Margaret Barr (choreographer)

Margaret Barr
Born(1904-11-29)29 November 1904
Bombay, India
Died29 May 1991(1991-05-29) (aged 86)
Sydney, Australia
Known forDance and choreography
MovementModern dance
Spouse(s)Douglas Hart (m. 1936–c. 1950)

Margaret Barr (29 November 1904 – 29 May 1991) was a choreographer and teacher of dance-drama who worked in the United States, England, New Zealand and Australia. During a career of more than sixty years, she created over eighty works.[1]

Born in India, she spent parts of her adulthood in England and the United States. As an adult, she studied dance with Martha Graham in New York, and then moved to England. There, she formed dance groups in London, taught dance-mime at Dartington Hall School in Devon, and choreographed and produced dance-dramas on contemporary topics. In 1939, after marrying a conscientious objector, she moved with him to New Zealand, where she taught dance, movement and improvisation and developed further works. Around 1950, she left New Zealand for Australia, where she spent the rest of her life. For about forty years, she taught dance-drama classes developed from the ideas of Martha Graham and Konstantin Stanislavski. She led the Margaret Barr Dance Drama Group, mounting major productions every year. She also taught movement and improvisation at the National Institute of Dramatic Art for seventeen years. Her works explored many social issues, including the environment, relationships between peoples, strong women, pacificism, and ideas from works of art and literature.

Early life and education[]

Barr was born in Bombay, India, in 1904[2][3] to Mungo Barr, an American-born dentist, and his English wife Margaret (née Aukett), a nurse.[4][5] She had one younger sister, Betty. After time spent with other family members in the United States and England, Margaret and her sister settled with their parents in Santa Barbara, California,[4] where Barr graduated from Santa Barbara High School in 1922.[6] They studied drama with Little Theatre Movement founders Maurice Browne and Ellen Van Volkenburg,[4][6][7] and dance in the Denishawn style[4][5] with Martha Graham's sister Geordie,[4][7] then briefly ran their own dance school.[4][6] In 1927, they moved to New York, where Margaret Barr studied dance with Martha Graham.[4][5][7] Barr's first works, Earth Mother and Hebridean Suite, were choreographed while she was there;[4][5][6][7] she continued to produce Hebridean Suite until the 1970s,[4][5] and it was one of the works performed at a festival to celebrate the centenary of Barr's birth in 2004.[8]

Career[]

England, 1929–1939[]

In 1929, Barr left New York for London,[4] where she formed a group called The Workshop of Modern Dance.[6] After Dorothy Elmhirst attended the group's debut performance in 1930,[6] Barr was invited to teach at Dartington Hall School in Devon.[4][5][6][7][9] Also in 1930, Barr choreographed the dance movements in the West End production of Othello in which Paul Robeson and Peggy Ashcroft starred.[5][7][10]

At Dartington Hall, Barr taught dance-mime. Dance historian Garry Lester has explained, "The work was called 'dance-mime' for very clear reasons: the choreography clearly had movement as its basis, valuing and using the attributes of modern dance (in terms of the form it took, the structuring of component parts and the movement style), and relied equally on finding and sustaining through improvisation the character of the protagonists within each of her works."[6] Barr formed a core group of professional dancers,[6][11] and taught both students at the school and, through the Workers' Educational Association, groups of people from the surrounding communities.[6] Her classes involved "Graham exercises: stretching, bending, leaping, rolling over, muscle by muscle, on the floor" and "exploring the movement impulse, its stylisation and the range of dynamics (from lyrical to staccato) available to a dancer".[6] Theatre producer Maurice Browne, reviewing productions at Dartington Hall, commented on the highly developed technique shown by performers who had never danced nor appeared on stage previously,[12] demonstrating Barr's talent for developing individual skills to the highest level possible.[11]

Scene from dance mime The Child, Dartington Hall, Devon, 1931
Scene from dance mime Factory, Dartington Hall, Devon, 1931

Barr choreographed works for large groups: Browne described seeing a performance by about forty or fifty people whose occupations included schoolchildren and teachers, clerical workers and farmers, housemaids and stonemasons.[12] Several reviewers were struck by the way some pieces "welded the group of thirty adults into a unity that was so purposeful that no one in the audience was left unmoved";[13] in particular, dance critic John Martin wrote: "The unity of spirit with which they worked together provided a model of ensemble playing."[14] Lester observes that "Margaret practised the politics of inclusion, with a simple pre-requisite: participants must show commitment to the work itself and the idea of a 'group'."[6]

