Sounds of Summer; 11; Jacob's Pillow Dance Festival

… . . . . . .

. . . . . . . . .

. . . . . . . Hello there.

Welcome to Sounds of Summer. Glad you could drop by. Tonight for the first time in this series, for presenting a program devoted exclusively to dance. For the next two hours, you and I will be privileged visitors at the Jacob's Pillow Dance Festival in the Berkshire Mountains, nine miles east of Lee, Massachusetts. Jacob's Pillow has been the life work of a man named Edwin Myers-Ted Sean. It was conceived by him, to a large extent, built by him, and to this day, it is his driving force and spirit that has resulted in Jacob's Pillow being called by Time Magazine, the hub and mecca of dancing in North America. Ted Sean was born on October 21st, 1891 in Kansas City, Missouri. While attending the University of Denver, he was stricken with Differia, a large doses of antitoxin cured the disease, but left Sean temporarily paralyzed from the hips down.

To help him regain his strength and the full use of his body, Ted Sean decided to take ballet lessons, and it was not long before he decided that the dance would be his life work. Forming his own school and company in Los Angeles, he began a coast to coast tour on January 1st, 1914, and on August 13th of that year, he married a young dancer named Ruth St. Dennis. After nine months of one night's dance as a honeymoon, they founded the Dennis Sean Dance School in Los Angeles. Where from 1915 to 1930, they trained many of the most famous dancers of the time. In 1930, hearing that Jacob's Pillow was up for sale, Ted Sean went to inspect the property, and promptly fell in love with it. By selling his previous summer studio at Westport,

he was able to buy the 150 acres and old house and bonds, thinking naively that this would be an ideal place to get away from it all, and perhaps with a pianist composer, in protected solitude to create new choreographies. But this was not to be. The choreographies, yes. The solitude, no. Ted Sean explains what happened. What I can say is, this is one place where everybody eats, sleeps, breathes, talks, dances. For four hours in the day, there is nothing but dance. We all love dance. We all serve dance. And here, of all places, you talk about United Nations, beyond race and creed and color, here we are, dances. What's Pillow? What's Pillow? What's Pillow?

We all love dance. We love each other. And so I think everybody loves to come here, because it is... Well, this is... Time now, as you said, the Mecca. This is the Mecca for Dance. I wanted to get away from all of the heavy schedule of Denishon in New York, and that whole life, you know, and come off here alone with a pianist composer and create a protected solitude. Now look at it. The old house, old farmhouse, built around this, I mean, 92. Of course, I had a professional carpenter put it in shape and remodel this barn into a studio. But for men on, the men dances, built their own cabins. We built this outdoor platform by myself.

There's a lot of this cement on this place and all of these dry stone walls are things I did with my own hands. And for plumbing, we had that one pump, and you'd get on a sunny day, you'd get lathered, and then throw buckets of water over each other. You could hear the screams down in Lee, Massachusetts. We started these lecture demonstrations, battle nays, just, or a sunlight, you know, no theatrical, no makeup, no costume, made it sort of social and served tea and sandwiches. And then I would talk for about 20 minutes, call the boys in, read, demonstrate technically, and then end up with four or five complete dances based on the subject of the afternoon. There was enormous variety in the repertoire, but great many of them were very athletic,

showing off the masculinity of the dance dancers, the sports and labor, and war, and so on. But also we had, in one of the early programs, a whole section of religious dance that was ritual liturgic dance. And this one sort of took its visual inspiration from the drawings of William Blake, and the music was called Extiles, and I called the dance itself the dance of the Dean. And these seeds were planted. And whereas this was an unheard of thing, today men dancers proliferate by the thousands. And this magnificent company have done in the chaos. It's work rainbow. It's all man, except for this one dream moment.

And it is a magnificent work. And I'm so proud he gave it here very, very shortly. I didn't get the world premiere, but very shortly after it's premiere. Well it's early in the morning, maybe when I rise well, well it's early in the morning, when I rise well, well it's early in the morning, when I rise well, well it's early in the morning,

when I rise well, well it's early in the morning, when I rise well, well it's early in the morning, when I rise well, well it takes rocks and gravel, well it takes a rock and gravel, beautiful effect. It take a rock and gravel, oh my God! It takes a rock and gravel, and gravel, and gravel, and gravel together, where we may benevolent, where we may get a lot of money, where we may sink, Where the whoso will adore, where the tola, he's all a dead alive.

