Anna Halprin Turns 92 Today!
I think Anna Halprin is immortal. She was there before the beginning and will be there after the end. The beginning of what? Of postmodern dance, or improvisation as performance, of collaborating with wild artists in other fields, of dancing to heal communities.
She still has energy, insight, and curiosity. In this “Teacher’s Wisdom” she recalled how when she studied anatomy, human muscles looked like fish to her. She also talks about the need for each of us to integrate our polarities, our opposites, and become part of an environment.
We can see her in action in a wonderful documentary on her called Breath Made Visible. I wrote about the film in this blog post, in which I said that Halprin is a national treasure.
The photo above is from a piece Halprin choreographed called Prophetess in 1955, probably performed at the ANTA Theater in NYC. She told me that she was rehearsing in Martha Graham’s studio, and Graham helped her make the headress. And it turned out that they were both prophetesses.
Long Live Anna Halprin! —Wendy Perron
Photo: Anna Halprin, 1955, by Imogen Cunningham from Dance Magazine Archives, reprinted with permission of Imogen Cunningham Trust, at www.imogencunningham.com
Back in 2011 when Joe Lanteri first approached Katie Langan, chair of Marymount Manhattan College's dance department, about getting involved with New York City Dance Alliance, she was skeptical about the convention/competition world.
"But I was pleasantly surprised by the enormity of talent that was there," she says. "His goal was to start scholarship opportunities, and I said okay, I'm in."
Today, it's fair to say that Lanteri has far surpassed his goal of creating scholarship opportunities. But NYCDA has done so much more, bridging the gap between the convention world and the professional world by forging a wealth of partnerships with dance institutions from Marymount to The Ailey School to Complexions Contemporary Ballet and many more. There's a reason these companies and schools—some of whom otherwise may not see themselves as aligned with the convention/competition world—keep deepening their relationships with NYCDA.
Now, college scholarships are just one of many ways NYCDA has gone beyond the typical weekend-long convention experience and created life-changing opportunities for students. We rounded up some of the most notable ones:
We knew that Ivo van Hove and Anne Teresa de Keersmaeker's production of West Side Story would challenge our preconceived notions about the show.
But a recent Vogue story gives us a taste of just how nontraditional the Broadway revival will be. Most notably, van Hove is cutting "I Feel Pretty" and the "Somewhere" ballet, condensing the show into one act to better reflect the urgency of the 48-hour plot. (The choice has been approved by the West Side Story estate, including Sondheim, who has "long been uncomfortable" with some of the "I Feel Pretty" lyrics.)
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.