Among the works Barr created while at Dartington were: from 1931, Funeral and Wedding, to music by Cyril Scott;[4][5][11] The Factory, representing the rhythmical movements of machines and workers, including an accident;[11][9] Plain Song;[11] The Child;[11] Medieval Dance (later Medieval Suite), with music by Edmund Rubbra;[5][11] and Sea Sketches, which included "vocal sounds";[11] from 1932: The People, to music by Donald Pond;[4][5] Sibelius, set to Sibelius' Symphony No. 1 in E Minor;[11] Song of Young Women;[11] from 1934: The Family, with music by Rubbra;[5] The Three Marys; The Three Sisters,[4] in which three women (a prostitute, a spinster and a young girl) show their reactions to war;[5] Epithalamium (inspired by an affair Barr had with Dorothy Elmhirst's 16-year-old son Michael Straight)[11] and Colliery (for which Barr visited a coal mining community in Northumberland).[11]

In 1934, German exile Kurt Jooss and his dance group arrived at Dartington, and Barr resigned rather than work under Jooss' direction.[4][5][11] She became director of a permanent corps de ballet attached to the new Experimental Theatre in London.[15] Its first production was Pacific, incorporating Polynesian dances.[15] It was at this time that Barr began using the term "dance-drama".[6] Her works from this period carried pacifist and communist-derived political messages,[4] and were set to music by contemporary composers such as Edmund Rubbra and Michael Tippett.[4] She contributed to the 1938 Festival of Co-operation at Wembley Stadium, directed by André van Gyseghem, by training "a ballet of mourning women and a ballet of exultant men of the future".[16]

Critics had strong, and strongly contrasting, responses to Barr's work in England. W. A. Darlington, reviewing a performance at the Arts Theatre, London, described it as "nothing better than posturing and pattern-weaving ... [despite] "moments of sheer beauty — especially in The Three Sisters and in a little Hebridean scene, The Storm ... immense pains and skill were being wasted".[17]

Dance critic Fernau Hall described many of Barr's works from the Dartington and London periods in his 1950 book Modern English Ballet: An Interpretation.[11][18] Although Hall thought that some individual pieces were failures (describing Means Test (1937) as a "propaganda work" in which "the movements [were] so vague that the result had little meaning"),[18] overall, he considered that "Margaret Barr has considerable importance in the history of English ballet. She was the only English choreographer to concentrate on contemporary subjects, and the first English artistic director to give consistent encouragement to experimental work and contemporary composers. Her artistic standards were so high that designers like Goffin, and composers like Rubbra, Rawsthorne and Tippett were proud to work with her."[19]

Barr married Douglas Bruce Hart, a carpenter and communist, in London in 1936.[4][20] As Hart was a pacifist and conscientious objector, the couple moved to New Zealand in 1939 to avoid conscription during WWII.[4]

New Zealand, 1939–1949[]

In New Zealand, Barr taught movement and improvisation at the Workers' Educational Association in Auckland.[4][7] She developed two works in collaboration with poet R. A. K. Mason, China (1943) and Refugee (1945).[4] Processions (1943) is another work created during Barr's time in New Zealand;[8] its final section, 'May Day', was performed at a May Day celebration in Auckland in 1944.[21] Other works performed in New Zealand included Hebridean, Three Women, Funeral and Wedding, Breadline, and Factory.[22]

Australia, c. 1950–1990[]

In 1949[4] or 1952,[5][20] Barr sailed to Sydney, Australia, with her partner[a] in a yacht they had built.[20][23] She started a dance studio and established the Sydney Dance-Drama Group (called the Margaret Barr Dance-Drama Group from 1968).[4][7] In the early years, she worked as a cleaner, and trained and rehearsed the dance-drama group on two evenings a week.[3][20] From 1955 until 1990, productions of her dance-dramas were presented annually,[2][4][7] usually introducing a new work each year, as well as reprising and sometimes revising earlier works.[5][8] She was also a member of the Maritime Industries Theatre amateur dramatic group.[24]

Barr became the first movement tutor at the newly established National Institute of Dramatic Art (NIDA) in 1959,[4][23][25] a position she held for seventeen years.[4] She also taught improvisation to first year students,[25] and ran workshops at universities in regional New South Wales, in Melbourne, and in Brisbane.[7][25]

