DOCSLIB.ORG

Leslie Satin and the Dance of Memory

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Leslie Satin and the Dance of Memory ART & PERFORMANCE NOTES Ann Bogart’s production of Charles Mee’s bobrauschenbergamerica at BAM. Photo: Courtesy Richard Termine. Downloaded from http://www.mitpressjournals.org/doi/pdfplus/10.1162/152028104323048287 by guest on 29 September 2021 LESLIE SATIN AND THE DANCE OF MEMORY Nicole Plett Leslie Satin and Dancers, The Construction Company, New York, New York, April 26–27, 2003. ne of the first dances I saw by nal dances Satin made in the early Leslie Satin, Walking the Plank- 1980s during a three-year stretch in the Oton in Santa Fe, in 1980, up- Southwest, following six years of zigzag- ended much of what I thought I knew ging between New York and New about dance. It also brought me into Mexico, showing dances in both places. dance criticism. She and I were both Then, as now, her persistent wordplay much younger then, both products of and ambiguous, sometimes inscrutable American university arts education (in movement and gesture choices reso- my case art history in California in the nated with sentient and sensuous hu- late 1960s; in her case dance in New man impulses. As an undergraduate at York in the early 1970s). What contin- SUNY Buffalo in the early 1970s, Satin ues to astonish me is that I can still studied ballet and composition with recapture the tone of that “Plankton” James Waring; this was a formative dance—its playful, punning title, the experience that still reverberates with structural complexity of its movement possibilities. “What I learned from themes, its real-world references to divers Jimmy Waring was to be open to any- and diving boards, its dance abstrac- thing—he taught me to keep my eyes tion. And there was the indisputable open,” she says today. (Satin’s essay on materiality of its planks: those pine Waring, “James Waring and the Judson boards, hefted about by the dancers, Dance Theatre: Influences, Intersections, defining, redefining, and carving up and Divergences,” is included in the space, that slotted right into my intense 2003 anthology Reinventing Dance in interest in minimalist sculpture. Out of the 1960s: Everything was Possible, ed- that meeting and shared dance-art con- ited by Sally Banes. Her thoughts on nections, our long-lived friendship arose. the relation of the dancer and the dance may be seen in the introduction to Walking the Plankton, Cross Sections, “Performing Autobiography,” a special Pressing Matters, and Oat Cuisine were issue of Women & Performance, a Jour- part of a flurry of challenging and origi- nal of Feminist Theor, Spring 1999, that 74 ᭿ PAJ 77 (2004), pp. 74–79. © 2004 Performing Arts Journal, Inc. Downloaded from http://www.mitpressjournals.org/doi/pdfplus/10.1162/152028104323048287 by guest on 29 September 2021 she co-edited with Judith Jerome.) Other pioneers such as Trisha Brown (whose influential teachers and mentors have Accumulation with Water Motor and Talk- included Merce Cunningham, Peter ing of 1971–77 some of us still consider Saul, and Robert Ellis Dunn, who led the mother of all talking dances) irre- the initial Judson Dance Theater work- sistibly toward spectacle. Satin has stayed shops of 1962–1964. Long-time col- with the intimacy of movement for its leagues and collaborators include own sake. Her gentle and idiosyncratic Marjorie Gamso, with whom Satin has dance vocabulary, rooted in her own danced, on and off, since the mid- body and drawn in part from the plea- 1970s; and, beginning in the mid-1980s, sure of studio practice, luxuriates in Sally Gross. For the past several years, qualities of stillness. This is movement she has been studying Klein Technique with few bravura jumps and none of with Susan Klein and Barbara Mahler. that post-Judson running (à la Twyla After returning to New York, Satin Tharp); hers is a conscious, forthright combined her dance practice with walk. Satin has also remained wedded academia, completing her Ph.D. in Per- to the Judson’s potent coupling of dance formance Studies at New York Univer- and text; and the advantage here is her sity. Navigating the traditional bound- uncommon gift with words. Her texts ary between scholarship and art-making, are marvels of complexity and double between interpretation and creation, she entendre, rooted in history, literature, remains both artist and scholar. ideas; they give her works a heft not always found in dance and text pieces. Satin’s scholarly work for some time “Talking and dancing can’t replace each focused on the interaction of autobiog- other, but they can embrace and they raphy and formalist dance of the early can fight like cats,” she wrote in a recent 1960s. Citing tastes and beliefs that are essay on “Talking and Dancing in the as deep-seated as they are contradictory, 21st Century” for the Brazilian per- she is drawn to formalist work and forming arts journal Gesto (Issue 1, work that is demonstrably linked to the 2002). world outside the stage. In her intro- duction to the 1999 issue of Women & Performance that examines autobiogra- ᭿ phy and its variable relationships to truth, she makes a general observation Satin’s April 2003 New York concert that rings true for her own dances: “Not started simply enough with a coming every autobiographer returns to the past; and going dance. Far From It (2003), some anchor us in the present moment which opened a concert of four works or urge us into the future.” From the under the title “Leslie Satin and Danc- first, Satin’s dances have served to an- ers,” presented by the Construction chor this viewer in the present moment. Company, begins with a lone dancer finding her way onto a darkened stage Still watching Satin’s dances more than that gradually fills with warm light. twenty years down the road, I am struck Barefoot, wearing a rustling black circu- by the dual paths of continuity and lar grass skirt and a dark blouse, Satin evolution. Market forces of the late- stands in silence, facing her audience. It 20th century long ago drew most Judson starts with three rises, sometimes quick, PLETT / Leslie Satin and the Dance of Memory ᭿ 75 Downloaded from http://www.mitpressjournals.org/doi/pdfplus/10.1162/152028104323048287 by guest on 29 September 2021 Top: Take-Off and Landing, with Leslie Satin, Iris Rose, Vicky Slick. Bottom: Shadow Load with Vicky Slick, Barbara Mahler, Dages Keates, Susan Osberg. Photos: Courtesy Tom Brazil. 76 ᭿ PAJ 77 Downloaded from http://www.mitpressjournals.org/doi/pdfplus/10.1162/152028104323048287 by guest on 29 September 2021 sometimes slow. As she rises, she swings Far From It is a collaborative solo built both arms outward; hands and arms of movement material choreographed knead the air, probing or grasping for for Satin by Marjorie Gamso; it contin- balance. The motion is repeated, incor- ues a working friendship that dates back porating a brief passage of frenzied, to the earliest years of Satin’s career. ineffectual arm waving before the dancer Gamso had also been a student of Jimmy resumes her quiet stance. Waring, and the pair met at the Cunningham studio in the early 1970s. Erasure—or, one might even say, de- Erasure was a concept that both chore- struction and obliteration—is an ex- ographers first investigated in the 1970s plicit theme of this post-9/11 concert and 1980s. The work’s understated and program, a suite of four challenging and unpredictable vocabulary includes sen- intelligent new dances. Even Satin’s suous passages for the dancer’s bare complement of titles—Far From It, arms and hands: a hand stubbornly Shadow Load, Take-Off and Landing, pushes back on a shoulder, the hand Dis/Place—seems to chew over the ter- pat-pat-pats the air, then fingers flutter; rible terrain of our new world. In an small, irregular hip thrusts provide the adagio duet within Dis/Place, the di- punctuation. minutive choreographer pairs herself with her tallest dancer. Moving in uni- Minutes into the ten-minute dance, son, one behind the other, against the Satin walks a circular path and returns studio’s upstage wall, she, the smaller to face front. This is the moment that partner, is rendered effectively invis- defines the junction between the dance’s ible—an absent presence, a ghost, a coming and going. Now music joins the receding memory. mix—fragments of John Cage’s 1942 In the Name of the Holocaust for string Yet there is more than demolition going piano—as Satin begins again. But this on here: the new work is also about time she subtracts and adds, cumula- building and rebuilding. Satin’s gentle, tively bending and shaping Gamso’s meditative works express her perennial movement score to make it her own. In affection for movement for its own four successive permutations, performed sake—no matter how unexalted. A fin- in slightly different orientations within ger flutters, a foot brushes the floor, a the space, dance phrases are embodied, leg rises to arabesque; such nuances of embellished, and corrupted by the per- gesture ask only for the viewer’s close former until the source material is attention. And over the course of the erased—or rather, overwritten and made evening, in the succession of dances new. that unfold from Satin’s opening solo, we see a personal movement vocabulary The concert’s second dance of erasure, gradually amplified and multiplied by Shadow Load (2003), is a twelve-minute an ensemble of eight performers. And collaborative quartet with video, cre- even as themes of loss and erasure are ated by four performer-choreogra- made explicit, the affirmation of the phers—Dages Keates, Barbara Mahler, primacy of art-making becomes this Susan Osberg, and Vicky Shick—from choreographer’s implicit Ground Zero.
