1. What did Gussie Nell Davis study in college against the will of her parents?
2. Why was Davis hired at Kilgore College?
3. Describe the Rangerettes signature uniform.
4. What was Davis’ contribution to dance?
5. How many decades did she direct the Rangerettes?
6. True or False: She behaved like a drill sergeant in rehearsal and on the field.
7. The Rangerettes performed on the same bill as the _____ _____ _____ _____ for President Eisenhower’s inauguration.
8. Davis later hired a choreographer to help create material because she needed more time to do what?
9. How did Davis stay ahead of other drill teams?
10. True or False: Feminist groups never criticized the Rangerettes.
Bonus: Quote Davis’ motto.
1. Physical education; 2. Because she suggested that an all-female precision drill team would be perfect entertainment at half time games and that the Rangerettes would help boost female enrollment.; 3. Western-style hats, boots and red, white and blue skirted uniforms; 4. She created the first precision drill team dancing still seen at football half-time shows today.; 5. Four; 6. True; 7. New York City Ballet; 8. To teach her team about etiquette, posture, fashion and ethics to shape them into highly marriageable young women; 9. By directing routines that were increasingly athletic and acrobatic; 10. False; Bonus: Beauty Knows No Pain
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This Sunday, master ballet teacher Finis Jhung turns 80. After a career as a soloist for both San Francisco Ballet and the Joffrey and a principal for Harkness Ballet, Jhung carved out a unique place for himself as a ballet teacher in New York City. He's coached the boys of Billy Elliot: The Musical, developed a popular video and DVD how-to series and STILL teaches seven classes a week at the Ailey Extension. He's graced the pages of this magazine to offer his time-honored wisdom again and again, and he's currently working on a memoir. (We can't wait to read it.) Happy birthday, Finis!
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The exhibit Radical Bodies: Anna Halprin, Simone Forti, Yvonne Rainer in California and New York, 1955–1972 is filled with exhibits, performances and conferences honoring the three postmodern dance living legends.