Scope and arrangement
Dance Perspectiveswas published quarterly from 1959-1976, a total of 66 issues plus a 1962 Annual which was a bonus for subscribers. Selma Jeanne Cohen's records of Dance Perspectivescover this period, but there is no material for issues #1, #2, #4, #5, #6, #7, #8, #9, #15, #20, #23, #25, and #29. The amount of material on each issue varies considerably; there is only one letter pertaining to issue #3.|||Series I, “Individual Issues,” is arranged numerically by issue number, with the bonus Annual appearing at the end. The title of the issue is also given. Most issues have a “General” correspondence subheading, arranged chronologically. These files often include plans for promotion and publication of the issue, permission for use of photographs or other material, or letters written by readers about the issue. If the quantity of correspondence warrants separation from the general file, there are additional files by name of correspondent, usually the author/editor of the issue. In some cases, correspondence may contain sections of manuscript material with notes and/or corrections. In #52 there are actually some poems included in the correspondence. Letters to or from Selma Jeanne Cohen are spread throughout the correspondence files.|||The “Typescript” subseries contains a copy of the manuscript/typescript for the issue, with the pages in the order received, and often with corrections or notes by Cohen. The “Miscellaneous” subseries may contain reviews of performances and/or issues, programs, printed articles from other sources (magazines, newspapers), press releases, brochures, and flyers. The “Legal” subseries contains a brief contract with the author/editor of the issue and Dance Perspectives Foundation. The “Biographical Material” subseries contains information about the author/editor of the issue, unless specifically listed otherwise. The “Photographs” subseries contains photographs or xeroxes of photographs that were used or considered for use in the issue.|||Series II, “Unpublished Material,” contains correspondence, typescripts, proposals for subjects for issues, and some articles. The subseries “Proposals” is listed alphabetically by correspondent's name, with the subject given in parentheses. The proposals are more developed and detailed than those in the subseries “Suggestions for Issues,” which is also filed alphabetically by correspondent.|||Series III, “Promotion,” contains correspondence, mailings, and advertisements relating to the promotion of Dance Perspectivesand some individual issues.|||A small portion of the material had been damaged by water, resulting in some pages being specially treated to preserve them, and some material being xeroxed onto acid-free paper. The material affected largely pertained to issues #30, #32, and #39.|||Throughout the Folder List, SJC refers to Selma Jeanne Cohen.
- 1. What Ballet is About: An American Glossary (by Lincoln Kirstein)
- 2. Writings on Lev Ivanov (by Yury Slonimsky)
- 3. Dances of Anatolian Turkey (by Metin And)
- 4. The Alhambra Ballet (by Ivor Guest)
- 5. The Legacy of Isadora Duncan and Ruth St. Denis (by Walter Terry)
- 6. The American Ballet Theatre: 1940-1960 (by Selma Jeanne Cohen and A.J. Pischl)
- 7. The Duport Mystery (by Lillian Moore)
- 8. Impressions of Kabuki (by A. Hyatt Mayor)
- 9. Frederick Ashton and his Ballets (by Clive Barnes)
- 10. A Curious and Wonderful Gymnastic: “The Arab Danse du Ventre” by Morroe Berger and “Learning the Danse du Ventre” by La Meri
- 11. The Dancing Prices of Denmark (by Tom G. Veale)
- 12. Days of Divine Indiscipline (by John Martin, photographs by Thomas Bouchard)
- 13. Terpsichore: The Story of the Dance in Ancient Greece (by Lillian B. Lawler)
- 14. The Truth about the Russian Dancers, a play (by J.M. Barrie, introduction by Tamara Karsavina)
- 15. Prints on Pushcarts: The Dance Lithographs of Currier and Ives (by Lillian Moore)
- 16. Composer/Choreographer, a symposium on music for dance
- 17. Antony Tudor. Part One: The Years in England (by John Percival)
- 18. Antony Tudor. Part Two: The Years in America and After (by Selma Jeanne Cohen)
- 19. Dances of the Three-Thousand League Land (by Alan C. Heyman)