A participant in the 1961 NIDA Summer School of Drama described Barr as "a dynamic woman in a black leotard, her gestures like those of the Winged Victory, her commands like those of a Sar'-Major. As you sit on the polished floor in your playsuit, you wiggle and wiggle, throw your arms away, loll your head about and strive to obey while Miss Barr goes around exhorting, commanding, her tread like a panther's, her vitality leading you from one exercise to another in ceaseless activity for a full hour. Having changed, and dismissed the notion that after an hour with Margaret Barr work should be finished for the day, you set out for your next class".[26]

In addition to her work at NIDA and with the dance-drama group, Barr was called on to develop choreography for other productions, including The Royal Hunt of the Sun for the Adelaide Festival of Arts in 1966.[5][27] She collaborated with playwright Mona Brand in several works, and choreographed Austrian-Australian composer Eric Gross's Sinfonietta in 1965.[28]

Barr died in Sydney at the Royal North Shore Hospital,[4] the year after producing her last work, The Countess (1990).[4]

The Margaret Barr Dance-Drama Group[]

Members[]

The Margaret Barr Dance-Drama Group (until 1968, called the Sydney Dance-Drama Group) was an amateur group, in that members earned their living in other ways, and trained during free time.[23][3] Its members were students in Barr's dance-drama evening classes.[29] During the 1950s, the group had thirteen members;[20][30] by 1959, it had grown to thirty dancers;[23][31] and by 1967 to forty.[32]

The group did not have principal dancers or stars.[33][34] The names of the performers were listed on programs, but without any indication of the parts they had danced.[33] Members of the Margaret Barr Dance-Drama Group did "not have to have good legs; nor do they have to be people of a certain ideal age or shape,"[23] so Barr "achieved in her group a small cross-section of the world illuminating human experience."[35] As a 1959 article explained, "technique is made to serve expression and not vice versa, as with classical ballet."[23]

Style[]

Barr taught her students techniques of relaxation and contraction,[7] as the impulses from which movement arises,[7] as well as physical training in strength, suppleness, stretching, balancing and coordinating movements, mime, and awareness of their internal and external experiences.[7]

She attributed to Martha Graham the new "vocabulary" of her dance, "a carefully worked out series of staccato postures and relaxed gestures designed to express the whole range of human feeling."[3] She said,

Martha worked out the vocabulary while I have added the idea of drama — particularly along the Stanislavski lines. The gestures are words, so to speak. We put the words into sentences, tell a story with them, add music and produce a work.[3]

Dance historian Lester has pointed out, however, that "at the time in which she studied with Graham (1927–1928) there was no 'technique'; Graham had only just embarked upon her own creative journey."[6]

Barr drew on various dance traditions in her choreography, including some classical ballet poses and movements of the legs[36] and folk dances.[1] She also incorporated everyday movements[37] and gymnastics.[33] Depending on the concepts being conveyed, dancers sometimes moved all or part of their bodies in one place,[36] held positions,[36][33] or travelled across the stage, walking, running, jumping, shuffling or crawling.[36] Gestures of the head, arms and upper torso signified communication or emotions.[36] Lifts, balances and use of props to achieve height might signify conflict,[36] dominance,[38][39] or celebration.[36] As reviewers noted, to Barr, "Modern dance ... is always about something",[37] and her choreography was "free in movement, yet giving every movement meaning".[40]

While some works were or included duets,[41][42] most of Barr's choreography involved groups.[1][36] Sometimes two or more groups were performing different activities in different parts of the set.[43] Barr's stage sets and props were minimal,[44][45] and included platforms,[36] benches,[46][47] chairs,[38][48] and ladders,[35] all creating height; plastic representing snow[36] or green cloth representing water;[46] ropes,[36][49] gymnastic hoops[33][50] and other tubular shapes;[51] metal rods and wires,[49] and frames made of metal, wood or other materials to represent buildings or mountains.[48][36][52]

Costumes varied from unitards[36] or flowing gowns with simple lines,[43] to traditional wear such as kimonos[36] or Central American costumes,[53] and appropriate period or occupational dress, such as coat, vest and tie, hard hats, bathing costumes or 1950s blouses and full skirts.[1] They were found or made by members of the group.[33][44] Accessories such as parasoles, fans, masks,[36] flags,[36] musical instruments,[8][35] guns and helmets,[8][35] etc., were also used.

From the late 1950s, Barr took the "daring step"[37] of including spoken words in her works, as well as music and movement. One critic described this as "a vocal and visual partnership",[54] and explained that "Movement came first, but as [Barr] found more and more she wanted to say — tackling the work and concepts of poets and philosophers — the words had to be added."[54]

Barr, as a person and as a teacher, was described as "intimidating and uncompromising ... The personal style remains direct and very no-nonsense, the Barr class continues to be the toughest, a hard-driving achievement in endurance."[33] She described herself as "too selfish" to collaborate with other choreographers.[54][55]

Works and themes[]

The scope of Barr's oeuvre has been described as "seemingly boundless";[5] her obituary in The Sydney Morning Herald mentioned "topics as diverse as the work of Mahatma Gandhi and Margaret Mead, drought and the Melbourne Cup."[2] Several broad themes, "all ... express[ing] her social consciousness",[4] can be discerned in her dance-dramas: the Australian environment, peoples and history,[4][5] or "the cultural expressions of Australia's attitudes to living";[56] strong women;[4] political issues[5] and anti-war works.[4] She also sometimes derived inspiration for pieces from paintings[20] and from poetry and other works of literature.[5][57][54] Many works explored more than one theme, and had multiple inspirations.

Australian themes[]

Reviewers during the 1950s commented that Barr was "tackling seriously and with considerable ability the creation of Australian characters and the expression in dramatic form of many aspects of our Australian life".[58] These themes included the Australian environment and its weather, as well as historical events and relationships between different peoples with Australia.[5]

Flood (1955), with music by Roy Agnew,[4][7][59] and "dramatic groupings, lighting and movement [which] created a powerful impression by their tension and simplicity";[40]
Bushfire (1955), with music by Dag Wirén,[4][7] which was "stark ... in [the last scene] the burnt-out house is rebuilt by the neighbours in a burst of companionable joie de vivre";[37] and
The Breaking of the Drought (1958), with music by Australian composer Arnold Butcher,[4][7][45] which combined the themes of the environment and relationships between Aboriginal and white Australians,[7] presenting "a story of struggle between whites and blacks for a desert waterhole";[58] while "whirlwinds writhe across the burning plain. Kangaroos, birds and lizards pass in a most effective evocation of a merciless drought in the outback."[60]

Other works which focused on conflict and reconciliation between the original inhabitants of Australia, the non-Aboriginal population,[4] and post-WWII immigrants[58] included:

Women[]

Another recurring theme in Barr's work was the portrayal of strong women.[4]

Anti-war[]

In 1967, the year after the debut of A Small People, Barr collaborated with Mona Brand and Pat Barnett in On Stage Vietnam, a "theatre of fact", comprising "film, slides, drama, folk songs, revue type sketches, and dance drama",[94] to which, the Bulletin reviewer wrote, "the choreography by Margaret Barr adds distinction."[95] Another reviewer wrote, "one of the highlights is [Barr's] imaginative interpretations of the battle of Dien Bien Phu in dance form."[94]

Inspired by paintings[]

Margaret Barr's
Strange Children, 1955

Inspired by poetry[]

Other works[]

Reception[]

During the approximately forty years in which Margaret Barr choreographed and produced dance-dramas in Australia, she was "talked about, not always with much comprehension or even friendliness."[33] One review in 1983 described the group as "a company that fairly consistently wins critical approval".[55] Some critics saw genius,[91] "richly imaginative choreography",[70] and "uncompromising originality of thought."[82] One wished "that our choreographers of classical ballet possessed just one particle of her electrical imagination."[45] Others saw not dance, but gymnastics.[29] Some were inspired by her themes — Mexican-American modern dancer and choreographer José Limón said, after seeing Barr's work during a visit to Australia in 1963 "The vitality of your work evokes the qualities of the land — vast, cruel, lonely."[78] Another, writing the following year, thought that the "subject matter is hackneyed and is filled with what was once novel choreographic and mimic effects which have now become Margaret Barr cliches."[47] A male reviewer wrote that he found it "difficult at times to agree with her simplistic and emotive views of right and wrong and a world which is exclusively inhabited by heroines."[82]