Load more

Recommended publications
  • What Is a Dance? in 3 Dances, Gene Friedman Attempts to Answer Just That, by Presenting Various Forms of Movement. the Film Is D
    GENE FRIEDMAN 3 Dances What is a dance? In 3 Dances, Gene Friedman attempts to answer just that, by presenting various forms of movement. The film is divided into three sections: “Public” opens with a wide aerial shot of The Museum of Modern Art’s Sculpture Garden and visitors walking about; “Party,” filmed in the basement of Judson Memorial Church, features the artists Alex Hay, Deborah Hay, Robert Rauschenberg, and Steve Paxton dancing the twist and other social dances; and “Private” shows the dancer Judith Dunn warming up and rehearsing in her loft studio, accompanied by an atonal vocal score. The three “dances” encompass the range of movement employed by the artists, musicians, and choreographers associated with Judson Dance Theater. With its overlaid exposures, calibrated framing, and pairing of distinct actions, Friedman’s film captures the group’s feverish spirit. WORKSHOPS In the late 1950s and early 1960s, three educational sites were formative for the group of artists who would go on to establish Judson Dance Theater. Through inexpensive workshops and composition classes, these artists explored and developed new approaches to art making that emphasized mutual aid and art’s relationship to its surroundings. The choreographer Anna Halprin used improvisation and simple tasks to encourage her students “to deal with ourselves as people, not dancers.” Her classes took place at her home outside San Francisco, on her Dance Deck, an open-air wood platform surrounded by redwood trees that she prompted her students to use as inspiration. In New York, near Judson Memorial Church, the ballet dancer James Waring taught a class in composition that brought together different elements of a theatrical performance, much like a collage.
    [Show full text]
  • Simone Forti Goes to the Zoo*
    Simone Forti with a lion cub at the Giardino Zoologico di Roma, 1968. Courtesy Simone Forti and The Box, LA. Simone Forti Goes to the Zoo* JULIA BRYAN-WILSON In the photograph, a young woman in a short skirt and sandals sits on a bench. With her crooked elbow, she braces her handbag to her body, tucking her large sketchpad into her armpit. She is petting a lion cub, and as she gazes down to witness the small but extraordinary fact of her hand on its fur, the ani- mal’s face turns towards the camera lens with closed eyes. This is dancer and choreographer Simone Forti on one of her many visits to the zoo during the brief time she lived in Rome in the late 1960s. Far from today’s “wildlife sanctu- aries” where animals can ostensibly wander freely, as the photo of this uncaged cub might suggest, the Giardino Zoologico di Roma offered a highly controlled environment in which animals lived within tight enclosures; Forti was here indulging in a staged, paid encounter, one that she characterized as “irre- sistible.”1 Irresistible because she was consistently moved by the creatures she drew and studied—moved as in stirred, or touched, as well as in shifted, or altered. As I argue, her dance practice changed dramatically as a result of the time she spent in Rome observing animal motions and interacting with other, animate forms of art. Petting a lion cub: irresistible, but still melancholy. Designed in part by German collector and merchant Carl Hagenbeck and built in 1911, the Roman zoo is an example of the turn-of-the-century “Hagenbeck revolution” in zoo architecture, which attempted to provide more naturalistic-appearing, open-air surroundings that were landscaped with artificial rocks and featured moats instead of bars, often creating tableaux of animals from different taxonomic * This article was made possible by the indefatigable Simone Forti, who talked with me, danced for me, and pulled all manner of documents and photographs out of her dresser drawers for me; thank you, Simone.
