A 1952 photograph of Merce Cunningham in Sixteen Dances for Soloist and Company of Three. Photo by Gerda Peterich, Courtesy Blake Zidell & Associates
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
Sasha Waltz in rehearsal for her new work, Kreatur. Photo by Ute Zscharnt, courtesy BAM
You could say that Sasha Waltz has had a rough few years. When she was appointed co-artistic director of Staatsballett Berlin in 2016, along with Johannes Öhman, former artistic director at Royal Swedish Ballet, it didn't go so well. She was met with petitions and protests from the dancers, who argued that under the leadership of someone with minimal ballet experience the company would lose its classical heritage and technical excellence.
But she's also had an arguably fruitful few years. She's celebrated the 25th anniversary of her company, Sasha Waltz & Guests, for which she's continued to create critically-acclaimed, highly collaborative work. The drama surrounding Staatsballett has died down significantly. And next year, when she joins Öhman at Staatsballett (his tenure began this year), she'll be at the helm of two of Berlin's greatest dance companies, creating new work for each company every other year on an alternating basis.
This week, Waltz's Kreatur will have its U.S. premiere at the Brooklyn Academy of Music. For Waltz, it's a particularly special tour stop: It's part of BAM's final Next Wave season programmed by outgoing executive producer Joseph V. Melillo, whom Waltz considers an influential collaborator and supporter.
We caught up with her about Kreatur and what she envisions for Staatsballett:
Molissa Fenley (left) and her dancers in 1985. Photo by Chris Callis, Courtesy DM Archives
In the October 1983 issue of Dance Magazine, we explored the work of then-breakout contemporary artist Molissa Fenley. Having spent the late '70s sending shockwaves through the New York City arts community with her experimental works, she was tapped by Brooklyn Academy of Music to create a new commission for its first-ever Next Wave Festival. She told us, "I don't know if New York was ready for me, but the audiences were ready for some change, for some energy, and for some dancing!" Her voracious yet analytical fusion of cultures, traditions and movement caught the eye of our editors then, and still captivates today. Now 63, Fenley continues to create and perform with the same explosive energy that marked her early career.
Molissa Fenley (left) was commissioned by Brooklyn Academy of Music for its first-ever Next Wave Festival in 1983. Photo by Chris Callis, Courtesy DM Archives
Pina Bausch's The Rite of Spring caused a sensation at the Next Wave Festival in 1984. Photo by Oliver Look, Courtesy Brooklyn Academy of Music
Brooklyn Academy of Music's Next Wave Festival, which contributed to the rise of dance icons like Trisha Brown, Pina Bausch and Bill T. Jones, will be memorialized in print this month. BAM: The Next Wave Festival offers an inside glimpse at the past 35 years.