query: one method of choreography that merce cunningham is known for is

pos: Merce Cunningham an abrogation of artistic responsibility, Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham considered every piece created in this fashion a masterpiece. Those dances that did not "work" were quickly dropped from repertory, while those that do were celebrated as serendipitous discoveries. Cunningham used "non-representational" choreography which simply emphasizes movement, and does not necessarily represent any historical narrative, emotional situation, or idea. Such non-representational dance appears in many styles throughout history, but was not commonly used by ballet or Martha Graham, Cunningham's

neg: Merce Cunningham Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his "Loops" choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group. Cunningham was one of the first choreographers to begin experimenting with film. He created an original work for the video "Westbeth" (1974). This was in collaboration with filmmaker Charles Atlas In 2009, Cunningham's interest in new media led to the creation of the behind-the-scenes webcast "Mondays with Merce". The use of stage space also changed in Cunningham's choreography.

neg: David Tudor "The Music Of John Cage". In 1969, Tudor set up India's first electronic music studio at the National Institute of Design in Ahmedabad. Upon Cage's death in 1992, Tudor took over as music director of the Merce Cunningham Dance Company. Among many works created for the company, Tudor composed "Soundings: Ocean Diary" (1994), the electronic component of "Ocean", which was conceived by John Cage and Merce Cunningham, with choreography by Merce Cunningham, orchestral music by Andrew Culver and design by Marsha Skinner. Tudor died in Tomkins Cove, New York at the age of 70. David Tudor David Eugene Tudor (January

neg: Andrew Culver (composer) John Cage and Merce Cunningham, with choreography by Merce Cunningham, electronic music by David Tudor, and design by Marsha Skinner. Culver develops databases and software to realize his work and to make chance operations accessible to others. ic is his computer simulation of the I Ching coin-tossing oracle. Culver also writes about music, art, and anarchy. He is the founder of Anarchic Harmony Foundation and the inventor of the Anarchic Philharmonic. Andrew Culver (composer) Andrew Culver (born August 30, 1953) is a composer whose works have included chamber and orchestral music, electronic and computer music, sound sculpture and music sculpture,

neg: Neil Greenberg (choreographer) Finch. He was drawn to the straightforward, anti-narrative approach of the movement and choreography. At age 20, in 1978, he began studying at the Cunningham studio, and in 1979 he was asked to join the company. While Greenberg was dancing with Merce Cunningham Dance Company he began presenting dances at the Cunningham Studio, and later at St. Mark's Church. His dance "Amnesty", that premiered in 1985, was the first work of his to receive substantial attention. It featured Greenberg alongside former Cunningham dancer Louise Burns, as well as Janet Panetta and Susan Blankensop. One critic theorized that perhaps the title

neg: Annie-B Parson trademark.” Parson said that her way of working came from Merce Cunningham who “offered that sequencing and hierarchy of movement aren’t important. I can do one move, then another, then roll the dice and switch it up.” The New York Times called her choreography "wildly diverse and witty." Ms. Parson created choreography for David Byrne's 2012 world tour with St. Vincent, and for his 2008/09 Brian Eno world tour. She also created dance for St Vincent's 2014 world tour. She directed and choreographed for the string quartet Ethel. Her dances are featured in the film "Ride, Roar, Rise" about David

neg: The Seasons (Cage) the Ziegfeld Theatre in New York City, with original choreography by Merce Cunningham (now lost). Costumes and scenery were designed by Isamu Noguchi. The dancers at the first performance were Gisela Caccialanza, Fred Danieli, Dorothy Dushock, Gerard Leavitt, Tanaquil LeClercq, Job Sanders, Beatrice Tompkins and Cunningham himself. The ballet is in one act divided into nine sections: Prelude I, Winter; Prelude II, Spring; Prelude III, Summer; Prelude IV, Fall; Finale (Prelude I). As in "Sonatas and Interludes" and the later "String Quartet in Four Parts" (1950), Cage was influenced by Indian aesthetics and like the latter work, "The Seasons" is

neg: Merce Cunningham a 25-year collaborative relationship with the Walker. In his performances, he often used the "I Ching" in order to determine the sequence of his dances and, often, dancers were not informed of the order until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s. In 1968 Cunningham and Francis Starr published a book, "Changes: Notes on Choreography", containing various sketches of their choreography. He continued to lead his company until his death, and presented a new work, "Nearly Ninety", in April 2009, at the Brooklyn

neg: Merce Cunningham Merce Cunningham Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He is also notable for his frequent collaborations with artists of other disciplines, including musicians John Cage and David Tudor, and artists Robert Rauschenberg and Bruce Nauman. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance. As a choreographer, teacher and leader of the Merce Cunningham Dance Company, Cunningham had a profound influence on modern dance. Many

neg: Maryanne Amacher at the Bard College MFA program. Multimedia Installations (all works in progress) Dance Scores (all choreography Merce Cunningham) Works for Tape (unless otherwise noted) Events Maryanne Amacher Maryanne Amacher (February 25, 1938 – October 22, 2009) was an American composer and installation artist. She is known for working extensively with a family of psychoacoustic phenomena called auditory distortion products (also known as distortion product otoacoustic emissions and combination tones), in which the ears themselves produce audible sound. Amacher was born in Kane, Pennsylvania, to an American nurse and a Swiss freight train worker. As the only child, she grew up