    [Show full text]
  • Download, Or Email Articles for Individual Use
    Dance Chronicle, 37:122–128, 2014 Copyright © 2014 Taylor & Francis Group, LLC ISSN: 0147-2526 print / 1532-4257 online DOI: 10.1080/01472526.2014.876598 A Self-Critical Phenomenology of Criticism JOSHUA M. HALL Living in an Artworld By Noel¨ Carroll. 388 pp. Louisville, Ky.: Chicago Spectrum Press, 2012. $22.50. ISBN 978-158374-220-4. Noel¨ Carroll, a central figure in analytic (Anglo-American) philosophy of art, and spouse of renowned dance scholar Sally Banes (who co-authored several of these essays), offers us something remarkable in his new book—namely, a collection of thirty years of his theoretical essays and dance reviews. Carroll wrote some of the pieces while he was a graduate student at the Univer- sity of Illinois, Chicago, and there have been some dramatic changes since then in both the art world and Carroll’s philosophical views. Thus, he mod- estly characterizes the book as “an archeological artifact” of a “somewhat confessional” variety (p. 267). Inspired by Carroll, I too will adopt an arche- ological stance, with a promise that the reader’s patience will be repaid with something surprising at the end of the dig. To begin with a panoramic view of the site: Living in an Artworld is divided into three sections, on dance, performance/theater, and the fine arts, respectively. I will focus primarily on the dance section (because I am writing for a dance studies readership, and my own background is in dance), but the most helpful point of entry into the book is to be found in Carroll’s present- day introduction to the fine arts section.
    [Show full text]
  • Judson Dance Theater: the Work Is Never Done
    Judson Dance Theater: The Work is Never Done Judson Dance Theater: The Work Is Never Done The Museum of Modern Art, New York September 16, 2018-February 03, 2019 MoMA, 11w53, On View, 2nd Floor, Atrium MoMA, 11w53, On View, 2nd Floor, Contemporary Galleries Gallery 0: Atrium Complete Charles Atlas video installation checklist can be found in the brochure Posters CAROL SUMMERS Poster for Elaine Summers’ Fantastic Gardens 1964 Exhibition copy 24 × 36" (61 × 91.4 cm) Jerome Robbins Dance Division, New York Public Library, GIft of Elaine Summers Gallery 0: Atrium Posters Poster for an Evening of Dance 1963 Exhibition copy Yvonne Rainer Papers, The Getty Research Institute, Los Angeles Gallery 0: Atrium Posters Poster for Concert of Dance #13, Judson Memorial Church, New York (November 19– 20, 1963) 1963 11 × 8 1/2" (28 × 21.6 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Judson Dance Theater: The Work Is Never Done Gallery 0: Atrium Posters Poster for Concert of Dance #5, America on Wheels, Washington, DC (May 9, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Poster for Steve Paxton’s Afternoon (a forest concert), 101 Appletree Row, Berkeley Heights, New Jersey (October 6, 1963) 1963 8 1/2 × 11" (21.6 × 28 cm) Judson Memorial Church Archive, Fales Library & Special Collections, New York University Libraries Gallery 0: Atrium Posters Flyer for
    [Show full text]
  • PDF Released for Review Purposes Only. Not for Publication Or Wide Distribution
    JUDSON Giampaolo Bianconi is Thomas J. Lax is Associate Julia Robinson is Associate In the early 1960s, an assembly of choreographers, visual artists, composers, and Curatorial Assistant in the Curator in the Department of Professor of Modern and filmmakers made use of a church in New York’s Greenwich Village to present Judson Dance Theater The Work Is Never Done Department of Media and Media and Performance Art Contemporary Art at New performances that redefined the kinds of movement that could be understood as Performance Art at MoMA. at MoMA. York University. She is the dance—performances that Village Voice critic Jill Johnston would declare the most editor of the October Files exciting in a generation. The group was Judson Dance Theater, its name borrowed Harry C. H. Choi is a Twelve- Victor “Viv” Liu was a volume John Cage (2011) from Judson Memorial Church, the socially engaged Protestant congregation Month Intern in the Department Seasonal Intern in the and the author of a forthcom- that hosted the dancers’ open workshops. The Judson artists emphasized new DANCE of Media and Performance Art Department of Media and ing book on George Brecht. compositional methods meant to strip dance of its theatrical conventions and fore- at MoMA. Performance Art at MoMA. Robinson is an active curator. grounded “ordinary” movements—gestures more likely to be seen on the street or at home. Although Judson Dance Theater would last only a few years, the artists affili- Vivian A. Crockett is the Jenny Harris is Curatorial Gloria Sutton is Associate ated with it, including Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith 2017–18 Andrew W.