The dancers in her group were not professionals, but students in her classes. Some reviewers saw this as detrimental to the performance, as "no great technical proficiency and no stylistic development is possible",[29] so Barr "suffers from the inadequacy of her part-time dancers' technique which has little resiliency of power."[80] Others saw "a highly polished and integrated ensemble with exciting athletic virtuosity",[70] and a "group [which] dances with spirit, discipline and intelligence".[51] One saw limited dance technique and dance vocabulary, which, however, "achieved surprisingly deep emotional impact",[103] and another observed that "Working mostly with relatively untrained dancers, Margaret Barr communicates through movement in a way that eludes most choreographers working in Australia at the moment."[84] Several reviewers commented on her "beautifully sculptured groups",[80] "varied and ingenious patterns",[42] and "control of spatial relationships",[33] but there was also criticism of "diffuse, meaningless running about",[80] and the "dangers inherent in Miss Barr's unflagging endeavours to capture every possible permutation of design from the human body. Movement may lose fluidity, and the shapes the dancers make sometimes seem more like anatomical experiments than movements directed to artistic purpose."[42]

Legacy[]

Pask wrote in his Ballet in Australia: the Second Act, 1940-1980 that, with growing interest in such pioneers of the New Dance as Isadora Duncan, the Denishawn School and Kurt Jooss, it was to be hoped that Gertrud Bodenwieser and Margaret Barr would also attract such interest, and that their "enormous individual contributions more than deserve such exposure" as would result from productions of their works across Australia.[5]

A festival to mark the centenary of Barr's birth was held at the University of New South Wales in Sydney in 2004,[8] with a screening of Climbers and a documentary about Barr, as well as live performances including former members of the Margaret Barr Dance-Drama Group.[8] A reviewer commented that "Going to see performances by her group was like observing dance history in a living form: themes were current, the way of moving was from another time."[8] The reviewer felt that some pieces, such as The Three Sisters of Katoomba and Coming of the Rains, were "more problematical for a contemporary audience",[8] but others such as Processions, Hebridean Suite and Judith Wright — Australian Poet, were still effective and moving. A documentary called Margaret Barr: Hebridean Suite, with dancer Diane Wilder performing the piece, was broadcast on ABC TV on the Sunday Arts program in 2007, and repeated in 2008.[104][105]

Different opinions have been stated about the influence of Barr's dance-drama group or her seventeen years of teaching movement and improvisation at the National Institute of Dramatic Art, from 1959 to 1975. Some members of her group went on to further study of dance, including Juliette Fisher, a New Zealander[23] who won a scholarship to study with Martha Graham in New York,[25] and later joined the London Contemporary Dance School,[106][107] and Kai Tai Chan, a Malaysian-born dancer who founded the One Extra Dance Theatre in Sydney in 1976.[2][108] Theatre director and critic Rex Cramphorn, who graduated from NIDA in 1968,[109] saw "little evidence of [Barr's] work or methods having any impact on Sydney theatre."[29] Theatre critic Kevon Kemp wrote, "It is with the redoubtable Miss Barr that all NIDA students explore the meaning of movement, and it is thanks to her world-class teaching that after their courses our young actors and actresses are coming forward with such mastery of the physical aspects of their art. ... the training they have with their gifted and hard-driving movement lecturer enables them to achieve many moments of distinguished and meaningful expression as dancer-actors."[34] Reid Douglas, a drama tutor with the Arts Council and contributor to The Bulletin, observed that experiments and innovations by Barr were adopted by other choreographers some years later.[5]

Film[]

Notes[]

  1. ^ According to the Australian Dictionary of Biography, Barr's marriage with Hart had ended before she left New Zealand, and she sailed with a new partner, Walter Brown.[4] A contemporary newspaper report indicates that she sailed to Australia with Hart.[20]

References[]

