In Memory of the Pioneer, the Artist, the Legend

Merce Cunningham

1919 – 2009

“I am filled with great sorrow upon the loss of dear Merce.  We all adored him.  Merce and I were transports from the West Coast and shared a connection through our roots in the Pacific Northwest.  Our houses were accustomed to speaking old Chinook jargon, a dialect of the Indian sea traders in Washington.  It’s based largely on Nootka which is used as a lingua franca from Alaska to Oregon.  For me, Merce will always be a “Tillicum,” which translates as ‘old friend.’” -Trisha Brown, Choreographer

 

“Merce was an artistic maverick and the gentlest of geniuses. We have lost a great man and a great artist, but we celebrate his extraordinary life,” Judith Fishman, Cunningham Dance Foundation.

“Merce Cunningham was a mentor to the world’s creative community. His legacy includes multiple generations of artists who have been and continue to be inspired by his trailblazing interrogation of the relationship between choreography, music, and the visual arts. On a personal level, I shall miss his devilish sense of humor, his sensitivity, and his supreme patience. Watching his art was always a learning experience for me, as for so many other devoted fans and friends.” -Joseph V. Melillo, BAM

” . . . thank you, Mr. Cunningham.  You are and always
will  be a national treasure to us.” -Candice Rox, Senior Editor, iDANZ.
Click here to read iDANZ Commentary, The Dance Community Mourns,
on the passing of Merce Cunningham.

“I was privileged to work with Merce and the Merce Cunningham Dance Company for several years.  Merce was an inspiration in so many ways.  I have a sign above my desk that I made after one of his interviews.  He said, “You can say no and that ends it.  If you say yes, you may learn something.”  I try to take it to heart, and smile when I think of him saying that so matter-of-factly, but with a twinkle in his eye.” -Helene Davis, Helene Davis Public Relations

“The influence of Merce Cunningham has found its way into so many of the performances that have graced our stage.  We at Dance Theater Workshop are in awe of his rich legacy.  He was always ahead of the times, and we will remember the sharp wit, the unending curiosity, and the high artistic ideals of his brilliant choreographic vision.  We know his impact will continue to live on in the work of the artists who’ve been touched by his presence.”

 

“Merce Cunningham is a very important part of the modern dance dynasty.  His death is very saddening and a great loss to the modern dance community.  My heart goes out to the Cunningham dancers, the Foundation, and his family and friends. He will truly be missed.” -Candice Rox, Senior Editor, iDANZ

 

 

 

 -DTW, Dance Theater Workshop

“The first modern class I ever took was a Cunningham based technique class.  It was in college, and it was what sparked my leaning towards modern dance.  Later, I became aware of Merce’s legacy through books and film.  When I came to New York I saw the Cunningham Company perform at BAM.  It was their collaboration with Sigur Ros and Radiohead, and I remember thinking how cool it was that even in his 80’s Cunningham was still edgy and pushing the boundaries of technology.  At the beginning of that performance, Merce Cunningham himself came out on stage to roll the dice to determine factors in the piece.  That was the only real live glimpse I ever got of Merce and it left an impression.  It is safe to say that the impression that Merce Cunningham left on dance, and art, and the world, is huge, and will last.” -Julie Fotheringham, Critic, iDANZ

More Memories of Merce: Watch Videos on iDANZ

Mondays with Merce Demo Monday’s with Merce Demonstration Video go to merce.org to see full series visit www.merce.org	Merce Cunningham–Beach Birds 1 Merce Cunningham Dance Company Dancers in Beach Birds. For more information visit www.merce.org
Merce Cunningham–The Coast Zone Excerpt from the film The Collaborators: Cage, Cunningham, Rauschenberg. For more information, visit www.merce.org	Merce Cunninghams Working Process Acclaimed choreographer Merce Cunningham (1919-2009) was a leading figure in dance for more than half a century. His work embraced critical…

“You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to show on walls and maybe hang in museums, no poems to be printed and sold, nothing but that single fleeting moment when you feel alive. It is not for unsteady souls.” -Merce Cunningham, photo and quote from www.Merce.org

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When I heard the news, I was actually in the dressing room just minutes from getting ready to perform. I found it difficult at first because I was really fighting back tears, but as pros, we learn to move on. When we were done, the other dancers and I piled into the car and listened to Michael Jackson songs on 98.7 KISS FM. On my way home, I stopped through Harlem and saw the crowd gathered outside of the Apollo. It was like a block party. We were all gathered around a single boom box jamming to the radio . . . singing, dancing, reminiscing. It was beautiful. I danced and shared tears with my fellow brethren for three hours under the stars and MJ’s new wings.