    [Show full text]
  • The Minimal Presence of Simone Forti Author(S): Virginia B
    The Minimal Presence of Simone Forti Author(s): Virginia B. Spivey Reviewed work(s): Source: Woman's Art Journal, Vol. 30, No. 1 (SPRING/SUMMER 2009), pp. 11-18 Published by: Old City Publishing, Inc. Stable URL: http://www.jstor.org/stable/40605219 . Accessed: 21/01/2013 06:01 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Old City Publishing, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Woman's Art Journal. http://www.jstor.org This content downloaded on Mon, 21 Jan 2013 06:01:22 AM All use subject to JSTOR Terms and Conditions The MinimalPresence of SimoneForti By VirginiaB. Spivey May1961, a youngchoreographer named Simone Forti Theseissues converge in a studyof Simone Forti. Scholarly (b. 1935)presented "Five Dance Constructions and Some bias in arthistory has ignoredmany women like Forti.5 Her OtherThings," a concertof experimental dance, at Yoko situationwas compoundedby similarattitudes in the Ono'sChambers Street loft.1 A fewyears later, in November academythat viewed dance as an uncritical(often feminized) 1964,Forti' s ex-husband, Robert Morris, exhibited a group of artform, more rooted in bodilyexpression than intellectual sevensculptures at New York'sGreen Gallery.
    [Show full text]
  • For a Brief Period in the Early 1960S, a Group of Choreographers, Visual
    For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present performances that Village Voice critic Jill Johnston declared the most exciting new developments in dance in a generation. Redefining the kinds of movement that could count as dance, the Judson participants—Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann, and Elaine Summers, among others—would go on to profoundly shape all fields of art in the second half of the 20th century. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York’s Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Together, the artists challenged traditional understandings of choreography, expanding dance in ways that reconsidered its place in the world. They employed new compositional methods to strip dance of its theatrical conventions, incorporating “ordinary” movements—gestures typical of the street or home, for example, rather than a stage—into their work, along with games, simple tasks, and social dances to infuse their pieces with a sense of spontaneity. Judson Dance Theater: The Work Is Never Done highlights the ongoing significance of the history of Judson Dance Theater, beginning with the workshops and classes led by Anna Halprin, Robert Ellis Dunn, and James Waring and exploring the influence of other figures working downtown such as Simone Forti and Andy Warhol, as well as venues for collective action like Judson Gallery and the Living Theatre.
    [Show full text]
  • Remembering Sally Banes: Recipient of the Selma Jeanne Cohen Prize in Dance Aesthetics 2008
    Remembering Sally Banes: Recipient of the Selma Jeanne Cohen Prize in Dance Aesthetics 2008 Curtis L. Carter Marquette University Sally Banes, (1950--2020), foremost among American dance historians and critics of the mid Twentieth Century, died in Philadelphia on June 14. She will be remembered for her outstanding history and theatre scholarship and dance criticism resulting in multiple books and critical writings. Her books include the highly regarded Terpsichore in Sneakers: Post Modern Dance (1987) that positioned Postmodern dance in the context of mid-twentieth century dance criticism and dance history. Dr. Banes’ contributions to dance scholarship include five additional books: Democracies Body: Judson Theater Dance 1962-1964, (1983); Greenwich Village 1963: Avant Garde Performance and the Effervescent Body (1993); Writing Dancing in the Age of Post-Modernism (1994); Dancing Women: Female Bodies on Stage (1998); and Before, Between, and Beyond: Three Decades of Dance Writing, forewords by Lyn Garafola and Joan Accocella, (2007). Dr. Banes edited the Dance Research Journal from 1982 to 1988. Dr. Banes was appointed Director of the Institute for Research in the Humanities at the University of Wisconsin in Madison and served in this position during 2001, 2002. She served as head of the University’s Dance program from 1992-1996. In 2020, The University of Wisconsin Madison established the Sally Banes Professor of Dance in honor of Dr. Banes. Her previous academic appointments took place at Florida State University 1980, Purchase College 1981- 1986, Wesleyan University 1987, 1988, and Cornell University 1988-1991. Awards In recognition of her many contributions to dance scholarship and criticism Dr.
