Answer the question at the end by quoting:

Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years. Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head". A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.
Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art. She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing. Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer--joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image). Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.

was she a part of an organization?

IN: Kidder, one of five children, was born in Yellowknife, Northwest Territories, the daughter of Jocelyn Mary "Jill" (nee Wilson), a history teacher, and Kendall Kidder, an explosives expert and engineer. Kidder also spent time growing up in Labrador City, Newfoundland and Labrador. Her mother was from British Columbia, Canada, and her father was from New Mexico, United States. She is of Welsh and English descent.

In 1975, Kidder was cast in a lead role in The Great Waldo Pepper opposite Robert Redford, she also appeared in The Reincarnation of Peter Proud and 92 in the Shade (1975) with Peter Fonda, all of which established her as a commercially viable leading lady. Kidder famously married the director of 92 in the Shade, Thomas McGuane. She appeared on the March 9, 1975 edition of The American Sportsman, learning how to hang glide with her providing the narration and a remote microphone recording her reactions in flight; the segment concluded with Kidder doing solos soaring amid the Wyoming Rockies. After taking a break from acting after the birth of her daughter in 1976, Kidder sought to return to making films in the late 1970s. After doing a reading of Lois Lane for the 1978 superhero film Superman: The Movie, Kidder was flown to England by Richard Donner for screen-tests. Donner ultimately cast Kidder in the role, which would become her most iconic. Filming took over a year, and the film was released during Christmas 1978, to major commercial success. Kidder won a Saturn Award for best actress for her performance in the film. Kidder publicly disagreed with the decision of producers Alexander Salkind and Ilya Salkind to replace Richard Donner as director for Superman II (1980). It was reported that as a result, Kidder's role in Superman III (1983) consisted of less than five minutes of footage, though the producers have denied this in DVD commentaries. Her role in Superman IV: The Quest for Peace (1987) was more substantial. Kidder's performance as Kathy Lutz in the 1979 summer release of The Amityville Horror further cemented her status as one of Hollywood's leading ladies. Though it received mixed reviews from critics, The Amityville Horror was a major commercial success, grossing over $86 million in the United States. Janet Maslin of The New York Times, though giving the film a mixed review, said Kidder "stubbornly remains the bright-eyed life of the party [in the film]." In retrospect, Kidder called the film "a piece of shit." The same year, Kidder hosted an episode of the American sketch comedy TV show Saturday Night Live.

What did this mean

OUT:
Kidder was flown to England by Richard Donner for screen-tests. Donner ultimately cast Kidder in the role, which would become her most iconic.