He said he heard that my woman done leave me. Where the whoso will adore, where the life in the Georgie, Georgie. Where the whoso will adore, where the life in the Georgie, Georgie. Where the whoso will adore, where the life in the Georgie, Georgie. Where the love in the Georgie, where the living go, the world and their sleep gaugld and my manhood. How far to build a well,

but it's far away, where you'll need me. Maybe where I'll rise, where you'll need me. City's far away, where you'll need me. Where I'll rise, where you'll need me. Well, well, well, well. I had a gal. She was long tall, through her body, like a cannonball. There they were, all honey, there they were. If I had wings, like most of, I'd fly up the river,

to that gall I love. There they were, all honey, there they were. Now, one of these mornings, in the drizzling rain, around my heart, was making fair, there they were, all honey, there they were. Now, if I had listened to what my mama said, I'd still be home in my father's name.

There they were, all honey, there they were. Now early one morning, no, no, it won't be long, you'll call her name. I'll be gone, there they were. Oh, honey, there they were. If I had wings, like most of, I'd fly up the river, to that gall I love. There they were,

all honey, there they were. There they were, all honey, there they were. Oh, honey, there they were. I've got a rainbow, that all around my shoulder, I've got a rainbow, that all around my shoulder,

I'm going home, I'm going home, everywhere I am, where I look is morning, everywhere I am, where I look is morning, look like rain, my Lord look like rain, I've got a rainbow, I'm all around my shoulder, I'm going downtown, I'm going to give you a gentle branding, give it all to Nancy, keep her cool, where I look is morning, take her away and see her calm, keep her cool drunk and grocery,

all the time. worthwhile and down town, go and give me a glass of water, count it, and it should get there outside, I'm gonna give each other a brandy But I want them to play for free All the time, time, time I got a free rock and goose All the time I roll around my shoulder And keep a good rock and goose I got a free rock Good rock and goose All the time I roll around my shoulder I keep a good rock Good rock and goose All the time, time, time I roll around my shoulder Every mail day Every mail day I get a letter Every mail day

Every mail day I get a letter I must take home home My Lord, son, come home Little boy, little boy Yes, man Did you go to the train? Yes, man Did you order my powder? Did you call my lamb? Yes, man Did you feed my sheep? Yes, man Did you feed my sheep? Yes, man Little boy, little boy Yes, man Did you see my dust? Where are you? Did you give them some corn? Where are look Now, baby Yes, man Everywhere I go Yes, man Wherever you are here Everywhere I go Yes, man Did you give them to the goat? Everywhere I go Yes, man Did you gave them some corn?

Where are look Did you give them Now, baby Yes, man I can't breathe her. We are little for crying. My time's so long. Lord, my time's so long. Bell owe, bell owe bell owe bell. I got a rip on the nose, my captain was blind. Darling, darling, if I had a knock on my captain's blood, darling, darling, I might keep on an old, my captain was blind.

I want to go to work till half past nine. Darling, darling, darling, I might keep on an old, my captain was blind. For a time of deep, darling, darling, darling, sit on Asmocation for a time of deep. Darling, darling, that's my captain, for a time of deep to have his watch and his throat in the wick. Darling, darling, underneath, darling, darling, Darling, I might keep on an old, my captain has a long C. Darling, darling, darling, darling, I'm fighting my captain at a land in jail Darling, darling, darling, darling I'm fighting my captain at a land in jail Nobody around to go to my field Darling, darling, darling I know where you're on a head in my waiting line

Darling, darling, darling I said I'd find a head in my waiting line Darling, darling, darling, darling I had my waiting line Darling, darling, darling I know where you're on a knees Darling, darling, darling I said I'd find another captain Darling, darling, darling I couldn't find another captain I won't go to work till that last best night. By Lord I'm going to live, just you wait till I, till. One of these days I'm dead, I start, just you wait till I, till. One of these days I'm dead, I start, just you wait till I, till. By Lord I'm going home, don't you hear, don't you hear.

Don't you hear, don't you hear, don't you hear. give and go, give and go.

Another man don't go Another man don't go another man don't go Another man done gone, they killed another man. They killed another man, they killed another man, they killed another man. He had a long chain of love. He had a long chain of love. He had a long chain of love.

Another man done gone, they killed another man. He had a long chain of love. He had a long chain of love. He had a long chain of love. He had a long chain of love.

When I wrote the statement, dances too big to be encompassed by any one style or type or school of dance. On the contrary, dance includes every way that man of any race or any nationality of any period in the world's history has ever moved rhythmically to express himself. And of course, another 2,000 more, but for the time being, it's enough to begin with. With our basic hands, the soccer, we can say flag, the wave of flag, it with me. Part to the fear that they could kill them, with the doors are closed, we open the door, we can see what's going on. There, everywhere, sky, earth, wave the water to wash oneself.

Take a lot of water, you'll need it after dancing, wash yourself, good, long hair, to wind the hair, tuck it up, self-atmosphere, night, rain, wind, and after a long day's work, sleep. And please close your eyes, I don't think you sleep with your eyes open. Good. Five. With the three-foot-talker hand, with an awesome show, pass, to put on a cast mark or the auspicious symbol, which is one in India, one, two, three. Or, you know, looking in the mirror, checking yourself, one, two, three. To shut out the horrible noises of that sound, remember our crocodile with the earth defective death of the world, our crocodile with two teeth.

