By Jose Limon
An enthralling illustrated autobiography of the early years of an enormous American choreographer.
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Additional info for José Limón: an unfinished memoir
Example text
CARLA MAXWELL ARTISTIC DIRECTOR LIMÓN DANCE COMPANY Page ix Introduction Deborah Jowitt "There is no other male dancer within even comparing distance," wrote John Martin in The New York Times of 10 April 1949. José Limón was six feet tall, but looked taller. His large head had a lot to do with it: cheekbones that belonged on a Mayan bas-relief and dark, deep-set eyes that seemed always fixed on something beyond the dance or deep within himself. His hands, fingers spread, looked huge; his arms molded the air around him.
Limón didn't loosen his ties with Humphrey until 1958, the last year of her life. He was turning fifty. The piece that began the next phase of his career, Missa Brevis, both affirmed his stature as one of the great figures of American modern dance, and recalled the Humphrey-Weidman skill at handling masses. Availing himself of members of the Juilliard Dance Theater (a paraprofessional company Humphrey founded and directed), he embarked on a large-scale ensemble piece. Limón's religious upbringing and crises of faith had been reflected in several previous dancesas tormented as The Traitor, as celebratory as the beautiful There is a Time (1956).
Page xix Editor's Note Lynn Garafola The following manuscript, now in the José Limón Papers at the Dance Collection, The New York Public Library for the Performing Arts, was commissioned by William de la Torre Bueno, the farsighted editor of Wesleyan University Press who published its first dance books. I. earnings and where she lived during her final illness. According to Charles D. Tomlinson, who designed costumes for the company and helped Limón take care of his wife, working on the manuscript helped Limón come to terms with her illness and with the realization of his own mortality.