School in New York . Years at Denishawn In a letter dated August 31, 1924, Guy mentions starting Denishawn in October of that year . Her primary teacher was Katherine Edison who taught her technique and dramatic gesture based on the principles of Delsarte. She also took private classes from Paul Mathis and repertory classes from Hazel Krans who taught her dances such as ‘ ‘Temple Bells’ ‘ and ‘ ‘Dancing Girl of Dehli’ ‘. Guy wrote of her earlier experience at Denishawn in a letter to St.Denis: “The future holds much brightness for me—I smile, I learn, I dance and wait—and I’m happy”. During this time, Guy was also taking classes at Hunter College, studying typing and shorthand . She first travelled with the company from September 1927 until May 1928 as St. Denis’ personal assistant. It was also through St. Denis that Guy met Japanese-American photographer Soichi Sunami, who took some of the few surviving portraits of her. After three years of training at Denishawn, Guy was still only allowed to perform in-house recitals, her race being the hindering factor. In 1930 she continued as St. Denis’ seamstress and wardrobe assistant. At this time also, Guy, in conjunction with friends, created dances to Negro spirituals that her mother loved. While St. Denis was away on tour Guy was asked to leave the company due to a misunderstanding. They did however reconcile later on in life . After Denishawn Now on her own, Guy started off struggling, engaging in odd jobs including those of maid, cook, and artist's model. She auditioned for pieces but never got any roles, which she stated was because “the light skinned girls with the flashing eyes” got all the parts. Guy began to connect with other artists such as fellow African-American dancer/ choreographer Hemsley Winfield. She struggled with depression which disrupted her desire to start her own company, but by March 1931 she was performing with the New Negro Art Theatre as a featured artist alongside Winfield. For this show, she choreographed and performed Madrassi Nautch, a variation of one of St. Denis’ most popular types of dances. Soon after, in April 1931 she co-directed the “First Negro Dance Recital In America” with Winfield during which she performed the piece A Figure From Angkor Wat. She also staged other works that year, including her “dance spirituals”, at the Chanin Theatre. In May of the