    [Show full text]
  • JAMES WARING - Wait Inna Larry Richardson Dance Gallery Lobby - After David’S Sole Solo Concert
    David Gordon ‘70s ARCHIVEOGRAPHY - Part 3 1 #1 1973 - VALDA SETTERFIELD and JAMES WARING - wait inna Larry Richardson Dance Gallery lobby - after David’s sole solo concert - FRIEND AND MENTOR - JAMES WARING - DIES OF LUNG CANCER - DECEMBER 2, 1975. David Gordon ‘70s ARCHIVEOGRAPHY - Part 3 2 é çcollages by James Waring ê ç Composer John Herbert McDowell visits Jimmy. #1 Inna ‘60s n’’70s - Jimmy Waring lives at 131 Avenue A. Valda’s and David’s 1st apartment. Moves in when they move out. Jimmy babysits once’n claims - Valda says - he teaches baby Ain Gordon to say yogurt - and Max Ernst. #2 David hears Jimmy ain’t well. Finds reasons to not visit. Ain’t been in the Avenue A apartment - since they moved out. Braver Valda calls’n makes a date - for them to visit Jimmy together. ç Jimmy’s inna living room - in fronta - my old cork wall - David says - surrounded by old postcards n’photosa pretty boys’n art objects. #1 Jimmy holds a mug in his fine fingers and coughs gently. Spits bits of phlegm once in a while. And sniffs the old sniff. David babbles on quietly’n self consciously about art’n artists. People they both know‘n knew - and who’s doing upcoming what. No mention is made of Jimmy’s illness - David says. Then they say goodbye. David Gordon ‘70s ARCHIVEOGRAPHY - Part 3 3 #2 David’n Valda go back 1 more time to 131 Avenue A - before the city confiscates alla Jimmy’s belongings. We gather’n pack up - David says - old postcards - antique ribbons’n beaded’n handsewn objets.
    [Show full text]
  • LINDA CARUSO HAVILAND Dance Program Bryn Mawr College 101
    v LINDA CARUSO HAVILAND v Dance Program August 2018 Bryn Mawr College 101 North Merion Avenue Bryn Mawr, PA 19010 [email protected] vv indicates entries prior to 2010 EDUCATION 1995 Ed.D. Department of Dance, Temple University, Philadelphia Dissertation: "Dancing at the Juncture of Being and Knowing: Sartrean Ontology, Embodiment, Gender and Dance." [Committee: Ferdun (Dance), M. Beardsley (Philosophy), J. Margolis (Philosophy) J. Immerwahr (Philosophy), S. Hilsendager (Dance)] • Recipient: Teaching Associate position 1972 M.Ed. Department of Dance, Temple University, Philadelphia Choreographic Thesis Project: Landscape with the Fall of Icarus • Recipient: Graduate Assistantship position 1971 B.A. Department of Dance, Adelphi University, Garden City • Magna cum laude, Dean's List, Departmental Honors 2003 Liz Lerman’s Critical Response training, Dance Exchange, Takoma Park, MD 1975 Dance Criticism--Jack Anderson, Robert Pierce, Kathy Duncan (semester course , New School for Social Research, NYC) 1974 Dance Criticism--Deborah Jowitt, Marcia Siegel (eight week intensive, NYC) 1973 Aesthetics—(semester course at New School for Social Research, NYC) 1973 Dance Aesthetics--Selma Jean Cohen (six week intensive, NYC) PRINCIPLE D ANCE TECHNIQUE AND PERFORMANCE TRAINING 2010- Gaga: Idan Porges, Modern Dance: Becky Malcolm-Naib, Eun Jung Choi, K.C. Chun Manning, Scott McPheeters, Rhonda Moore and ongoing master classes/workshops with visiting artists Prior to 2010 Intensive study with: Hellmut Gottschild, Karen Bamonte, Eva Gholson, Pat Thomas,
    [Show full text]
