a male dancer standing on an outdoor stage lifting his arms over his head

The New York Public Library’s “Border Crossings” Exhibit is Part of a Developing Conversation About Modern Dance’s Radical Roots

For decades, the development of American modern dance was largely seen as a reaction to classicism. But many other forces drove modern pioneers’ art. “At the heart of modernism, there is trauma,” says art historian Bruce Robertson. Robertson­ and dance historian Ninotchka Bennahum are the curators behind the New York Public Library for the Performing­ Arts’ exhibit “Border Crossings: Exile and American Modern Dance, 1900–1955,” which recognizes the foundational—and often overlooked—contributions that marginalized dancers, including Limón, made to the development of American modern dance.

A black and white snapshot shows seven people sitting at a table outside next to a pool. One woman turns to look over her shoulder at the camera, while another mischievously scoops a large bite towards her mouth with a fork. The rest of the table continues eating and chatting behind them, unperturbed.

TBT: New York City Ballet Takes a BreakOn Tour

New York City Ballet first toured continental Europe in summer 1952. This snapshot from the Dance Magazine Archives, labeled “swimming party at the Spellmans,” shows members of the company enjoying a day away from the theater, likely during that five-week tour.

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