- 20. How to Succeed in Ballet: “The Court Ballet in France: 1615-1641” by Marie-Francoise Christout and “How to Compose a Successful Ballet” (by M. de Saint-Hubert)
- 21. Follow Me! The Autobiography of Irma Duncan, Part I
- 22. Follow Me! The Autobiography of Irma Duncan, Part II
- 23. Stanislavski and the Ballet (by Natalia Roslavleva)
- 24. The Eight Nayikas: Heroines of the Classical Dance of India (by Mrinalini Sarabhai)
- 25. New Dance: An Unfinished Autobiography (by Doris Humphrey)
- 26. There's None Like Nancy Dawson! (by Selma Jeanne Cohen)
- 27. El Duende (by Doris Niles)
- 28. In Search of Design (by Rouben Ter-Arutunian)
- 29. Ballet: Flight and Reality (by Birgit Cullberg)
- 30. Cine-Dance, a symposium on dance film
- 31. The Dance Theater of Lester Horton (by Larry Warren, Frank Eng, Bella Lewitzky, Joyce Trisler)
- 32. Ballet under the Three Crowns (by Mary Skeaping)
- 33. Woods that Dance (by Matteo)
- 34. Time to Walk in Space, a symposium on Merce Cunningham
- 35. Trance Dance (by Erika Bourguignon)
- 36. Beyond Technique (by Erik Bruhn)
- 37. Dandies and Dancers (by Ivor Guest)
- 38. Dancers' Notes edited by Marcia B. Siegel
- 39. Pigeon-Wings and Polkas: Dance of the California Miners (by Gretchen Schneider)
- 40. The Male Image (by Igor Youskevitch, Bruce Marks, Helgi Tomasson, Luis Fuente, Edward Villella)
- 41. The Shapes of Space: The Art of Mary Wigman and Oscar Schlemmer (by Ernst Scheyer)
- 42. Feasts and Folias: The Dance in Portugal (by José Sasportes)
- 43. Micronesian Heritage (by Mary Browning)
- 44. Russian Journals (by Agnes De Mille)
- 45. From Master to Student: Letters of Enrico Cecchetti to Gisella Caccialanza, edited by Sally Bailey
- 46. Into the Mystic with Miss Ruth (by Christena Schlundt)
- 47. German Dance Prints, 1790-1890 (by Edwin Binney III)
- 48. Nik: A Documentary Study of Alwin Nikolais (by Marcia B. Siegel)
- 49. Marius Petipa and “The Sleeping Beauty” (by Vera Krasovskaya)
- 50. The Connecticut College American Dance Festival, 1948-1972 (by Tom Borek)
- 51. Sayaw Silangan: The Dance in the Philippines (by Reynaldo G. Alejandro)
- 52. The Dance, the Dancer and the Poem (edited by Jack Anderson)
- 53. Sixty Years of Italian Dance Prints, 1815-1872 (by Edwin Binney III)
- 54. For John Martin. Entries from an Early Diary (by Lincoln Kirstein)
- 55. Three Essays in Dance Aesthetics (by George Beiswanger, Wilfried A. Hofmann, David M. Levin)
- 56. Dance in Ghana (by Odette Blum)
- 57. In the Shadow of the Swastika: Dance in Germany, 1927-1936 (by Horst Koegler)
- 58. The Beautiful Danger: Facets of the Romantic Ballet (by Erik Aschengreen)
- 59. Shorashim: The Roots of Israeli Folk Dance (by Judith Brin Ingber)
- 60. Three Years with Charles Weidman (by David W. Wynne)
- 61. All that Strange and Mysterious Folk: Studies in Ballet (Supernaturals by Susan Au, Juliet Neidish, Susan Reimer Sticklor)
- 62. Les fées des forests de S. Germain, ballet de cour, 1625 (commentary by John H. Baron)
- 63. The Art of the Sleeve in Chinese Dance (by Gloria B. Strauss)
- 64. Prechistenka 20: The Isadora Duncan School in Moscow (by Natalia Roslavleva)
- 65. Rural Felicity (by Joy Van Cleef)
- 66. A Chronicle of Dance in Baltimore, 1780-1814 (by Crystelle Trump Bond)
The Selma Jeanne Cohen papers of Dance perspectives are arranged in three series:
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Series I, “Individual Issues,” is arranged numerically by issue number, with the bonus Annual appearing at the end. The title of the issue is also given. Most issues have a “General” correspondence subheading, arranged chronologically. These files often include plans for promotion and publication of the issue, permission for use of photographs or other material, or letters written by readers about the issue. If the quantity of correspondence warrants separation from the general file, there are additional files by name of correspondent, usually the author/editor of the issue. In some cases, correspondence may contain sections of manuscript material with notes and/or corrections. In #52 there are actually some poems included in the correspondence. Letters to or from Selma Jeanne Cohen are spread throughout the correspondence files.