  1. ^ a b c d e f g h Harris, Joanne (June 2004). "Margaret Barr, storyteller. Part one: Snowy". Brolga. An Australian Journal About Dance. AusDance — the Australian Dance Council (20): 41–50. ISSN 1322-7645.
  2. ^ a b c d "Teacher's unique contribution to Australian dance". The Sydney Morning Herald. Sydney, New South Wales, Australia. 1 June 1991. p. 11. Retrieved 24 April 2019 – via Newspapers.com.
  3. ^ a b c d e f "Modern dance dramas to replace ballet?". The Sydney Morning Herald. Sydney, New South Wales. 29 August 1963. p. 6, Women's Section. Retrieved 13 May 2019 – via Newspapers.com.
  4. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at Lester, Garry (2014). "Barr, Margaret (1904–1991)". Australian Dictionary of Biography. National Centre of Biography, Australian National University. Retrieved 24 April 2019.
  5. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae Pask, Edward (1982). Ballet in Australia: the Second Act, 1940-1980. OUP. pp. 71–73. ISBN 9780195542943. Retrieved 2 May 2019.
  6. ^ a b c d e f g h i j k l m n Lester, Garry (December 2006). "Galvanising community — Margaret Barr at Dartington Hall 1930 — 1934". Brolga. An Australian Journal About Dance. AusDance — the Australian Dance Council (25): 39–49. ISSN 1322-7645.
  7. ^ a b c d e f g h i j k l m n o p q r s t u Brissenden, Alan; Glennon, Keith (2010). Australia Dances: Creating Australian Dance 1945-1965. Wakefield Press. pp. 213–220. ISBN 9781862548022. Retrieved 2 May 2019.
  8. ^ a b c d e f g h i j k "Movements of Passion, Margaret Barr Festival". The Sydney Morning Herald. Sydney, New South Wales. 16 October 2004. Retrieved 8 May 2019.
  9. ^ a b Bishop, George W. (10 February 1935). "Plays & Players". The Sunday Times (The Sunday Times Digital Archive) (5835). London, England. p. 4. Retrieved 24 April 2019.
  10. ^ Wearing, J. P. (2014). The London Stage 1930-1939: A Calendar of Productions, Performers, and Personnel. Rowman & Littlefield. p. 32. ISBN 9780810893047. Retrieved 2 May 2019.
  11. ^ a b c d e f g h i j k l m n o Lester, Garry (June 2007). "Galvanising community (Part 2) Margaret Barr at Dartington Hall 1930 – 1934". Brolga — an Australian Journal About Dance. Australian Dance Council – Ausdance Inc. (26): 39–55. ISSN 1322-7645.
  12. ^ a b Browne, Maurice (October 1931). "Between Curtains. Maurice Browne Reviews A Dance Mime at Dartington". Theatre Arts Monthly. XV (10): 862–867.
  13. ^ Thomas, F.G., Dancing Times, November 1932, pp. 313-5, quoted in Lester, Garry (June 2007).
  14. ^ Martin, John, New York Times, 14 August 1932, quoted in Lester, Garry (June 2007).
  15. ^ a b "The Experimental Theatre". The Times (The Times Digital Archive). London, England. 2 November 1934. p. 6. Retrieved 25 April 2019.
  16. ^ "Pageant in Eight Episodes. Festival of Co-operation at Wembley Stadium". Uxbridge & W. Drayton Gazette. 29 April 1938. p. 20. Retrieved 26 April 2019.
  17. ^ Darlington, W. A. (11 February 1935). "Dance-Drama' at the Arts. Emotion Sacrificed to Technique". The Daily Telegraph (The Telegraph Historical Archive) (24872). London, England. p. 8. Retrieved 24 April 2019.
  18. ^ a b Hall, Fernau (1950). Modern English Ballet: An Interpretation. A. Melrose. pp. 140–142. Retrieved 31 July 2019.
  19. ^ Hall (1950), p. 142, quoted in Lester (2007), pp. 52-52.
  20. ^ a b c d e f g h i "She's a Cleaner by Day, but a Choreographer by Night". The Sydney Morning Herald. Sydney, New South Wales. 20 February 1955. p. 58. Retrieved 29 April 2019 – via Newspapers.com.
  21. ^ "May Day Rally". New Zealand Herald. 81 (24880). 29 April 1944. p. 10, Col 4. Retrieved 8 May 2019.
  22. ^ "Dance Dramas. Student Culture Revealed". Auckland Star. LXXII (257). 30 October 1941. p. 10. Retrieved 8 May 2019.
