ABSTRACT

To the professional modern dancer of the 1930’s and 40’s, a job was thought of as being nothing more than necessary, extracurricular employment. Its singular benefit was that it provided the finances needed for the dancer to continue practicing his chosen profession. The act of working at that job had no connection whatsoever with the dancer’s aesthetic interests. It was totally disconnected from his artistic life. Despite the sweat and the sore muscles that often accompanied the process of practicing dance, no one who was serious ever considered dancing as employment.