neg: Foundation for Contemporary Arts outstanding achievements in contemporary arts. It was established in 1992 in memory of the late composer, one of FCA’s founders. The Merce Cunningham Award is a biennial grant made in recognition of outstanding achievement in the arts that reflects the creativity and spirit of choreographer, Merce Cunningham, an artist involved in the founding of FCA. It was established in 2015 with an endowment gift from the Merce Cunningham Trust. The Robert Rauschenberg Award is an annual $40,000 grant made to a visual or performing artist in honor of Rauschenberg's legacy of innovation, risk-taking, and experimentation. It was established in 2013

neg: Thecla Schiphorst Thecla Schiphorst Thecla Schiphorst (born 1955) is a Canadian media artist and academic. Schiphorst was a founding developer of the dance and choreography software "Lifeforms". Using LifeForms, she collaborated over along period with the American dancer and choreographer Merce Cunningham. She is also known for her interactive work "Bodymaps: Artifacts of Touch", which near-field and touch sensors to allow the viewer to control a video image of the human form by touching the image. Schiphorst is the Associate Director and an Associate Professor of the School of Interactive Arts and Technology at Simon Fraser University. In 1998, Schiphorst was a

neg: Works for prepared piano by John Cage In the score, in 11 cases out of 12, the performer is instructed to "determine position and size of mutes by experiment." Composed in 1942 for a dance by Merce Cunningham. Eleven notes are prepared, eight of them by screws. This is the only Cage-Cunningham collaboration from the 1940s for which original choreography has survived. Composed in 1942 for a dance by Valerie Bettis. Ten individual notes are prepared, mostly with small screws, and a whole range from G1 to C3 is prepared using "two thicknesses of woolen material". This material is placed between the strings in the following manner:

neg: Merce Cunningham and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and the transfer of all assets to the Merce Cunningham Trust. From Merce's death at age 90 through the Board's last meeting in 2012, the Legacy Plan implemented his wish that the Company complete a worldwide legacy tour and then close. December 31, 2011 was the final performance of the Merce Cunningham Dance Company. The final meeting of the Board of Directors for the Merce Cunningham Dance Company was held March 15, 2012, in Cunningham's studio at the top of the Westbeth building in the West

neg: Thecla Schiphorst recipient of the Petro–Canada Award in New Media, administered by the Canada Council. Thecla Schiphorst Thecla Schiphorst (born 1955) is a Canadian media artist and academic. Schiphorst was a founding developer of the dance and choreography software "Lifeforms". Using LifeForms, she collaborated over along period with the American dancer and choreographer Merce Cunningham. She is also known for her interactive work "Bodymaps: Artifacts of Touch", which near-field and touch sensors to allow the viewer to control a video image of the human form by touching the image. Schiphorst is the Associate Director and an Associate Professor of the School of

neg: Culture of New York City dance, Martha Graham, was a pupil of pioneer Ruth St. Denis. Many of Graham's most popular works were produced in collaboration with New York's leading composers – "Appalachian Spring" with Aaron Copland, for example. Merce Cunningham, a former ballet student and performer with Martha Graham, presented his first New York solo concert with John Cage in 1944. Influenced by Cage and embracing modernist ideology using postmodern processes, Cunningham introduced "chance procedures" and "pure movement" to choreography and "Cunningham technique" to the cannon of 20th century dance techniques. Cunningham set the seeds for postmodern dance with his non-linear, non-climactic, non-psychological abstract

neg: Merce Cunningham Village. There have been numerous exhibitions dedicated to Cunningham's work. In addition, he is a visual artist represented by Margarete Roeder Gallery. The major exhibition "Invention: Merce Cunningham & Collaborators" at the New York Public Library for the Performing Arts closed on October 13, 2007. "Merce Cunningham: Dancing on the Cutting Edge", an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007. A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine

neg: Jonah Bokaer Joan Kirnsner Memorial Award. Additional studies in media and performance occurred at Parsons The New School for Design, NYU Performance Studies, and through self-taught explorations into digital media and 3D animation: such studies led to the development of a rare, multi-disciplinary approach to choreography, addressing the human body in relation to contemporary technologies. As a dancer, Bokaer has worked with Merce Cunningham (2000–2007), John Jasperse (2004–2005), David Gordon (2005–2006), Deborah Hay (2005), Tino Sehgal (2008), and many others. He has also interpreted the choreography of George Balanchine as restaged by Melissa Hayden. Bokaer is also a frequent choreographer for Robert

neg: Sarah Michelson College, in 1984 and an MFA in Fiction Writing from Mills College in 1990. Known for highly technical and demanding choreography that draws from influences as wide-ranging as classical ballet, Merce Cunningham, and Judson Dance Theater, Michelson's work has been staged in and commissioned by both traditional dance venues and contemporary arts institutions and museums. Writing about Michelson's work in 2002, dance critic Gia Kourlas noted, "She neither allows her dancers to hide their sweat and struggle (in her view, it seems, dancing should never look easy), nor does she permit them to improvise. Even though her movement may appear

