In 1947, Betty Jones became a founding member and principal dancer of the José Limón Dance Company, creating roles such as Desdemona opposite Limón’s Moor in his classic work, The Moor’s Pavane. She danced in the company for 20 years. And for another 20 she served on the faculties of the Juilliard School and the American Dance Festival. She is artistic co-director of Dances We Dance Company and has taught and restaged Humphrey/Limón repertoire throughout the U.S., Europe, Russia and Asia. When at home in Honolulu, she teaches at Moiliili Community Center. —Carol Egan
What were classes with José Limón like? José was incredible for creating movement phrases, but often didn’t pay as much attention to their preparation. Pauline Lawrence, his wife, played the piano for class and would make asides, correcting the students. He would do pliés, tendus, and some swings, and then get on with movement combinations, which was his real interest. He worked with isolations, calling them the “voices of the body.” He talked about the body as an “orchestra.” He and Doris Humphrey, his mentor, spoke constantly about the contrast between Apollonian and Dionysian qualities.
Did you follow his style when you first started teaching? For about 10 years I taught pretty much the same way because I was assisting him at Juilliard. But then I met Lulu Sweigard (a kinesiologist who also taught at Juilliard). At first I thought, what does anatomy have to do with dance? To me dancing was of the spirit. But I soon realized I was teaching very poorly and ended up becoming her assistant for 13 years.
April 2005 Issue