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  1. Patrick Augustus Duncan, born 1 May 1910 in Beaulieu-sur-Mer, was the son of dancer Isadora Duncan, who was not married. His father is not named on record, but is often identified as Paris Singer, one of the sons of sewing machine magnate Isaac Merritt Singer.

    • May 1, 1910
    • April 19, 1913
  2. Her father was theatre designer Gordon Craig. Patrick Augustus was born May 1, 1910, [38] fathered by Paris Singer, one of the many sons of sewing machine magnate Isaac Singer. Deirdre and Patrick both died by drowning in 1913.

  3. 26 de abr. de 2022 · Death of Patrick Augustus Duncan at Seine River, 4th... Seine River, 4th Arrondissement, Paris, Île-de-France, France. Genealogy for Patrick Augustus Duncan (1910 - 1913) family tree on Geni, with over 240 million profiles of ancestors and living relatives.

    • April 26, 2022
    • May 1, 1910
    • Private User
    • April 19, 1913
  4. That is what she listed as her occupation on the birth certificate for her second child, Patrick Augustus Duncan, in 1910. Type. Articles. Information. Dance Research Journal , Volume 26 , Issue 2 , Fall 1994 , pp. 24 - 31. DOI: https://doi.org/10.2307/1477914. Copyright © Congress on Research in Dance 1994. Access options.

    • Ann Daly
    • 1994
  5. Duncan rejected the label "dancer" altogether, in order to disassoci-ate herself from the questionable antics of her colleagues(3). Instead, she set herself apart as an "artiste." That is what she listed as her occupation on the birth certificate for her second child, Patrick Augustus Duncan, in 1910 (4). Duncan's dancing was something very new.

  6. www.numeridanse.tv › en › dance-videothequeNarcisse| Numeridanse tv

    With Paris Singer, she bore her son Patrick Augustus Duncan (born May 1, 1910). Both children died in a tragic accident on April 19, 1913. Isadora’s devastation is later reflected in her choreography Mother .

  7. second child, Patrick Augustus Duncan, in 1910.4 In late-nineteenth century America, the popularity of the dancing girl grew alongside the development of theatrical syndicates, whose escapist entertain­ ments reflected the increasing commercialism of the theatre. The typical