neg: Merce Cunningham in the creation of the choreography he used chance procedures in his work. A chance procedure means that the order of the steps or sequence is unknown until the actual performance and is decided by chance. For instance in his work "Suite by Chance" he used the toss of a coin to determine how to put the choreographed sequences together. Indeterminacy was another part of Cunningham's work. Many of his pieces had sections or sequences that were rehearsed so that they could be put in any order and done at any time. Although the use of chance operations was considered

neg: Merce Cunningham on a show", the removal of center stage is an example of this, without a focal point for the audience, no one dancer or step holds the most value and can be seen as arbitrary... or not. The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provided a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represented Cunningham's vision for continuing his work in the upcoming years, transitioning his Company once he was no longer able to lead

neg: Works for prepared piano by John Cage the subject of the work is fear: it describes "awareness of the unknown, struggle, and the final defeat". Composed in 1944 for a dance by Merce Cunningham. Composed in 1944 for a dance by Merce Cunningham. Written entirely on a single staff, primarily scored as a single melodic line. This work, composed in 1944, is a revision of a 1943 piano piece titled "Triple-Paced". The 1944 version was choreographed by Merce Cunningham. Composed in 1944. This is Cage's first large-scale work for prepared piano. Twenty-six notes are prepared with various materials. The piece contains six separate sections with different rhythmic

neg: Dance improvisation the second half of the 20 century, improvisation in dance exploded once more and was explored even more deeply by creators including but not limited to Isadora Duncan, Martha Graham, Doris Humphrey, Merce Cunningham, and Paul Taylor. Each of these individuals developed their own methodology and technique behind modern dance and employed improvisation in numerous different ways that were key to the choreography and execution of their techniques. It is important to note that although Isadora Duncan is often cited as having improvised her performances, this may be based more on the free, natural quality of her movement rather than

neg: Dance in the United States in their choreography. Many of Graham's most popular works were produced in collaboration with leading American composers -- "Appalachian Spring" with Aaron Copland, for example. Later choreographers, Merce Cunningham introduced chance procedures and composition by field, and Alvin Ailey incorporated African dance elements and black music into his works. Recently, Mark Morris and Liz Lerman have shown that graceful, exciting movement is not restricted by age or body type. Dance is ingrained in society through events, the media, and awards like the Grammy awards, the Golden Globes, and the MTV video music awards which feature dancing. Some popular competition televised

neg: Daniel Arsham rooms have "a hook, a seat and a mirror." Arsham's design incorporates his signature plaster erosions: the white fitting room walls seem to melt onto the bench, the mirror appears to have been excavated from the wall. In 2007, Jonah Bokaer performed choreography inspired by Arsham's work at Galerie Emmanuel Perrotin in Paris. Bokaer, previously a dancer for the Merce Cunningham Dance Company, is a media-artist and choreographer. Bokaer and Arsham collaborated on "REPLICA," a piece that incorporates built space, objects, and lighting in an exploration of memory loss, pattern recognition, and perceptual faculties. The performance had its world premier

neg: Graham technique movement vocabulary is familiar to almost all professional contemporary dancers. It strongly influenced several other codified techniques, notably those of Merce Cunningham, Lester Horton, and Paul Taylor. Graham developed a daily class for her company, which is still used (with some variations) to teach her technique. The class is organized as follows: Martha Graham founded a school, the Martha Graham Center of Contemporary Dance, which she sold in 1956. After Graham's death, Ron Protas, her sole heir, sued the school for the rights to use Graham's trademarked name and choreography. A federal court awarded the school the rights to the

neg: Margaret Jenkins and Twyla Tharp’s original company with Sara Rudner. Additionally, In addition, Jenkins was a member of the faculty of the Merce Cunningham Studio for 12 years and in that time restaged his works throughout the United States and Europe. In 1967, Merce Cunningham asked Ms. Jenkins to re stage his work for the Cullberg Ballet in Stockholm, Sweden, one the first times his work was performed by another company. In 1970, Jenkins returned to San Francisco, where she taught dance and choreographed. She founded the Margaret Jenkins Dance Company in 1973. The company is based in San Francisco and tours

neg: Cheap Imitation (1976), "Some of "The Harmony of Maine"" (1978) and "Hymns and Variations" (1979). Cheap Imitation Cheap Imitation is a piece for solo piano by John Cage, composed in 1969. It is an indeterminate piece created using the "I Ching" and based, rhythmically, on "Socrate" by Erik Satie. Like numerous other works by Cage, "Cheap Imitation" was a result of his collaboration with Merce Cunningham's dance company. However, in this case the original choreography relied not on Cage's music, but on a piano arrangement of Erik Satie's symphonic drama "Socrate". In 1947 Cunningham choreographed a dance based on the first movement

neg: Cheap Imitation Cheap Imitation Cheap Imitation is a piece for solo piano by John Cage, composed in 1969. It is an indeterminate piece created using the "I Ching" and based, rhythmically, on "Socrate" by Erik Satie. Like numerous other works by Cage, "Cheap Imitation" was a result of his collaboration with Merce Cunningham's dance company. However, in this case the original choreography relied not on Cage's music, but on a piano arrangement of Erik Satie's symphonic drama "Socrate". In 1947 Cunningham choreographed a dance based on the first movement of Satie's work, and Cage provided a two-piano transcription of the music (since