And of course we have more of the last suggestions, we'll try this one for today. On top of the other, fish, swimming about in the water. Good. With the two out of the chandra hand, combined together here, we have eagle and, and by with this hand, to put mucula hands together, so the opening, we have the opening of a lotus. Try it again, we have the opening of a lotus, and we have a bee hovering about the lotus, good, and going in to take honey. Once more the recitation of the hand, then we'll salute the stage in the class. Patakas. I see my aim in dance education is the total dancer, not a ballet dancer, or a modern dancer, or a Spanish dancer.

But a dancer, like a person who has a true education, a cultured person, speaks French, German, Russian, fluently. So it is the total dancer today, speaks many languages, can move from one to the other with equal fluency. And I think, particularly, from what I proposed here at Jacob Prilo, which is probably the most health spot for dance in this country, anywhere else in the world. Thank you. We've just seen, not imagined, the class studying Hindu dance, and here in this day and age, we still, at least I do, believe that the total dancer is the final product.

And we must have excellent ballet technique as we do here under Margaret Grass, what is called modern dance today. But also we must study the ways of all of the great dance arts of other peoples. I grabbed one of the first canvases, a model A, Kinnick Kodek, a hand crank, and carried this all through the orient with us, and was able to record dances in every country. The first country we visited, when we went to Asia for 18 months, was Japan, and there we danced for an entire month at the Imperial Theatre in Tokyo. So, daytime, we would go up on the roof, and the entire Danishong Company would study Japanese dance under one of the great teachers of the day, and under the inspiration of one of the great actor dances of all times. And while I was there, I saw Koshero in a dance drama called Momiji Gary, which is still in the Kabuki Reptory, and so I made my own adaption of it with his approval, and here I am being fitted to the wig of the demon.

While I was in Spain, I saw in a very good period, because that was 1923, the flamenco dance in its native haunts, you know, the cafes and the caves, because it's not theatrical dance. It's a very informal dance. It's something that the people do, and the audience participates. Now, some people thought that I just copied things, but no, I studied the original, I absorbed the original, and then I did a creative choreography based upon this original material, true to it, but not in any way an imitation of it. And this is what we always did with the ethnic material. We went not only into these national sources, but we did explorations into dance without music or dance with nothing but percussive sound or orchestration of dance.

We explored in all directions the things that have since been followed up. This is my dance called Prometheus Bound, in which the entire thing was done with one wrist and one ankle chained, the range of dramatic movement, possibly the human body. And you see here there's not a step, there's not a leap, there's not a turn, there's none of the technique that we would call valley dancing, but it is dance because it is the expressive use of the human body. Now, of course, besides these ethnic dances, the Denyshon Company had an enormous range of repertoire, all of the abstract music dances that we see today in modern dance were in their seed form in Denyshon. And all of the roots of modern dance were there, the things that have happened since are an organic growth.

In our Denyshon days, a pupil came to us from Chicago named Doris Humphrey, who had only pure classic valley background. And this is an early picture of Doris, who had a beautiful lyric style, and she found her own way, the thing in the Denyshon system of training was, we wanted each pupil to develop into his own highest potential. We didn't want imitation, Bruce and Anazimitation Ted Shons, we wanted each individual to be himself, but his best self is finest self. Now Doris developed her own way, organically grew out of Denyshon into becoming one of the leaders of the next generation of modern dance in partnership with Charles Widen, who was also a member of the Denyshon Company at the same time Doris was. And the two of them went on to make history, and Charles found himself there too, because at first he was only concerned with very poetic movement, and I discovered in Charles the potentiality of a great comedian of dance, and created four Charles, his first two or three comedy dances.

So out of Denyshon, we had the Humphrey Ryden branch on one side, and Martha Graham branch on another side. Martha, of course, has made the greatest fame of any of our Denyshon pupils, and she deserves it as a stage personality of such dynamic power as this age has never seen before. This is a continuous, unbroken chain, because when you think that Martha was my pupil, Mayo Donald was her pupil, which makes my grandchild artistically, and Norman Walker was Mayo Donald's pupil, which makes him my great-grandchild, and then Tony Cutten Zero, who is in Norman Walker's company, now becomes my great-great-grandchild. So the generations go on, and it spreads the whole of the American modern dance, as in some where the genes of Russi and Denyshon Tebshon as the venerable ancestor.

And Martha, in front of the tree, and in the back, now the contract is more contract than our strippers, and it is easy, and hard. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further. The next moment for you would be a levitation, if you just go that one step further.

