Marianne Schultz

The University of Auckland, History, Alumna

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Marianne Schultz, PhD, is a dancer, choreographer, teacher and historian. Born in the USA, she has lived primarily in New Zealand since 1986. Following her dance studies at NYU and the Alvin Ailey American Dance Center, Marianne performed with Laura Dean Dancers and Musicians. In New Zealand she has danced for Limbs Dance Company, Douglas Wright Dance Company, Spinning Sun and currently with the Foster Group. She is the author of numerous articles and chapters in edited collections on dance and performing arts history. Her first book, Performing Indigenous Culture on Stage and Screen: A Harmony of Frenzy, published by Palgrave McMillian, appeared in 2016. Her second book, Limbs Dance Company: Dance For All People, 1977-1989, was published in 2017.
Phone: 0210609965
Address: c/o History Department, University of Auckland

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Papers by Marianne Schultz

Authenticity and illusion

Sydney University Press eBooks, Nov 1, 2022

Authenticity and illusion: Performing Māori and Pākehā in the early twentieth century

Sydney University Press eBooks, Nov 1, 2022

Dedicated to dance : Wellesley Studios / by Dr Marianne Schultz

DANZ magazine, Aut 2016; n.43:p.16-17; issn:, Mar 1, 2016

Moving with the times

International Journal of Food Sciences and Nutrition, 2012

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Tracing the Steps of Modern and Contemporary Dance in Twentieth-century New Zealand

Moving Oceans, 2017

This chapter in Ralph Buck and Nicholas Rowe, eds, Moving Oceans: Celebrating Dance in the South ... more

Themes from an Unfinished Major Work: The Wellington New Dance Group

The social and cultural history of the Wellington New Dance Group, founded in New Zealand soon af... more The social and cultural history of the Wellington New Dance Group, founded in New Zealand soon after World War II in 1945, is presented. The influence of American and European dance and physical education on the dancers' movements is highlighted, as also their aim of fostering an international movement of social and political activism through dance.

‘A Harmony of Frenzy’: New Zealand Performed on the stage, screen and airwaves, 1862 to 1940

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The best entertainment of its kind ever witnessed in New Zealand': the Rev. Frederick Augustus Bennett, the Rotarua Maori Entertainers, and the story of Hinemoa and Tutanekai

On 18 July 1908 the Christchurch Star announced the ‘one universal verdict’ concerning the appear... more On 18 July 1908 the Christchurch Star announced the ‘one universal verdict’ concerning the appearance of the Rotorua Maori Entertainers at the Choral Hall on Wednesday and Thursday of that week. Advertising the ‘refined, unique and immensely diverting entertainment’, the Star proclaimed that it was ‘the best entertainment of its kind ever witnessed in New Zealand’. Directing the performance was the Rev. Frederick Augustus Bennett, or F.A. Bennett as he was more widely known, a young, charismatic Maori leader and orator, who twenty-one years later would become the inaugural Bishop of Aotearoa. Alongside traditional poi and haka, the production featured a male quartet singing a combination of waiata (song), ‘Plantation Songs’, and popular tunes such the Scottish folk ballad The Banks of Allen Water. The troupe of entertainers had, by the time of their appearance in Christchurch, already filled theatres in Rotorua, Auckland, New Plymouth, Wanganui and Wellington. *WINNER OF THE 2011 GR...

Performing Indigenous Culture on Stage and Screen: A Harmony of Frenzy

Buku ini menyoroti pengembangan hibriditas budaya di Selandia Baru melalui seni pertunjukan popul... more Buku ini menyoroti pengembangan hibriditas budaya di Selandia Baru melalui seni pertunjukan populer, berkontribusi pemahaman baru tentang ras, etnis dn jenis kelamin. Penulis memberikan analisa mendalam melalui studi kasus drama, musik dan tari yang dilakukan secara domestik maupun internasional dimana pengertian modern dibentuk dan dipahami dalam penciptaan dan penerimaan budaya populer.

‘Sons of the Empire’: Dance and the New Zealand Male

Dance Research, 2011

This article traces the journeys of dancing men from the stages of New Zealand to the stages of L... more This article traces the journeys of dancing men from the stages of New Zealand to the stages of London during the twentieth century. The oft-repeated history of ‘the hard man’ of New Zealand who belonged to the ‘culture of imperial manliness’ is challenged by the stories of these men who, beginning in the 1920s with Jan Caryll, became professional dancers. I argue that within early twentieth-century New Zealand culture the opportunity existed for men and male bodies to be on display. The Maori haka, which featured men dancing in public exhibitions and ceremonies, had been seen by non-Maori (Pakeha) since first contact, while the emergence of body-building, beginning with the visit in 1902 of Eugen Sandow and a culture of sport, allowed men to be on show. Not least of all, tours to the antipodes of European dancers inspired young men to study ballet and contemporary dance. As a consequence, throughout the twentieth century New Zealand male dancers continued to arrive in London and co...