neg: Song Books (Cage) disciplined action" may be an instruction, and according to Cage it does not mean "Do whatever you want", but rather a request to discipline oneself and/or free oneself of one's likes and dislikes). Most of the texts are from Henry David Thoreau's journals (and Volume 3 contains a portrait of Thoreau as material for one of the Solos); other authors whose texts Cage used in the work include Norman O. Brown, Erik Satie, Marcel Duchamp, Buckminster Fuller, Merce Cunningham (from his notes on choreography) and Marshall McLuhan. For "Solo for Voice 91" Cage wrote his own text. He also used

neg: The Seasons (Cage) compositional technique involves using "gamuts" of sounds, i.e. predefined sonorities (single notes, chords, aggregates); Cage started developing this approach in "The Seasons", and later perfected it in "String Quartet in Four Parts" and "Concerto for Prepared Piano". The Seasons (Cage) The Seasons is a ballet with music by John Cage and choreography by Merce Cunningham, first performed in 1947. It was Cage's first piece for orchestra and also the first to use what Cage later called the "gamut" technique, albeit in an early form. Cage composed the music in early 1947, in the midst of working on "Sonatas and Interludes".

neg: Merce Cunningham Academy of Music, New York, to mark his 90th birthday. Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. He died in his home at the age of 90. Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by its leader's radical approach to space, time and technology, the Company has forged a distinctive style, reflecting Cunningham's technique and illuminating the near limitless possibility for human movement. The original company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor.

neg: El Penitente reenact scenes from the Bible. The original cast members were Graham as the Mary Figures (Virgin, Magdalene and Mater Dolorosa), Merce Cunningham as the Christ Figure and Erick Hawkins as the self-flagellating Penitent. In 1947, Graham relinquished the portrayal of Mary to Pearl Lang, marking the first time a "Graham" role was performed by anyone other than the star herself. Horst's score for flute, oboe and piano is 20 minutes in length. The bold, stark and stylized choreography tells of piety and ecstasy in ten brief vignettes. The ballet opens with the entrance of a troupe of strolling players. Donning

neg: Ana Itelman fusion style in "Esta ciudad de Buenos Aires" (This is the City of Buenos Aires), which combined tango dynamics with classical choreography. Itelman returned to the United States in 1957 and began working as an associate professor of dance at Bard College and began choreographing and supervising performances for the college's dance students. In 1965, she was the head of the dance department at Bard. Simultaneously with her teaching, Itelman continued her own training with Merce Cunningham and Alwin Nikolais, among others, and studied lighting and makeup at the Dramatic Workshop run by Erwin Piscator. She took lessons in performance

neg: Graham technique names "Martha Graham" and "Graham technique" in 2001, and the rights to Graham's choreography in 2002. Graham technique Graham technique is a modern dance movement style and pedagogy created by American dancer and choreographer Martha Graham (1894–1991). Graham technique has been called the "cornerstone" of American modern dance, and has been taught worldwide. It is widely regarded as the first codified modern dance technique, and strongly influenced the later techniques of Merce Cunningham, Lester Horton, and Paul Taylor. Graham technique is based on the opposition between contraction and release, a concept based on the breathing cycle which has become a

neg: The Seasons (Cage) The Seasons (Cage) The Seasons is a ballet with music by John Cage and choreography by Merce Cunningham, first performed in 1947. It was Cage's first piece for orchestra and also the first to use what Cage later called the "gamut" technique, albeit in an early form. Cage composed the music in early 1947, in the midst of working on "Sonatas and Interludes". A piano version was first completed, and an orchestral arrangement followed. Cage dedicated "The Seasons" to Lincoln Kirstein. The ballet was premiered on May 17, 1947 by the Ballet Society (by which the work was commissioned) at

neg: History of dance modern choreographers and dancers saw ballet in the most negative light. Isadora Duncan thought it most ugly, nothing more than meaningless gymnastics. Martha Graham saw it as European and Imperialistic, having nothing to do with the modern American people. Merce Cunningham, while using some of the foundations of the ballet technique in his teaching, approached choreography and performance from a totally radical standpoint compared to the traditional balletic format. The 20th century was indeed a period of breaking away from everything that ballet stood for. It was a time of unprecedented creative growth, for dancers and choreographers. It was also

neg: Jonah Bokaer Jonah Bokaer Jonah Bokaer (born October 1, 1981) is an American choreographer and media artist. He works on live performances in the United States and elsewhere, including choreography, digital media, cross-disciplinary collaborations, and social enterprise. Originally from Ithaca, New York, Bokaer trained in dance at Cornell University, and subsequently graduated from University of North Carolina School of the Arts as a North Carolina Academic Scholar (Contemporary Dance/Performance, 2000). Recruited for the Merce Cunningham Dance Company at the unprecedented age of 18, Bokaer pursued a parallel degree in Visual & Media Studies at The New School (2003–2007), where he received the

neg: Robert Ellis Dunn of the conservatory. The Boston Conservatory is where Dunn first began working with Merce Cunningham. Robert Dunn first collaborated with Merce Cunningham in performances in Boston and New York City in 1958. He soon moved to New York, where he worked as a piano accompanist at the Cunningham Studio. Dunn had attended some of John Cage’s seminars on composition at the New School for Social Research in New York City, and Cage encouraged Dunn to continue these classes, which were first taught at the Cunningham Studio. Dunn applied many of Cage’s principles regarding music to his movement classes. Dunn’s students

neg: Trisha Brown Three screens simultaneously broadcast separate black and white film collages from five 16 millimeter projectors (more than 20 years before a video component became the norm in new choreography), while the dancers rippled around the stage in part-translucent costumes marked with gray and black figures that resembled newsprint. Unlike Merce Cunningham and John Cage, who worked separately on projects and left it to the viewer to put the elements together, Brown and her collaborators worked toward a shared vision. Sculptor Nancy Graves designed the set for "Lateral Pass," (1985), which began Brown's Valiant cycle. It used a larger pad, bolder

neg: Merce Cunningham it, and preserving his oeuvre. The Legacy Plan included a comprehensive digital documentation and preservation program, which ensures that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. By other provisions of the plan, the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works, controls his dances for licensing purposes; Cunningham associates prepared detailed records of the dances so they could be licensed and given authentic productions by other companies. In addition, the plan outlined a final international tour for the Company,

neg: Jackie Matisse Cunningham Dance Foundation from 2004 to 2012. Jackie Matisse Jackie Matisse, also known as Jaqueline Matisse Monnier, (born 1931) is a French artist. She was born in Fontainebleau Forest, the eldest of the three children of Pierre Matisse and Alexina Duchamp. For a time she was married to the French banker, Bernard Monnier. Matisse has been described as "ever the kiteflying [creating] pioneer," "renowned for her kites." She also works in stereoscopy, supercomputing and virtual reality. One example of her work is her collaboration with David Tudor and Molly Davies, "Sea Tails". An early supporter of Merce Cunningham, she served

neg: Karen Jamieson Karen Jamieson Karen Jamieson (born July 10, 1946) is a Canadian dancer, choreographer and dance teacher in Vancouver, British Columbia. In the early 1970s Jamieson moved to New York and performed with dancers Merce Cunningham, Martha Graham, and Alwin Nikolais, and with choreographers Yvonne Rainer and Phyllis Lamhut. During her time in New York Jamieson studied classical modern dance techniques and began to develop her own choreography. Returning to Vancouver in 1974, Jamieson began teaching at Simon Fraser University. In 1975 Jamieson co-founded the experimental movement collective Terminal City Dance, where her reputation as a choreographer and dancer continued to

neg: Merce Cunningham Lettres, France 1977 Capezio Award, New York NY 1975 New York State Award, Albany NY 1972 BITEF Award, Belgrade, Yugoslavia Honorary degree from the University of Illinois, Champaign/Urbana IL 1966 Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris 1964 Medal of the Society for the Advancement of Dancing in Sweden, Stockholm 1960 Dance Magazine Award, New York NY 1959 & 1954 Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY Merce Cunningham Mercier Philip "Merce" Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the

neg: Jasper Johns Simca Print Artists in New York. In 2000, Johns produced a limited-edition linocut for the Grenfell Press. In 1973, Johns produced a print called "Cup 2 Picasso", for "XXe siècle", a French publication. For the May 2014 issue of "Art in America", he created a black-and-white lithograph depicting many of his signature motifs, including numbers, a map of the United States and sign language. For decades Johns worked with others to raise both funds and attention for Merce Cunningham's choreography. He privately assisted Robert Rauschenberg in some of his 1950s designs for Cunningham. In spring 1963, Johns helped start the

neg: Barbara Rose art criticism, which, in 1963, led to a monthly "New York Letter" in Art International. In October 1965, Rose published the essay ABC Art in Art in America, in which she described the fundamental characteristics of minimal art. In her essay, "ABC Art", Rose considers the diverse roots of minimalism in the work of Kasimir Malevich and Marcel Duchamp as well as the choreography of Merce Cunningham, the art criticism of Greenberg, the philosophy of Wittgenstein and the novels of Robbe-Grillet. In examining the historical roots of minimal art in 1960s America, Rose draws a distinction between Malevich's "search for

neg: Ballet Society an historical and pedagogical foundation for the art of ballet and dance. In its first two decades it received $200,000 in grants to research and expand the reach of ballet in the United States. With these funds Ballet Society published programs and held seminars and workshops with dance scholars, artists and dance teachers. It also commissioned and presented choreography by George Balanchine, Todd Bolender, Merce Cunningham, Lew Christensen, Francisco Moncion, and William Dollar. Balanchine and Kirstein opened the School of American Ballet in 1934 before starting any of the ballet companies they went on to found over the years. Prior

neg: Works for prepared piano by John Cage at the very end of the work. A suite of three pieces, composed in 1944. Choreographed by Merce Cunningham as "Effusions avant l'heure / Games / Trio". The title references Cage's separation from his wife Xenia, which happened in 1945. Composed in 1944. A very short work that only uses four tones. Composed in 1944 for a dance by Merce Cunningham. A work in three sections: Section 1 contains seven parts, seven bars each; Section 2 juxtaposes bars in 4/4 and 3/4 metres; Section 3 divides 100 half notes into three groups of 23 and a coda. According to Cunningham,

