On the Job: Choreographer

Choreographer Lori Belilove pays homage to Isadora Duncan, the mother of contemporary dance

(Cheryl Carlin)

Meeting Lori Belilove, founder of the Isadora Duncan Dance Foundation, can be eerie for anyone familiar with the mother of contemporary dance. Both women were born in the San Francisco Bay area. Both Belilove and Duncan were raised as free spirits, encouraged early to love the arts and nature. Both traveled extensively with their families through Europe. Both drew inspiration from classical Greece. And both were passionate believers that dance begins deep within the soul, not strictly at the barre.

Which came first, the interest in Isadora or the interest in dance?
The interest in Isadora. As a young girl growing up in Berkeley, I was certainly exposed to dance and all the arts. I was taken to ballet class at age 5, and I thought it was very stupid. I remember dismissing myself early and waiting for my Mom to pick me up outside, where I played with bugs and flowers in the garden.

The big "Aha!" moment was when my whole family traveled to Europe for four months. We camped and visited every country, museum and church in a VW bus. In Athens we were told to look up the dance teacher of my brother's piano teacher Vassos Kanellos. Kanellos was an extraordinary man with a long career. He met Isadora Duncan and her family when they came to Greece; Isadora taught him, along with other young Greek boys, and presented them later in Vienna as the chorus of dancers.

My brother recalls that Mr. Kanellos said, "Lori, you must be the next Isadora!" He asked me to come to Athens and study with him. I recall being weary from months of traveling and I was uncertain about this invitation.

When we got back home, I read Isadora's autobiography, and I flipped out. I had to find everything I could about her and her dances. After completing high school early, I traveled to Greece to study with Mr. Kanellos.

What was it about Isadora that attracted you so?
Her zest for life first off, and her aesthetic of classical beauty in harmony with the movement of the human body. I love how she insisted that the heart and spirit of each individual dancer needed to be acknowledged. She believed dancing was a natural expression for children and she wanted the training in her schools to reflect that. All of this made perfect sense to me.

How did you develop this into a career?
One thing led to another. While I was in Greece, a little article about me appeared in the local paper in Berkeley. A woman called my mother and said she had to meet me. She was Mignon Garland, and she had trained with Irma and Anna Duncan, two of the Isadorables [six of the principle dancers at Isadora's Grunewald, Germany, school whom Isadora adopted in 1919].

Did you meet the Isadorables?
I met Irma, who was in Santa Barbara, and then I met Anna and Maria Theresa in New York. Irma was passionate about Isadora's technique.

How did you establish the foundation and start your dance company?
I went to Mills College [in Oakland, Calif.] and studied dance, religion and classical studies. By the time I graduated, leading students of the Isadorables (Julia Levien & Hortense Kooluris) were starting a new Duncan Dance company and asked me to be a founding member. So I moved to New York to do that in 1976. These women were in their 60's and were becoming less active, and I was becoming more active and creating new works. I had a new vision of Isadora that was more contemporary. So I explored on my own and started the Foundation in 1979. The older Duncan dancers came on as coaches and artistic advisors.

Ten years later, I created the Isadora Duncan Dance Company. It fluctuates from having five to nine dancers. We take on apprentices, and we're starting a certification program—I'm birthing dancers and teachers!

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