https://en.wikipedia.org/wiki/Albertina_Rasch

In 1923, Rasch opened her first dance studio in Manhattan^[4] (where Bill Robinson taught tap). She would later open a second studio in Los Angeles.^[4] Throughout the 1920s, Rasch’s school transformed "from a dance school offering a range of dance styles, including a Pavlova-esque free-form ballet, to an enterprise focused on turning out her “Albertina Rasch Girls."^[3] Rasch felt that the precision of the dancers would “make ballet dancing acceptable to American tastes.”^[4] She and her school would later further focus on dance as a “way to develop grace, charm, slenderness, and attractiveness.”^[3]

In 1925, the Albertina Rasch Dancers performed her Rhapsody in Blue (1925), one of her “first experiments combining ballet moves with American Jazz dance.”^[3]

She starred in a number of Ziegfeld productions, appeared at the Moulin Rouge and performed with Josephine Baker before adapting her classical training and techniques for the Broadway theatre and films.^[5]

Rasch's early stage work for such projects as George White's Scandals evoked the Black Crook tradition of inserting fantasy dance sequences that had little to do with the plot between book scenes. In 1930 she created the dances for the revue, Three's A Crowd. The New York Times said "... Mme. Rasch, director of the dances, who has made a pleasant departure from music show routine . . ."^[6] She soon established herself as a creative force with a routine she devised for Tilly Losch in the 1931 revue, The Band Wagon. Wearing gloves covered with blacklight paint, Losch stood in front of a mirror on a darkened stage and performed a "ballet" in which only her hands could be seen to the Arthur Schwartz and Howard Dietz song "Dancing in the Dark".

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