neg: Westbeth Artists Community and Anne Tabachnick. Merce Cunningham, the noted choreographer and dancer, had his studio and offices at Westbeth for more than 40 years, from 1971 up to the time of his death and the dissolution of the Merce Cunningham Dance Company in 2012. Edward Field and his partner Neil Derrick, co-authors of "The Villagers", lived together at Westbeth. As of February 2018, Field continued to live at Westbeth and was considered one of its Icons. One of the first feminist theater groups in the country, the Westbeth Playwrights Feminist Collective, originated here. The film "Growing Up At Westbeth" by Christina Maile

neg: David Vaughan (dance archivist) Merce Cunningham, and "A Tudor Evening with American Ballet Theatre", a presentation of the choreography of Antony Tudor. Vaughan hosted monthly film screenings at the New York Public Library for the Performing Arts. Vaughan narrated Frederick Ashton's 1937 ballet "A Wedding Bouquest", speaking the words of Gertrude Stein. In 1968, he performed a duet with Nancy Zala for the James Waring Dance Company, which provoked critic Clive Barnes to call Vaughan "possibly the finest bad singer in the country." Vaughan also played the Pope, via photographs and audio recordings, in David Gordon's 1979 piece "An Audience With the Pope (Or

neg: Merce Cunningham In 1964 the Cunningham Dance Foundation was established to support his work. MCDC made its first international tour in 1964, visiting Europe and Asia. From 1971 until its dissolution in 2012, the company was based in the Westbeth Artists Community in West Village; for a time Cunningham himself lived a block away at 107 Bank Street, with John Cage. On July 20, 1999 Merce Cunningham and Mikhail Baryshnikov performed together at the New York State Theater for Cunningham's 80th birthday. In its later years, the company had a two-year residency at , where MCDC performed Events, Cunningham's site-specific choreographic collages,

neg: Tellus Audio Cassette Magazine inspired DIY technique of more-or-less anti-art nihilism. But Nechvatal and Parkinson had met in the mid-1970s dancing as a performance art / minimal art dance trio (with Cid Collins) influenced by the post Merce Cunningham postmodern dance/choreography of Lucinda Childs, Deborah Hay, Yvonne Rainer and Carolee Schneemann (with whom they toured Europe in 1978). And they continued to see each other in the art music milieu of the rigorous downtown minimal music scene as they worked for the Dia Art Foundation as assistants to La Monte Young, Marian Zazeela and Pandit Pran Nath. So by contrast to a lax attitude,

neg: Marion Rice Ruth St. Denis and Ted Shawn as well as her own choreography. Among the dancers and choreographers she trained were her daughter Carolyn Brown of the Merce Cunningham Dance Company, her daughter-in-law Mona Irvine Rice, and her granddaughters Robin Rice and Rebecca Rice. She also operated her own dance company, the Marion Rice Denishawn Dancers, and in 1980 staged her version of "Soaring," for Les Grands Ballets Canadiens in Montreal. Marion Rice Denishawn performed at the Jacob's Pillow Dance Festival in 1972, the Marymount Manhattan Theater (New York) in 1976 and City College (New York) in 1986 at the "Roots:

neg: Merce Cunningham as a soloist in the Martha Graham Dance Company for six years. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his life partner and frequent collaborator until Cage's death in 1992. In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company. Over the course of his career, Cunningham choreographed more than 200 dances and over 800 "Events," or site-specific choreographic works. In 1963 he joined with Cage to create the Walker Art Center's first performance, instigating what would be

neg: Paul Bowles own sex, but the couple maintained close personal ties with each other. Bowles has frequently been featured in anthologies as a gay writer, but during his life, he always regarded such typecasting as both absurd and irrelevant. After a brief sojourn in France, the couple were prominent among the literary figures of New York throughout the 1940s. Paul Bowles also worked under Virgil Thomson, as a music critic at the "New York Herald Tribune". His light opera "The Wind Remains", based on a poem by Federico García Lorca, was performed in 1943 with choreography by Merce Cunningham and conducted by

neg: Le piège de Méduse piège de Méduse Paris: Editions de la Vipère, 1939 Plate E.A.S. 15802 R.L. http://imslp.org/wiki/Le_Pi%C3%A8ge_de_M%C3%A9duse_(Satie,_Erik) Original program for performance on August 14, 1948 of "The Ruse of Medusa: a lyric comedy in one act" by Erik Satie. Cast included: Buckminster Fuller, Isaac Rosenfeld, William Shrauger, Elaine de Kooning, Merce Cunningham, and Alvin Charles Few. Direction by: Helen Livingston and Arthur Penn. Dance by: Merce Cunningham; Music performed by: John Cage. http://digital.ncdcr.gov/u?/p249901coll44,1106 Fetterman, William. John Cage’s Theatre Pieces. Page 16 Psychology Press, 2012. Satie, Erik. The Ruse of Medusa: Lyric Comedy in One Act, http://www.worldcat.org/title/ruse-of-medusa-lyric-comedy-in-one-act/oclc/48677454 Le piège de Méduse Le piège de

neg: Is Not Magazine only available in its full-size poster format. "Is Not" exclusively used fonts created by the European typographic design studio Underware. Issue four was repackaged in booklet format (though at full size and with no other changes to its layout) as "Is Not Take-Away #1", intended as a showcase of Underware's typography. In October 2007, "Is Not" produced a special issue in conjunction with the Melbourne International Arts Festival to celebrate the career of festival guest, choreographer Merce Cunningham. The editors described the "Who Is Merce Cunningham?" issue as "a map-like interconnected sea of names, works, events, and places associated with

