The Latest: Iconic Modern Troupes Move to Preserve Legacy
Paul Taylor in rehearsal with his PTDC. Photo by Whitney Browne.
The last time a modern dance visionary announced plans for the future of his company, it was Merce Cunningham. The strategy: to let his troupe go out with a bang—and then disband—when he died.
Paul Taylor is taking a different approach. In March, he and his board announced a major restructuring of the Paul Taylor Dance Company, which has solely danced his work for 60 years. Beginning in 2015, the newly named Paul Taylor’s American Modern Dance will have a three-pronged mission: to dance new and old Taylor repertoire; to restage classics by pioneers like Martha Graham and Doris Humphrey; and to present new work by current choreographers.
“I think Paul Taylor is looking to become more engaged in the entire art form of American modern dance,” says executive director John Tomlinson. “Rather than just putting his head down and creating the best work he can, he wants to take on some of the responsibility of curating and preserving the art form across all of its many differences.”
Tomlinson could not confirm which new choreographers would be working with the company, though he did mention that it has found a potential creative ally in New York City Ballet’s Peter Martins. At a press conference at Lincoln Center’s David H. Koch Theater, home to PTDC’s New York seasons since 2012, the 83-year-old Taylor stated, “I like movement and dance steps. I’m not wild about a lot of talking and high-tech effects. I like dancing. That’s my taste. And I want to push that.” A through-line of the initiative, Tomlinson added, will be the use of live music when possible, a “mark of excellence” that Taylor has insisted on.
While broader in scope and perhaps better funded (with a projected $10 million funding it as of March), Taylor’s new structure resembles what has emerged at Martha Graham Dance Company, which has reimagined itself since Graham’s death. MGDC repertoire includes Graham masterpieces, seminal mid-century works by choreographers like Jane Dudley and Mary Wigman, and commissions. “We have these masterpieces, which we see as our core collection,” said executive director LaRue Allen, “just as the Picasso Museum in Paris has its core of Picasso works.” In February, the company announced that it received $1 million from the Andrew W. Mellon Foundation to digitize archival materials, from videos to programs to stage maps. When complete, online “toolkits” will be available for educational and research purposes.
Tomlinson said that while he values preservation, Taylor’s priority is to ensure the continued life—onstage—of great modern dance: “Whether it be a new or old work or his work, he wants them seen.”
As you're prepping your Thanksgiving meal, why not throw in a dash of dance?
This year's Macy's Thanksgiving Day Parade is stuffed (pun intended) with performances from four stellar Broadway shows, the Radio City Rockettes and students from three New York City dance institutions.
Tune in to NBC November 28 from 9 am to noon (in all time zones), or catch the rebroadcast at 2 pm (also in all time zones). Here's what's in store:
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:
Last week, Variety reported that Sergei Polunin would reunite with the team behind Dancer for another documentary. "Where 'Dancer' looked at his whole life, family and influences," director Steven Cantor said, " 'Satori' will focus more squarely on his creative process as performer and, for the first time ever, choreographer." The title references a poorly received evening of work by the same name first presented by Polunin in 2017. (It recently toured to Moscow and St. Petersburg.)
I cannot be the only person wondering why we should care.
"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.