Thanks to his unique rehabilitative exercises, Luigi was soon back onstage. After performing in a Falcon Studio showcase, he was snatched up by MGM scouts and began dancing in movies. (Catch him in classic films like An American in Paris, Annie Get Your Gun and White Christmas.) On set, he met his mentor, the legendary Gene Kelly. Kelly renamed the dancer Luigi ("He told me there were too many Genes! "), and encouraged Luigi to be proud despite residual physical issues. "Originally I hid my face on set because it was still a bit paralyzed," Luigi says. "Gene told me, 'Keep doing what you're doing but lift your face. It's beautiful.' That helped create the carriage I stress in my technique now. It's like you're leaning your face up to feel and see everything you can."
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US dancer, choreographer, and teacher. He studied with Bolm in Chicago but his most formative influences were the Japanese dance actor Michio Ito and the dance of Native American Indians. In 1928 he choreographed the pageant The Song of Hiawatha and moved with the production to California, where he was based for most of his career. In 1934 he formed his own company, Lester Horton Dancers, with which he danced and for which he choreographed many works. Although based on the West Coast the company also appeared in New York and Jacob's Pillow. A neck injury forced him to retire from performing in 1944 but he continued to choreograph, and design, dances for his company and also for film and night-clubs. His distinctive dance style emphasized a powerful stillness in the torso from which radiated asymmetrical movements of the limbs. In 1948 he opened his own theatre in Los Angeles. His best-known work, The Beloved, has been performed by many companies including Ailey's and Dance Theatre of Harlem. Other works include Salome (percussion accompaniment, 1934), Conquest (mus. Lou Harrison, 1938), and Totem Incantation (mus. Judith Hamilton, 1948). He was an influential teacher, his pupils including de Lavallade, Lewitsky, Trisler, and Ailey.
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) and Susan Leigh Foster (2003

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), who both write about dance education – from their own dance training backgrounds as well as from their current examinations of it. Seymour (2000

Seymour, L. 2000. Ballet education: Are we forgetting fundamentals? Dancing Times, January, 313.

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) “prefers education to training” (313) as terminology. She believes this education must develop the imagination of the dancer in order to help him or her develop as a sensing, moving being who has the self-knowledge necessary to embody the ideas and concepts about space and music that are integral to dance performance. Foster (2003

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), on the other hand, sees ballet training as the pursuit of pre-defined standards of perfection that remain outside of the dancer. For her, dance training involves the presentation of imposed “systemic programs of instruction” or “drilling” that is necessary for the attainment of specific “ideal” habits and physical movements (238–40). Morris’ (2003

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) research also investigates this dualism and the problems it creates for ballet education. She argues that ballet training is often “prescriptive” and encourages a teaching approach focused “on the mechanical aspects at the expense of the qualitative” (26). In such an approach, “the expressive elements of the dance movement are ignored” and students focus exclusively on “the acquisition of flamboyant skills, and the mechanics of executing the codified technical movements” (18). Spohn, C. (2012). Shibboleth Authentication Request. [online] Www-tandfonline-com.ezproxy.bolton.ac.uk. Available at: https://www-tandfonline-com.ezproxy.bolton.ac.uk/doi/full/10.1080/14647893.2011.651118 [Accessed 3 May 2019].