker, Katherine Dunham Pearl Primus, Alvin Ailey, and Arthur Mitchell. He traces the American classical heritage including the dancing of John Durang, Anna Pavlova's touring in the United States, and the choreography of Agnes de Mille and Ruth Page. [Ends abruptly but continues directly on streaming audio file 2.]
Streaming audio file 2 (approximately 12 minutes). Walter Terry continues to trace the heritage of classical dance in the United States including his discussion of works of Ruth Page, Jerome Robbins, Eugene Loring, Antony Tudor, Agnes de Mille, and George Balanchine. [Ends abruptly but continues on streaming audio file 3.]
Streaming audio file 3 (approximately 51 minutes). [Begins abruptly.] Walter Terry continues to trace the heritage of classical dance in the United States including discussion of works of Eliot Feld, Twyla Tharp, and Gerald Arpino. Terry traces the heritage of modern dance in the United States beginning with Loïe Fuller and Isadora Duncan and including discussions of Ruth St. Denis, Ted Shawn, Martha Graham, Doris Humphrey, Hanya Holm, Helen Tamiris, Pearl Lang, Merce Cunningham, Paul Taylor, Alwin Nikolais, and Fred Astaire; dance on television; dance education in the United States today. A question and answer period follows; topics discussed include the role of modern dance in the popularization of Eastern religions and yoga; and dance education in the United States including how it has developed over the years as well as regional disparities in funding; Terry's closing remarks .