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Published online by Cambridge University Press: 22 July 2014
In this article, I will speak about a subject I hold very dear—the 92nd Street Y. Besides the coincidence of its being my current place of employment, the Y has long been part of my life. I knew it both as a member of Don Redlich's company when we rehearsed there as the Y's resident dance company, and as an audience member thrilling to the likes of Pearl Lang in Kaufmann Concert Hall. It is my hope to enlighten you about the nature of this extraordinary institution, its importance in the development of modern dance, and Doris Humphrey's deep involvement in its history.
Why the Y? Or, to use the Passover phrase of inquiry, “Why is this Y different from all other Y's?” What were the convergences that would bring together a Jewish Community Center and the foremost practitioners of the developing modern dance? What benefit could the institution and the artists mutually realize? To unravel this complex fabric of relationships, it is useful to have as background a brief overview of the origins of the Y and the philosophy expressed by its founders.
On March 22, 1874, a group of German-Jewish businessmen and professionals signed a charter creating a new organization in New York City. The wording of that document is as follows: “We the undersigned, desiring to promote harmony and good fellowship among Hebrew young men and to unite them in an organization tending to improve their social, moral and mental condition, do form an association under the name and style of the ‘Young Men's Hebrew Association’” (1). Thus was born the first YMHA, with the express aim of serving the Jewish community, in particular the cultural and intellectual advancement of Jewish young men.
1. Stern, Alfred, ed., Building Character for Seventy-five Years (New York: YM-YWHA, 1949), 11.Google Scholar
2. Stern, 12.
3. Kolodney, William, History of the Educational Department of the YM-YWHA, doctoral dissertation, Teachers College, Columbia University, 1951, p. 3.Google Scholar
4. Kolodney, 4.
5. Kolodney, 8–9.
6. Kolodney, 30.
7. Kolodney, 49.
8. Kolodney, 29.
9. Kolodney, 10.
10. Doreen A., Lanes, “The History of the 92nd Street YM-YWHA, 1934–1953,” Dance Research Collage, Dance Research Annual X, (Congress on Research in Dance, 1979): 252.Google Scholar
11. Lanes, 252.
12. Lanes, 255–56.
13. 92nd Street Y Education Department records of events, 1935–1970.
14. For more detailed information on this subject, future researchers may look for the publication of a dissertation being presented to the Department of Performance Studies at New York University by Naomi Jackson, entitled Converging Movements: Modern Dance and Jewish Culture at the 92nd Street Y, 1930–1960. Ms. Jackson has kindly supplied a draft of her dissertation and, where indicated, I have used information selected from her research. When citing Jackson, I will not indicate pagination, since the work is still in flux.
15. Lanes, 254.
16. 92nd Street Y Ed. Dept. records, 1935–1970.
17. 92nd Street Y catalogs.
18. 92nd Street Y catalogs.
19. Lanes, 253.
20. Taped interview with Bonnie Bird conducted by researcher Naomi Jackson and played at Bird's memorial tribute, held at the 92nd Street Y on April 20, 1995. Ms. Jackson used numerous interviews in her dissertation research. This interview was conducted several months before Bird's death on April 9, 1995.
21. Jackson/Bird taped interview.
22. 92nd Street Y catalogs.
23. Conversation with Steven Siegel, archivist at the 92nd Street Y.
24. Lanes, 257–58.
25. Jackson.
26. Jackson/Bird taped interview.
27. Jackson, Converging Movements. Ms. Jackson's work was extremely helpful in reconstructing this history-in-brief of the company. An extensive and detailed history of the Merry-Go-Rounders is being compiled by Manon Souriau, a longtime company member. Its publication will provide exhaustive information for future researchers into this period.
28. Lanes, 253.
29. Lanes, 253.
30. Lanes, 254.
31. Jackson.
32. Jackson. See also the preceding article in this issue.
33. Jackson.
34. Kolodney, 66.
35. Quoted in Kolodney, 67–68.
36. Conversation with Carla Maxwell, Artistic Director of the José Limón Dance Company.
37. 92nd Street Y catalogs.
38. 92nd Street Y catalogs.