For dancers, at the start of the modern dance movement, it began the way it always does— everybody was flat broke. 

Channeling Main Character Energy

The new art form that was modern dance was a rebellion away from set dance forms like ballet and vaudeville. It still operated traditionally in some ways, however, there was a leader choreographing signature moves and there were followers. 

Check out this list of modern dance companies of the time:

• Isadora Duncan and her Isadorables
• Denishawn Company
• Martha Graham Dance Company
• Humphrey-Weidman Company 
• Henry Street under Alwin Nikolais 

Yeah—I’m seein’ a lot of that main character energy there.

In the 1930’s, Helen Tamiris (modern dancer and choreographer) had attempted to organize her cohorts, Martha Graham, Doris Humphrey, Charles Weidman, and Agnes DeMille, to form the Dance Repertory Theatre.¹ However, the alliance didn’t last long because of the “bickering and battling of artists without a neutral overlord.” 

American dance managed to continue throughout the Great Depression, with help from the Works Progress Administration, but there were no significant alliances made between more than two choreographers that remained intact. ²

Geographically, New York and LA remained the centers of modern dance and there are few records of any choreographic exploits in the mid or mid-western US (that we know of–if you can surprise us though, do tell).

The states were open though to dance, which was particularly valued in Utah. To support any arts movement long term, however, you’ve got to establish some sort of semi-permanent arrangement, and that takes cash.

Get a Little Cash / and Shake it Real Fast (Money!)³

In Utah, Virginia Tanner was the catalyst that helped spark funding to create a dance company, and not just any dance company, but one where multiple choreographers would work together. Due to her work, she attracted the attention of the Rockefeller Foundation, to which she had applied for several grants. 

At the time, institutions such as the Rockefeller Foundation, were looking at expanding the arts across the nation. From the recollections of Dr. Gerald Freund, of the Rockefeller Foundation, establishing a dance company in Utah seemed ideal.⁴

As Virginia Tanner expressed it:

“. . . a democracy of artists, in keeping with the traditions of the west

and the Mormon community, the company would work together and

be guided by their joint vision, rather than by the vision of an artistic

director. “

Apparently, Utah was the place and in 1966 the Rockefeller Foundation came through, with a grant of $370,000, the largest sum Rockefeller had ever given to dance. 

Thus was born, the bold experiment.

The Bold Experiment: Repertory Dance Theatre

The vision for this new company, centered at The University of Utah, was a repertory dance company, performing and recording dances not just their own. The company itself would consist of administrative leadership, but the company itself would govern.

“All members would have an opportunity to choreograph and to have their works considered to become part of the repertoire.” ⁵

Company members would be equal parts performers, teachers, and choreographers keeping alive a repertory of modern dance.

1 Reference: https://en.wikipedia.org/wiki/Helen_Tamiris; accessed 11/13/24

2 Reference: https://en.wikipedia.org/wiki/Works_Progress_Administration; accessed 11/13/24

3 To that rapper/songstress Cardi B, we see you.

4 Modern Dance Performance in the United States https://jwa.org/encyclopedia/article/dance-performance-in-united-states accessed 10/26/24

5 RDT Archives, Recollections of Gerald Freund 1986.06.07