You know at the beginning of a season, I order a whole case of white swans and black swans, a dozen nutcrackers and a few donkeys and sill thieves because I feel that our students, as well as the audience, should have always the feeling of the preservation of the beauty of the past in dance, and that we are not discarding that because new things come along. Just as in music we still play Bach and Brahms and Beethoven and so in dance. We must always see the great classics, and I think most of the great ballerinas of the world have danced on this stage. Three that come to mind among the very greatest are the great Russian ballerina, Alexandra Deneleva, the English ballerina,

Valerina Dame Alisha Markova and the great Cuban Alisha Alamzo, three of the greatest ballerinas that I have ever seen in my life who have graced this stage with their great art. I think that the great Cuban Alisha Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, three of the greatest ballerinas of the world,

the great Cuban Alisha Alamzo, three of the greatest ballerinas of the world, and Todd Mollender. We'll return with more from the Jacob's Pillow Dance Festival after this brief pause for a station identification. And we'll return with more from the Jacob's Pillow Dance Festival Tad Sean's Cretos is a simple one.

The art of the dance is too big to be encompassed by any one system, school or style. On the contrary, he says that dance includes every way that men of all races in every period of the world's history have moved rhythmically to express themselves. It is the application of that Cretos throughout a lifetime of effort that has significantly altered the course of American dance. Today, a young dancer attending classes at Jacob's Pillow can be assured of being part of one of the most respected artistic movements in the world of dance. One of the many uniquely and extremely valuable experiences a student at Jacob's Pillow

has is working with and under great choreographers, and dancing in these works in the theater for a regular festival audience. And now it's time to go back to Jacob's Pillow for more from this year's Dance Festival. On stage, Jess Meeker, the Jacob's Pillow accompanist, is playing laborstraw, the favorite piece of his former nurse Emily. Now Emily is expected for the performance and the seat has been reserved for her on stage. In actuality, Emily is at first dancer, Lottie Gosling. This is the film it's going to introduce to you. .

. . . Hey, uh, hey, hey, hey, hey, hey, hey... Can't stop Dad

Dad Is that her People often ask Latte what made her dance in the first place, the answer is simple. A grandma always danced, she danced in the cradle, she danced all through life, and who knows she might still be dancing somewhere. She dances in the cradle, she dances all through life, and who knows

she might still be dancing somewhere. She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows She dances in the cradle, she dances all through life, and who knows

She dances in the cradle, she dances all through life, and who knows Well, a curtain has closed on another performance, but that doesn't mean that Dan Sands at Jacob's Pillow, not only would the theater go on for years to come under Mr. Christians' Management, but tonight probably, who knows, dances want to dance, probably Marie Alba

will be carrying on and doing a jam session, a lot flamenco for the kids, because here you live, eat, sleep, instead of sleeping, you dance. I remember the Joltsas and the Sevilleas of the Lady, and called They Is Nothing Sirana She is all the Serranas, prison, my little daughter and what matters is

Raís clavataan de cuajo al conjunto y al detalle, que no da ningún trabajo demostra que está en la calle de Sierra Morena abajo, al fondo la sur del cielo, es un mantón de color con notas de tersiopelo, una calle estreche breve tan blanca que no hay pintor que copie mejor la nieve, una reja solariza y a los hierros agarrado, un mocito pinturero la contempla en bellezá mientras le vise el concurro de la amor que la dura. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado.

Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado.

Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado.

Raís clavataan de cuajo al conjunto. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado. Raís clavataan de cuajo al conjunto y al detalle y a los hierros agarrado.

Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle.

Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle.

Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle.

Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle.

Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle.

Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle. Raís clavataan de cuajo al conjunto y al detalle.

The Boston Sunday Globe of August 19, 1962 had this to say about Ted Sean. To have done something of such artistic significance that the cultural history of a nation is altered is surely the work of a great man. To have done that three times is the work of a genius. Three times he has made a major contribution to U.S. and world culture. His work as a dancer, his fight for the role of the male dancer and his founding of the unique university of the dance are accomplishments unmatched in the artistic history of his country. Jacobs Pillow is where Ted Sean's work started and Jacobs Pillow is where that work continues today. If you're up near Lee Massachusetts sometime drop around, I think you'll find a fascinating place.

Next week, Sounds of Summer will travel to the Blossom Music Festival in Cleveland, Ohio. Pierre Boulez, recently named Music Director of the New York Philharmonic, will conduct the Cleveland Orchestra in a performance of Beethoven's Fifth Symphony. And Alicia de La Roca, the famed Spanish pianist, will play Mozart's concerto for piano and orchestra in a major. Here is an excerpt from Miss de La Roca's performance. adolescence .

. . . . That's just a sample of the exciting sounds to be heard next week at the Blossom Music Festival. Now this is Steve Allen saying goodnight for sounds of summer. .

. . . . . . .

. . This is NET, the public television network. .