was interested in making works about Vodou rituals and the ethnography of Haiti. In 1945, Deren collaborated with Dunham's student Talley Beatty in the creation of A Study in Choreography for Camera. This collaborative work championed a cross-cultural artistic exploration. Scholars have posited many lasting effects of this collaboration: Hannah Durkin writes, in her article, Cinematic "Pas de Deux": The Dialogue between Maya Deren's Experimental Filmmaking and Talley Beatty's Black Ballet Dancer in "A Study in Choreography for Camera" (1945): "The film should thus be read as a collaborative, cross-cultural celebration of black cultural practices and artistry that combines a visual interpretation of Caribbean ritual form with Beatty's balletic technique and breaks down racialized-looking relationships by implicating the viewer in the psychological intensity and virtuosity of his dance."The film explores freeing the body from any one space or temporality. Deren cuts together footage of Beatty dancing in multiple locations, for example, leaping from the forest into a museum. The camera effectively becomes Beatty's partner, making the film able to be read as an interracial one. Deren's transparency in her inspiration being taken from Dunham's work was a break from other white artists of the time who rarely commented on their influences. Jacob's Pillow Beatty's company first performed at Jacob's Pillow in 1948, premiering his famous work, Southern Landscape. The group came back to the Pillow to perform in 1952 and 1960. Beatty's work continued to be shown at the Pillow even after the end of his company. Ballet Hispánico performed Beatty's Caravanserai on August 17, 1984. The Dayton Contemporary Dance Company performed “Mourner’s Bench” in 1990. In 1992, just three years before his death, Beatty returned to the Pillow for a final time to oversee Philadanco’s revival of Southern Landscape. Later career Choreography After leaving Dunham’s company, gaining increased recognition as a choreographer, Beatty went on to choreograph for companies including Alvin Ailey, Batsheva, and Boston Ballet. Some of Beatty's most notable concert works include Road to Phoebe Snow (1959) with music by Duke Ellington, Congo Tango Palace (1960), Caravanserai (1971), and The Stack Up (1983). He also choreographed for Broadway shows: a revival of House of Flowers (1968), Don’t Bother Me I Can’t Cope (1970), and Your Arms too Short to Box with God. Criticisms John Martin, a famous white dance critic during the early to mid-1900s, criticized Beatty’s dance style as too much ballet during this particular time