Sophie Maslow (left), Jane Dudley (center) and William Bales in Dudley's Passional (1950). Photo by Arnold Eagle, courtesy of Dance Magazine archives

Lurching slowly forward, a homeless woman appears from the wing with her body hunched and arms extended. With ambient street sounds as the score, she traverses the stage, crawling, reaching and heaving her body. Periodically, she turns to stare at the audience. Inspired by the art of Käthe Kollwitz and a childhood memory of a poverty-stricken woman scavenging, Eve Gentry's solo, Tenant of the Street, conveys a distinct perspective about economic inequality.

This work was created in 1938 under the auspices of the New Dance Group, a modern dance collective founded six years before. It conveys the NDG's ethos but also resonates in today's political and economic climate. So much so that the Martha Graham Dance Company included it in its 2010 concert “Dance Is a Weapon." “The young artform of modern dance was empowered and validated by its alignment with political and social issues of the day," says Janet Eilber, artistic director of the MGDC. “And the NDG was really in the center of that. They were leading the charge."

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Photo courtesy of Dance Magazine archives

Pearl Eileen Primus (1919–1994) was an ambassador of African dance and the African experience in the Caribbean and United States. Her Trinidadian heritage, combined with extensive studies in the Caribbean, Africa and the American South, became the lens through which she taught and choreographed. Confronting stereotypes and prejudice through movement, she advocated dance as a means of uniting people against discrimination. “When I dance, I am dancing as a human being, but a human being who has African roots," she declared of her work.

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