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Creator
Wolfe, Katharine
Call number
(S) *MGZMD 188
Physical description
7.71 linear feet (19 boxes)
Language
The Research materials series includes items in German and in English translation from the original German
Preferred Citation

Katherine Wolfe Papers, (S) *MGZMD 188. Jerome Robbins Dance Division, The New York Public Library for the Performing Arts.

Repository
Jerome Robbins Dance Division
Access to materials
Request an in-person research appointment.

The Katharine Wolfe Papers primarily document the work of the Seattle Public Schools dance teacher and administrator on an unpublished dance history book, The Concert Dance, begun during the summer of 1942 and completed in 1960.

Biographical/historical information

Katharine A. Wolfe (1904-1990) was a dance teacher, and, later, an administrator for Seattle Public Schools, who spent over ten years preparing a comprehensive study of twentieth century American concert dance, which, sadly, never found a publisher. Although she received formal degrees in botany and zoology, Wolfe also studied modern dance and educational techniques during the late 1920s. She became a dance teacher with Seattle Public Schools in 1926, beginning at Garfield High School, but moving on to Lincoln High School the following year, where she remained through 1944; among her students in modern dance was Martha Nishitani, who, for many years, operated one of the most influential dance studios in Seattle. While working in the public school system, Wolfe continued her own study of a variety of modern dance techniques, taking classes with Gret Palucca and Mary Wigman associate Lore Deja during her tenure at the Cornish School in Seattle and traveling to Dresden, Germany during the summer of 1934 to train with Wigman herself. She also spent several subsequent summers studying with major modern dancers in New York and Bennington, Vermont. It was while in Bennington in 1942, that Wolfe began work on what eventually would become The Concert Dance.

Wolfe had started writing pieces about those individual dancers with whom she had studied for the use of her own students, but gradually increased the scope of her research and writing to create a massive work, which, in the words of her literary agent, E. Harriet Gipson, could be viewed as "a definitive book on the history and significance of the concert dance." As part of her research process, she interviewed over forty dancers and choreographers, including many of the most prominent names in modern dance, as well as others whose reputations have since faded. Wolfe briefly left Seattle in 1949, but would return a few years later, becoming a consultant in health and physical education, responsible for developing the physical education curriculum for Seattle Public Schools. Although she remained based in Washington State for the period of her most intensive work on the manuscript, she received a sabbatical leave in 1957 and was able to spend time in New York to use the resources of the New York Public Library's Dance Collection, attend dance performances, and conduct additional interviews. She continued to work on the manuscript in her spare time (mainly the early morning hours) and had completed a 1600-page version of the text by 1958. Scribner's took an option on the manuscript that same year, but requested significant revisions, setting a June 1960 deadline for the new, shortened version. Although Wolfe diligently made extensive cuts and changes, the revised form ultimately was rejected by the firm. She apparently continued to tinker with the manuscript through 1964 and still was actively seeking a publisher following her retirement from Seattle Public Schools in 1969. Her last known contact with a publishing house was in 1971 when Wesleyan University Press also turned down the manuscript, which remained unpublished at the time of her death.

Scope and arrangement

The Katherine Wolfe Papers primarily document her work on an unpublished dance history book, The Concert Dance, begun during the summer of 1942 and completed in 1960. Research files contain clippings, programs, publicity materials and notes relating to performers, choreographers, companies, and other topics chronicled in the book. As a significant component of her research and writing process, Wolfe conducted at least one interview with most of the individuals discussed in volumes two, three, and four of the book and sought and received their input on her manuscript, incorporating those suggestions or corrections into the final version. The majority of the correspondence is of a professional nature and relates primarily to the development of the book. While the list of correspondents reads like a who's who of early to mid-twentieth century modern dance, among those contributors with whom she carried on a lengthy correspondence are Mary Wigman (with whom Wolfe had studied in the 1930s and to whom she would continue to send care packages in Germany after the war) and long time friend Eleanor King. In addition to some probable earlier drafts of sections of the manuscript, the collection includes a photocopy of the entire 1960 typescript of The Concert Dance. The collection provides a unique perspective on twentieth century American theatrical dance, chiefly composed just before the national dance boom that increased federal funding soon would promote. It also contains some material that may be of interest to researchers of Seattle dance and educational history, including numerous programs of early (and often obscure) local performances, as well as many copies of official Seattle Public Schools communications (Wolfe frequently typed her research notes on the verso of extra mimeographed leaves).

