Problem: Background: 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.
Context: 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.
Question: what age did she teach?
Answer: 

Problem: Background: Born in Goulburn, New South Wales, Poidevin played rugby at St Patrick's College (now Trinity Catholic College) in New South Wales, and made the Australian Schoolboy side. Upon finishing school he played a season with the Goulburn Rugby Union Football Club and then, in 1978, he moved to Sydney to study at the University of New South Wales, from which he graduated in 1983 with a Bachelor of Science (Hons). He made his first grade debut with the university's rugby union team in 1978. In 1982 he moved clubs to Randwick, the famous Galloping Greens, home of the Ella brothers and many other Wallabies.
Context: Despite making himself unavailable for the 1988 Australia rugby union tour of England, Scotland and Italy, and further announcing his unavailability for state selection, Poidevin had hoped to achieve national selection for the Australian Test series against the British Lions. However, Scott Gourley was selected as Australia's blindside flanker, following a good tour to the UK in 1988. Instead, Poidevin played in the curtain raiser to the first Test, playing for Randwick in a game against Eastern Suburbs.  After Australia won the first Test against the British Lions, Poidevin did not achieve national selection for the second Test. However, after the Lions defeated Australia in a violent second Test, public calls were made for Poidevin to be included in the third and series-deciding Test to harden the Australian forward pack. These calls were ignored, Poidevin missed selection for the third Test, and Australia lost to the Lions in the third Test 18-19.  Following the 1989 British Lions series, Poidevin achieved national selection for the only time in 1989 for the one-off Bledisloe Cup Test against New Zealand to be played in Auckland. Australia fielded a relatively inexperienced side, and with Phil Kearns, Tim Horan and Tony Daly making their debut for the Wallabies, Poidevin assumed a senior role within the side. Poidevin would later describe the Test as "one of the best Test matches I'd experienced." Against an All Blacks side that had been undefeated since 1987, Australia trailed 6-3 at half-time, but went on to lose 24-12.  Following Australia's one-off Bledisloe Cup Test of 1989, Poidevin then made himself unavailable for the 1989 Australia rugby union tour of France.
Question: Did they beat Eastern Suburbs?
Answer: