How a paralyzed divinity student became the pioneer of American modern dance
In short: Ted Shawn abandoned his religious studies after a bout of diphtheria left him partially paralyzed. During his physical therapy, he discovered dance, eventually transforming the art form by integrating masculine athleticism and global movement. He later founded Jacob’s Pillow, a legendary sanctuary that remains a cornerstone of American dance history.
Born in 1891, Ted Shawn originally intended to enter the ministry. His path shifted dramatically in 1910 when, at age 19, he contracted diphtheria. The illness resulted in temporary paralysis from the waist down, and it was during his recovery that he first encountered dance. By 1912, he was performing professionally, and in 1914, he married Ruth St. Denis. Together, they founded the Denishawn School in 1915, aiming to bridge the gap between physical movement and spiritual expression.
Shawn’s choreography was deeply eclectic, drawing inspiration from diverse international sources, including North African, Spanish, and Amerindian traditions. He was particularly fascinated by the ecstatic, whirling movements of the Mevlevi Dervish, which he adapted for the stage in 1929. This interest in the philosophical and the exotic defined his early career. However, following the dissolution of Denishawn in the early 1930s, Shawn pivoted toward a new mission: legitimizing the American male dancer.
In 1933, Shawn purchased a farm in the Berkshires of Massachusetts, which became the site of his all-male dance company. This location evolved into Jacob’s Pillow, a major performance center and school. Through his company, Shawn challenged societal norms by showcasing athletic, masculine movement in works like Kinetic Molpai and various indigenous-inspired dances. His influence extended beyond the stage; he authored nine books on dance and continued teaching at Jacob’s Pillow until shortly before his death in 1972.
Shawn’s legacy remains a subject of both celebration and institutional debate. While he was inducted into the National Museum of Dance’s Hall of Fame in 1987, his relationship with his own archives was complex. In the 1940s, he gifted his works to the Museum of Modern Art, which later deaccessed them. This move sparked controversy, leading contemporary artists like Adam Weinert to create digital performances to reclaim these works, highlighting the ongoing tension between historical preservation and institutional policy.
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Sources
- Summary by Intellect · source: Ted Shawn | Department of Dance | University of Washington
- Also: Ted Shawn
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