His impact is bigger than Elvis Pressley. Watch any pop and locker, breaker, waver, hip hop freestyle dancer from New York to Tokyo; they all know MJ’s moves. I just got off the set shooting for Step Up 3D and the lead of the “Samurais,” Cloud, members of the Groovaloos, and the breakers in the cipher circles, all channeled Michael Jackson for his steps. I went to see The WIZ Monday night and in nearly every improvisational moment, from the Lion to the Scarecrow, from the Tin man to the chorus dancers, they all would cop a move from Michael Jackson’s repertory.

And such a trailblazer! We forget, if you are old enough to remember the beginning of MTV, that there were no videos as short films on cable let alone black artists even presented on MTV and God forbid black dancers. It was just boring band footage. So, not only did Michael Jackson break the MTV color barrier, but he went in big and sparked an entire movement we still use as a blueprint for shooting current day music videos today! That’s major . . . And for us dancers, his blueprint of making dance music videos continues to open opportunities for us to be captured on film and perform with some of the most popular artists that use dance as an intricate part of their show.

Elvis who? To dancers (in the commercial dance world especially), Michael Jackson is everything. His steps, his style is soooooooooooooo recognizable. For one dancer/artist to start a whole dance style that is more recognizable, more imitated than even a pirouette around THE WORLD is just something never been done and may never be done again. We got artists like Usher, Chris Brown, Ne-yo and Justin Timberlake that clearly are influenced by Michael Jackson, but none of their moves are original. Michael Jackson fused his street steps (with the help of choreographer, Michael Peters) with steps that we may have easily found performed by someone like Bob Fosse or Gene Kelly in a movie musical. What’s most inspirational to me is how Michael Jackson performs on stages in SOLD OUT shows with legions of fans falling over each other as soon as he pops a balance on his toes. As dancers, we only wish we could make a mark deep enough to attract crowds at stadium level let alone have fans wail for our artistry with such deep support and devotion.

I know when I was in London and had the good fortune to watch Michael perform at Wimberley Stadium, I was in awe of his energy and his ability to sing live and dance in front of the thousands that came to watch him without missing a beat. What an entertainer! A true professional . . . such an inspiration for a budding performer like me at that time. I will never forget that performance.

Now that I’m home writing this piece, I’m getting frustrated with the press continuing to talk about his eccentricities like it’s some horrible thing. Hey, in our industry almost everybody is a little eccentric . . . some waaaaaay more than others; however, it is the one thing that marks a true creative type and for some of us -pure genius. And, think of it this way, if us starving artists had as much money as Michael Jackson, we would do some crazy eccentric stuff too with our money. Normal people will never understand; they only show “hate” and try to tear down eccentrics in which they are envious of their success and money (the only two things normal people can find tangible to comprehend). Just watch, in a few weeks a book will come out with a bunch of conspiracy theories on how he died and legal crap. Remember, these people are not artists, just leeches that want money and have noooo respect for the mind of an artistic genius.

King of Pop . . . more like, to us dancers, the Godfather of Commercial Dance. Michael Jackson will always remain in my heart as the most brilliant entertainer/singer/songwriter, the most disciplined artist of the craft, the most consummate professional, and the most influential dancer that has ever lived.

Rest in peace, M.J. I’ll miss you. And, on behalf of all iDANZers and dancers across the world, thank you.

See you in the sky . . .

Candice Roxwww.iDANZ.com

Senior Editor,

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Tango and Contemporary Ballet Remixed!

The New Generation Dance Company, under the artistic direction of Argentinean choreographer, Dardo Galleto, presented a lovely concert at Symphony Space in New York City, November 7 – 8, 2008, that fused the passion of Argentinean Tango with the lines of Contemporary Ballet.  

The show, called VOLVER AL SUR, meaning "to return to the South," is a wonderful journey about one’s returning to his or her roots.  Mr. Galleto used a lot of tango music as well as some Argentinean pop music like "Todo Me Recuerda A Ti" by Sandra Mihanovich, and Ariel Ramirez’s "Misa Criolloa" with Mercedes Sosa’s voice.  The fierce, champion tango couples Natalia Hills and Gabriel Misse as well as Cesar Coelho and Guillermina Quiroga danced as guest artists throughout the production. 

IDANZ visited with two of the young company members after the show, Aengus Ortiz and Ivanova Aquilar.  We talked about their views on performing Galleto’s style of tango fusion as well as living the life as a dancer in New York City.  We were happy to find that they just adore working with Galleto and his New Generation Dance Company and learning how to use Tango as a cool medium to work within the Contemporary Ballet aesthetic.

For Aengus, who just joined the company only two months before the show, Tango is very new to him; thus, learning a new genre of dance and mixing it with vocabulary more familiar to him has proved quite exciting.  He’s thankful for his versatility because that definitely helps him get through the material not only in Dardo’s company but in any group that he has previously danced.

