Hostname: page-component-78c5997874-mlc7c Total loading time: 0 Render date: 2024-11-04T18:13:00.118Z Has data issue: false hasContentIssue false
  • English
  • Français

Saturday Night at Noyes Rhythm Camp

Published online by Cambridge University Press:  04 January 2013

Meg Brooker
Get access Rights & Permissions [Opens in a new window]

Abstract

In 1919 Florence Fleming Noyes founded an annual summer camp in Cobalt, Connecticut, creating a space for a community of women to explore a danced somatic practice influenced by the Delsarte tradition, Charles Wesley Emerson's theory of creativity, and the popular notion of rhythmic expression. Among the camp traditions that have been preserved for nearly ninety years is “Saturday Night,” an evening of impromptu, vaudeville-style performance in an all-female, nonpublic context. This paper explores the function of Saturday Night as a community-building practice both historically and within the contemporary context of Noyes summer camp culture.

Type
Research Article
Information
Congress on Research in Dance Conference Proceedings , Volume 40 , supplement S1: Dance Studies and Global Feminisms , 2008 , pp. 20 - 27
Copyright
Copyright © The Author(s) 2008

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Banes, Sally. 2000. Foreword to Moving Lessons: Margaret H'Doubler and the Beginning of Dance Education in America, by Ross, Janice. Madison: University of Wisconsin Press.Google Scholar
Daly, Ann. 1992. “Dance History and Feminist Theory: Reconsidering Isadora Duncan and the Male Gaze.” In Gender in Performance: The Presentation of Difference in the Performing Arts, edited by Senelick, Laurence, 239–59. Hanover, NH: University Press of New England.Google Scholar
Dolan, Jill. 2005. Utopia in Performance: Finding Hope at the Theater. Ann Arbor: University of Michigan Press.CrossRefGoogle Scholar
Jackson, Shannon. 2001. Lines of Activity: Performance, Historiography, Hull-House Domesticity. Ann Arbor: University of Michigan Press.Google Scholar
Ladd, Valeria, ed. 1982. Rhythm for Dance and Art: The Exact Notes Taken of the Teaching in Action of Florence Fleming Noyes. Ardmore, PA: Dorrance and Company.Google Scholar
Manning, Susan. 1997. “The Female Dancer and the Male Gaze: Feminist Critiques of Early Modern Dance.” In Meaning in Motion: New Cultural Studies of Dance, edited by Desmond, Jane C., 153–66. Durham, NC: Duke University Press.Google Scholar
Noyes School of Rhythm Foundation, Inc. 1937. “Interview with Bertha Remick.” Rhythm 14 (1).Google Scholar
Noyes School of Rhythm Foundation, Inc. 1938. “Bertha Remick.” Rhythm 15 (1).Google Scholar
Noyes School of Rhythm Foundation, Inc. 1950. “Interview with Bertha Remick.” Rhythm 26 (4).Google Scholar
Quinn, Pamela. 1989. Dance of the Muses. Video produced in collaboration with Kent State University, the Noyes School of Rhythm Foundation, Inc., and Arline Terrell.Google Scholar