neg: David Vaughan (dance archivist) of prostate cancer in his home in Manhattan, New York City in 2017. David Vaughan (dance archivist) David Vaughan (May 17, 1924 – October 27, 2017) was a dance archivist, historian and critic. He was the archivist of the Merce Cunningham Dance Company from 1976 until the company was disbanded in 2012. In his long career, Vaughan was a dancer, choreographer, actor and singer whose work had been seen in London, Paris, and in New York, both on- and off-Broadway, as well as in regional theatres across the United States, in cabarets, on television and on film. Vaughan's ballet choreography

neg: David Vaughan (dance archivist) David Vaughan (dance archivist) David Vaughan (May 17, 1924 – October 27, 2017) was a dance archivist, historian and critic. He was the archivist of the Merce Cunningham Dance Company from 1976 until the company was disbanded in 2012. In his long career, Vaughan was a dancer, choreographer, actor and singer whose work had been seen in London, Paris, and in New York, both on- and off-Broadway, as well as in regional theatres across the United States, in cabarets, on television and on film. Vaughan's ballet choreography was used in Stanley Kubrick's 1955 film "Killer's Kiss", danced by Kubrick's wife

neg: Merce Cunningham named Officier of the Légion d'honneur in France. Cunningham's life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Paris Opéra Ballet, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company. Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father, Clifford D. Cunningham, into the legal profession. Cunningham first experienced dance while living in Centralia. He took tap class from a local teacher, Mrs. Maude Barrett, whose energy

neg: Carolyn Brown (choreographer) She has been awarded the Dance Magazine Award, five National Endowment for the Arts grants, and a John Simon Guggenheim Fellowship. Her writing has been published in "The New York Times", "Dance Perspectives", "Ballet Review", and the "Dance Research Journal". She lives in Millbrook, New York. In 2007, Carolyn published her memoir: "Chance and Circumstance: Twenty Years with Cage and Cunningham". The long-awaited memoir tells the story of her career, of the formative years of the Merce Cunningham Dance Company, and of the two artists at its center — Merce Cunningham and John Cage. Carolyn Brown (choreographer) Carolyn Brown (born

neg: Charles Atlas (artist) Cunningham in little experimental movement studies during breaks from rehearsal. Following his work with Cunningham, he worked independently in film while collaborating with other professionals in the field. Charles Atlas (artist) Charles Atlas is a video artist and film director who also does lighting and set design. He is a pioneer in developing media-dance, also called dance for camera. Media dance is work that is created directly for the camera. While Atlas’ primary artistic medium is video, he also began to experiment with live electronic performance in 2003. Atlas worked collaboratively with Merce Cunningham from 1975 to 1981. Before his

neg: Carolyn Brown (choreographer) Carolyn Brown (choreographer) Carolyn Brown (born September 26, 1927) is an American dancer, choreographer, and writer. She is best known for her work as a founding member of the Merce Cunningham Dance Company. Coming from a dancing family in Fitchburg, Massachusetts, Carolyn (Rice) Brown studied with her mother, Marion Rice in Fitchburg. Brown was a product of the Denishawn School and graduated in philosophy from Wheaton College in 1950. After attending a masterclass with Cunningham in Denver in 1951, she decided to pursue dance full-time and moved to New York to continue her studies at the Juilliard School. She also

neg: Jackie Matisse Jackie Matisse Jackie Matisse, also known as Jaqueline Matisse Monnier, (born 1931) is a French artist. She was born in Fontainebleau Forest, the eldest of the three children of Pierre Matisse and Alexina Duchamp. For a time she was married to the French banker, Bernard Monnier. Matisse has been described as "ever the kiteflying [creating] pioneer," "renowned for her kites." She also works in stereoscopy, supercomputing and virtual reality. One example of her work is her collaboration with David Tudor and Molly Davies, "Sea Tails". An early supporter of Merce Cunningham, she served on the board of directors of the

neg: Trois morceaux en forme de poire complete keyboard music) maintained that the "Trois morceaux" was much better known by its title and reputation than by its presence in contemporary performance. Pear imagery has become part of Satie's iconography through its appearance on album covers of his music and in artwork and writings pertaining to the composer. For example, at Les Maisons Satie (Satie Birthplace and Museum) in Honfleur, France, one of the exhibits is a large animatronic statue of a winged pear. Choreographer Merce Cunningham created his 1953 ballet "Septet" to the score of the "Trois morceaux". Artist Man Ray, a friend of Satie's in the

neg: Contemporary dance first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. In 1944 Cunningham accompanied his dance with music by John Cage, who observed that Cunningham's dance "no longer relies on linear elements (...) nor does it rely on a movement towards and away from climax. As in abstract painting, it is assumed that an element (a movement, a sound, a change of light) is in and of itself expressive; what it communicates is in large part determined by the observer themselves." Cunningham formed the Merce Cunningham Dance Company in 1953 and

neg: Merce Cunningham in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham's newest work, "Nearly Ninety", at the Brooklyn Academy of Music. The Company concluded its farewell tour on December 31, 2011. Merce Cunningham Dance Company frequently collaborated with visual artists, architects, designers, and musicians. Many of Cunningham's most famous innovations were developed in collaboration with composer John Cage, his life partner. Cunningham and Cage used stochastic (random) procedures to generate material, discarding many artistic traditions of narrative