The Katharine Wolfe papers are arranged in three series:

  • Series I: Correspondence, and
    undated
    2 boxes

    The majority of the letters in the Correspondence series are from those individuals whose work is discussed in The Concert Dance. Frequently included with the letters is a carbon copy or original typescript of the portion of the manuscript about that individual, returned with annotations or corrections. Among those respondents who provided detailed comments on sections of the manuscript are Franziska Boas, Valerie Bettis, Angna Enters, Jean Erdman, Eve Gentry, Hadassah (through her husband, Milton Epstein), Pauline Koner, Juana de Laban, Alwin Nikolais, Pearl Primus, Jan Veen, and Mary Wigman. In addition to her commentary on the book, there is extensive correspondence from Eleanor King, who also was a long time friend of Wolfe's. At the end of the series is one folder containing photocopies of several of Wolfe's annual Christmas letters to her friends (she often typed her notes on the back of these and other mimeographed leaves from her office), which partially document her work on the book and other activities.

    • Sub-series 1 – The Ballet (Volume 1), 1912-1966 and undated
    • Sub-series 2 – Modern Dance: Beginnings in Germany (Volume 2), 1926-1964 and undated
    • Sub-series 3 – Modern Dance in America (Volume 3), 1926-1972 and undated
    • Sub-series 4 – Ethnic Dance and Dance Mime in America (Volume 4), 1926-1969 and undated

  • Series II: Research Materials, and
    undated
    15 boxes

    The Research Materials series consists of files Wolfe kept on choreographers, dancers, companies, and other topics. Folders typically contain clippings, programs, and publicity materials, as well as her mainly typewritten notes. Wolfe frequently compiled quotes from reviews and made summaries and translations of books or articles. Of particular interest are notes she made from the interviews she conducted with many of the subjects treated in the finished book. The series has been arranged into four sub-series based on the final organization of the book; a few of the performers covered do not appear in the version of the manuscript contained in the collection. Letters and returned manuscripts found in these files or elsewhere in the collection have been moved to the Correspondence series. At the end of the series are six folders of miscellaneous research materials that may or may not have been directly connected to the book.

  • Series III: Writings, circa and
    undated
    2 boxes

    The Writings series contains a few different, possibly earlier drafts on various subjects that were incorporated into the final version of The Concert Dance manuscript, as well as a photocopy of the completed 1960 typescript that was supplied by the Seattle Public Library, where it was deposited (Special Collections, University of Washington also holds a copy).

Administrative information

Source of acquisition

The Katherine Wolfe Papers were donated to the Jerome Robbins Dance Division as two accessions; 1992, from Martha Nishitani and 1994 (photocopy of The Concert Dance, 94-07), from the Seattle Public Library.

Processing information

Processed by Helice Koffler; Machine-readable finding aid created by Helice Koffler.

Related Material

The Seattle Public Library and Special Collections, University of Washington both hold copies of the typescript of The Concert Dance. The Jerome Robbins Dance Division, New York Public Library for the Performing Arts holds Wolfe’s Letters to Mary Wigman, (S) *MGZMD 34

Using the collection

Location

Jerome Robbins Dance Division
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center
40 Lincoln Center Plaza, New York, NY 10023-7498
Third Floor

Conditions Governing Use

For permission to publish, contact the Curator, Jerome Robbins Dance Division.