  • A Conversation with David Vaughan by Rebecca Hadley
    Fall2012 Ballet Review From the Fall 2012 issue of Ballet Review A Conversation with David Vaughan by Rebecca Hadley Cover Photograph by Costas: Karl Paquette in Giselle at Lincoln Center Festival 2012. 4 Moscow – Clement Crisp 5 Wolfsburg – Darrell Wilkins 7 Chicago – Leigh Witchel 9 Birmingham – David Mead 11 New York – Harris Green 12 London – Leigh Witchel 15 New York – Don Daniels 17 Paris – Clement Crisp 18 Toronto – Gary Smith 19 St. Petersburg – Kevin Ng 78 21 New York – Sandra Genter 22 Budapest & Vienna – Leigh Witchel Tim Scholl 26 Serenade: From Giselle to Georgia Joel Lobenthal 36 L’École de la Danse Rebecca Hadley 48 A Conversation with David Va ughan 26 Ballet Review 40.3 Fall 2012 Jay Rogoff 56 Two Weeks in Another Town Editor and Designer: Marvin Hoshino Carla DeFord Managing Editor: 65 A Conversation with Maina Gielgud Roberta Hellman Senior Editor: Janet Mansfield Soares Don Daniels 68 An Ocean Apart Associate Editor: Joel Lobenthal Ian Spencer Bell 56 Associate Editor: 76 Running Upstairs Larry Kaplan Jeffrey Gantz Copy Editor: 78 Pathway to Success Barbara Palfy Photographers: Joel Lobenthal Tom Brazil 84 A Conversation with Karl Paquette Costas Associates: 91 London Reporter – Clement Crisp Peter Anastos Robert Gres kovic 94 First Position – Jeffrey Gantz George Jackson 94 Music on Disc – George Dorris Elizabeth Kendall 68 Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Costas: Karl Paquette in Giselle Sarah C. Woodcock at Lincoln Center Festival 2012. A Conversation with cided that we should do something. What I was doing was the first time, as far as I know, that David Vaughan anyone did that on a regular basis with a dance company.
    [Show full text]
  • JUDSONOW the Work Is Never Done
    DANSPACE PROJECT PLATFORM 2012: JUDSONOW The work is never done. Sanctuary always needed. -Steve Paxton In Memory of Reverend Howard Moody (1921-2012) 3 Published by Danspace Project, New York, on the occasion of PLATFORM 2012: Judson Now. First edition ©2012 Danspace Project All rights reserved under pan-American copyright conventions. No part of this publication may be reproduced or utilized in any form or by any means without permission in writing from the publisher. Every reasonable effort has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. Inquires should be addressed to: Danspace Project St. Mark’s Church in-the-Bowery 131 East 10th Street New York, NY 10003 danspaceproject.org EDITOR-IN-CHIEF Judy Hussie-Taylor EDITOR AND SCHOLAR-IN-RESIDENCE Jenn Joy MANAGING EDITOR Lydia Bell CURATORIAL FELLOW Katrina De Wees RESEARCHER Adrienne Rooney PHOTOGRAPHER-IN-RESIDENCE Ian Douglas WRITERS-IN-RESIDENCE Huffa Frobes-Cross Danielle Goldman PRINTER Symmetry DESIGNER Judith Walker Cover image: Carolee Schneemann, Score for Banana Hands (1962). Photo by Russ Heller. DANSPACE PROJECT PLATFORM 2012: JUDSONOW JUDSON Remy Charlip Feinberg Geoffrey Hendricks PARTICIPANTS Pandit Chatur Lal Crystal Field Donna Hepler 1962-66*: Lucinda Childs William Fields Fred Herko Carolyn Chrisman June Finch Clyde Herlitz Carolyn Adams Nancy Christofferson Jim Finney George Herms Charles Adams Sheila Cohen Pamela Finney Geoffrey Heyworth Olga Adorno Klüver Hunt Cole George Flynn Dick Higgins Felix Aeppli
    [Show full text]