  23. ^ a b c d e f g h Esch, F.W.L. (29 August 1959). "It Takes All Sorts To Make Dance-Drama". The Sydney Morning Herald. Sydney, New South Wales. p. 17. Retrieved 30 April 2019 – via Newspapers.com.
  24. ^ "At Sydney Theatres. The Travellers". Le Courrier Australien. Sydney, New South Wales. 20 March 1953. p. 5. Retrieved 28 April 2019.
  25. ^ a b c d "Drama in Dance". The Age. Melbourne, Victoria, Australia. 6 January 1962. p. 8. Retrieved 1 May 2019 – via Newspapers.com.
  26. ^ "Women. Back to School". The Bulletin. 82 (4223): 30. 18 January 1961. Retrieved 4 July 2019.
  27. ^ Atkinson, Ann; Knight, Linsay; McPhee, Margaret (1996). The Dictionary of Performing Arts in Australia: Opera, Music, Dance. Allen & Unwin. p. 28. ISBN 9781863738989. Retrieved 13 May 2019.
  28. ^ "Making History". The Bulletin. 87 (4440): 11. 3 April 1965. Retrieved 5 July 2019.
  29. ^ a b c d e f Cramphorne, Rex (24 April 1971). "Why does she do it?". The Bulletin. 093 (4752): 53. Retrieved 12 July 2019.
  30. ^ a b c "Premiere of "Voyagers"". The Australian Women's Weekly. 15 August 1956. p. 26. Retrieved 28 April 2019.
  31. ^ a b c N.D. (7 September 1960). "New works at Dance Drama Group recital". Tribune. Sydney, New South Wales. p. 6. Retrieved 28 April 2019.
  32. ^ a b "Varsity drama". The Sydney Morning Herald. Sydney, New South Wales, Australia. 11 June 1967. p. 72. Retrieved 17 June 2019 – via Newspapers.com.
  33. ^ a b c d e f g h i j Douglas, Reid (24 October 1970). "Not quite respectable". The Bulletin. Sydney, New South Wales, Australia. 092 (4727): 51, 53. Retrieved 12 July 2019.
  34. ^ a b c d e Kemp, Kevon (8 September 1962). "Theatre. The Redoubtable Miss Barr". The Bulletin. 84 (4308): 34. Retrieved 17 June 2019.
  35. ^ a b c d e f g h i j Trotter, Hilary (8 October 1973). "Plenty of ideas but some wobbles". The Canberra Times. Canberra, ACT, Australia. p. 8. Retrieved 1 May 2019.
  36. ^ a b c d e f g h i j k l m n o p q r s t u v Harris, Joanne (December 2004). "Margaret Barr, storyteller Part two: Climbers". Brolga — an Australian Journal About Dance. Australian Dance Council – Ausdance (21): 39–49. ISSN 1322-7645.
  37. ^ a b c d e f "New Work by Sydney Dance-Drama Group". Le Courrier Australien. Sydney, New South Wales. 6 September 1957. p. 5. Retrieved 26 April 2019.
  38. ^ a b c d Dean, Beth (19 June 1967). "History told by dancing feet". The Sydney Morning Herald. Sydney, NSW, Australia. p. 7. Retrieved 12 June 2019 – via Newspapers.com.
  39. ^ a b c d e Sykes, Jill (6 September 1982). "Gandhi leads the Raj a dance". The Sydney Morning Herald. Sydney, New South Wales, Australia. p. 8. Retrieved 11 July 2019.
  40. ^ a b c d e D.R.W. (2 December 1955). "At Sydney Theatres. Dance-Drama Group". Le Courrier Australien. Sydney, New South Wales. p. 6. Retrieved 26 April 2019.
  41. ^ a b c d Dean, Beth (17 September 1966). "Featured dance of interest". The Sydney Morning Herald. p. 12. Retrieved 12 June 2019 – via Newspapers.com.
  42. ^ a b c d Costantino, Romola (18 March 1969). "Ingenious patterns". The Sydney Morning Herald. Sydney, New South Wales, Australia. p. 8. Retrieved 17 June 2019 – via Newspapers.com.
  43. ^ a b c d e M.J. (23 August 1963). "Sydney Dance Drama Group". Le Courrier Australien (34). New South Wales, Australia. p. 8. Retrieved 8 May 2019 – via National Library of Australia.
  44. ^ a b c R.R. (25 November 1955). "Programme By Sydney Dance Group". The Sydney Morning Herald. p. 8. Retrieved 29 April 2019 – via Newspapers.com.
  45. ^ a b c d e f R.R. (19 August 1963). "Dance Drama Group". The Sydney Morning Herald. Sydney, New South Wales. p. 8. Retrieved 13 May 2019 – via Newspapers.com.
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