For Ivanova, who has been with the company for two years, she joined after meeting Dardo in an Argentinean Tango class in which she was soon asked to join right away as a last minute replacement.  Ivanova is a very versatile and sought out dancer.  Originally from Mexico City, she trained on full scholarship at the The Joffrey Ballet School and toured the USA with The Joffrey Ensemble.  This busy dancer, in addition to NGDC, is a member of several dance companies simultaneously including Christopher Caines, C. Eule Dance, D’zul Dance, and Janusphere Dance.

"Yes, you want to earn a living, but you should also work for a better philosophy for yourself, you want to exercise your artistic voice." 
–Aengus Ortiz, Dancer with New Generation Dance Company

Aengus joined the company after meeting choreographer, Dardo Galleto, in master teacher Willie Burmann’s advanced ballet class.  Mr. Galleto was actually taking Burmann’s class at STEPS on Broadway when he noticed Aengus side by side with him in class.  With only two months before the show opened at Symphony Space in New York City, Aengus learned an entire full-length, Tango Modern Ballet.  Aengus said that it was great doing Dardo’s work because "both ends" Tango and Modern Ballet "support each other" and by fusing the genres together, "each style elevates the other."

Dancers like Aengus and Ivanova know what it is like to live and find work as a dancer in New York.  It is definitely a full-time hustle; however, Aengus and Ivanova feel fortunate to have the opportunity to be challenged by Dardo and his work.  As Aengus says, "yes, you want to earn a living, buy you should also work for a better philosophy for yourself, you want to exercise your artistic voice," and that is exactly the environment that Dardo and his New Generation Dance Company provides.

Because Aengus seemed so profound and down to earth, we asked if he had any advice for young dancers coming to New York and considering a career in dance.  He said, “It’s all about the network which is a continuous effort.  You must be nice to EVERYBODY.  You never know . . ."

New Generation Dance Company presents, Dardo Galleto’s VOLVER AL SUR at Symphony Space, New York City, November 7 -8, 2008.  

iDANZ NewsWire

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After the long extensive checking and shuffling of personal belongings and the long wait outside in the freezing cold outside of Boulevards somewhat unorganized and confusing door situation, Rhapsody’s choreography showcase took on a surprising turn. It was definitely not expected as most dancers are familiar with how choreography showcases can go. Particularly in the world of street jazz where hair swings and hoodies can get redundant and in an industry where dancers and choreographers can find it hard to stay true to themselves as they battle the “commercial” monster that is only in search of his money. The Siren Assassins opened up dancing rhapsody’s sexy choreography in trench coats. KellyPeters delivered a choreographic explosion serving as a good opening infusing ribbon twirlers and breakers and using a blend of familiar old -school music. Highlights of the evening was performed by DS as they interpreted the selections spun by DJ’s, who were choreographers that inspired them. Precision and performance make this duo fiyah! It was a nice change to see a contemporary piece, performed by Josh and Mishay, interpreting the complexities of a love relationship and displaying a different type of movement quality that allowed the eye to rest from all the sharpness and “boom- cats”. Luther Brown stood out by being one of the only choreographers to choreograph to one song. Can you believe it!. I definitely applaud this as it is part of the challenge that we call choreography. We have to recognize an artist who can captivate and tell a story through movement without necessarily using the sound of excessive sirens, bombs, and beat changes. However, we do recognize the time and place for these elements. Hollywood presenting a piece with a nice theme and it was definitely Hollywood! There was a nice utilization of formation changes and staging.. Nu Stylz represented their years of being in the business by choreographing to all the songs that they choreographed professionally for. Jamie J had a nice piece that used nice formations and patterns on stage as well and Christian Owens displayed a unique movement style that is definitely hard to copy. Bam brought it big in more ways than one by also representing various hip hop dance styles from locking, street jazz, and what I call “sexy girl” hip hop in addition to having a crazy number of dancers on stage at once.

It was a surprising evening filled with some of the known choreographers bringing it hard with their best artistic interpretations. There was the usage of the typical leg lift and drop to the floor that always seems to wow an audience of dancers even though they know that it is not rare and see it every day. Rhapsody announced during the show that her goal of the showcase was to inspire and this was definitely accomplished. These choreographers must of did it up just for her or maybe it was just that time of the year or a good selection process…who knows why or cares why, but, in an industry that is often ruled by CEOs making artistic decisions about things they know nothing about, I was glad to see the artists being able to do what it is that they do best…oh and not an overdose of Timbaland beats…hot.…..

JoiLynn

iDANZ Critix Corner
Dance Review by JoiLynn
Performance: Siren Assassins After Dark
Venue: BLVD, NYC
Date: Friday, December 12, 2008
www.iDANZOnline.com

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