neg: John Cage John Cage John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition "4′33″", which

neg: Eleanor Owen dance costume design in New York City. Clients include the Merce Cunningham Dance Company at Black Mountain College, headed by world-renowned dancer and choreographer, Merce Cunningham. Moving from New York to Kennewick, she worked with the Richland Light Opera Company, serving as staging director for several productions, including Victor Herbert's "The Red Mill". She has also worked with the Spokane Children's Theatre, where she has facilitated acting workshops for the Children's Theatre Festival, in partnership with the San Francisco Magic Carpet Players. When the family moved from Kennewick to Seattle in 1955, she continued her work in costuming by creating

neg: Marilyn Wood It was in experimenting with the dimensionality of sculpture combined with student dance classes in improvised movement that she had this epiphany: “I discovered I could BE the sculpture!” which led to two summer sessions with Hanya Holm at Colorado College and further solidified her shift from painting to dance. In New York City, her professional apprenticeship began with the Alwin Nikolais Company at the Henry Street Playhouse (1951-1957). This was followed by five years performing in the early Merce Cunningham and Dance Company (1958-1963), and touring with John Cage, Robert Rauschenberg, Merce Cunningham, and five other dancers: Carolyn Brown,

neg: James Woodrow (musician) for the Merce Cunningham Dance Company from 1999 until 2011, most notably in performances of Gavin Bryars's work "Bi-ped", and his playing was featured in the CD of Merce Cunningham Dance Company music, released before the company closed. He has also featured regularly for Richard Alston, including solo performances of Steve Reich's "Electric Counterpoint" on electric guitar, works by Jo Kondo and Denis Gaultier on guitar and mandolin, as well as 17th Century works for solo lute. Other dance companies he has worked with include London Contemporary Dance, Rambert, Phoenix Dance Company, Siobhan Davies, Shobana Jeyasingh, with whom he performed

neg: Charles Atlas (artist) Charles Atlas (artist) Charles Atlas is a video artist and film director who also does lighting and set design. He is a pioneer in developing media-dance, also called dance for camera. Media dance is work that is created directly for the camera. While Atlas’ primary artistic medium is video, he also began to experiment with live electronic performance in 2003. Atlas worked collaboratively with Merce Cunningham from 1975 to 1981. Before his time as the Cunningham company’s filmmaker-in-residence (1978 – 1983), when he made 10 dance films, Atlas was an assistant stage manager for the company, and was already filming

neg: John Cage for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, "The Wonderful Widow of Eighteen Springs" (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio. Like his personal life, Cage's artistic

neg: Merce Cunningham primary influences. In the use of chance procedures Cunningham abandoned the more traditional structured form of dance, he did not believe that a dance needs a beginning, middle or end. In Sixteen Dances for Soloist and Company of Three (1951) Cunningham used Indeterminacy for the first time in this piece and the changing element for each show was the sequence of the sections. In Field Dances (1963) Cunningham experimented with giving the dancer more freedom. Each dancer was given a sequence of movements with which they can do with what they please. This included exiting and entering at will, executing

neg: Barbara Dilley Barbara Dilley Barbara Dilley (Lloyd) (born 1938) is an American dancer, performance artist, improvisor, choreographer and educator, best known for her work as a prominent member of the Merce Cunningham Dance Company (1963-1968), and then with the groundbreaking dance and performance ensemble The Grand Union, from 1969 to 1976. She has taught movement and dance at Naropa University in Boulder, Colorado, since 1974, developing a pedagogy that emphasizes what she calls “embodied awareness,” an approach that combines dance and movement studies with meditation, “mind training” and improvisational composition. She served as the president of Naropa University from 1985 to 1993.

neg: Trisha Brown the Merce Cunningham dance studio who was interested in applying the musical ideas of John Cage (Cunningham's partner and regular collaborator) to dance. In the late 1960s Brown created her own works which attempted to defy gravity, using equipment such as ropes and harnesses, to allow dancers to walk on or down walls or to experiment with the dynamics of stability. These "equipment pieces" were the first dances to comprise a distinct series in what would become a working method for Brown as she went on to create various "cycles" of dances throughout her career. Brown's early works "Walking on

neg: Merce Cunningham and spirit taught him to love dance. Her emphasis on precise musical timing and rhythm provided him a clear understanding of musicality that he implemented in his later dance pieces. He attended the Cornish School in Seattle, headed by Nellie Cornish, from 1937 to 1939 to study acting, but found drama's reliance on text and miming too limiting and concrete. Cunningham preferred the ambiguous nature of dance, which gave him an outlet for exploration of movement. During this time, Martha Graham saw Cunningham dance and invited him to join her company. In 1939, Cunningham moved to New York and danced

neg: Deborah Hay Deborah Hay Deborah Hay is an experimental choreographer working in the field of postmodern dance, and one of the founding members of the Judson Dance Theater. Deborah Hay was born in 1941 in Brooklyn. Her mother was her first dance teacher and directed her training until she was a teenager. She moved to Downtown, Manhattan in the 1960s, where she continued her training with Merce Cunningham and Mia Slavenska. She was part of the collective of dancers, composers, and visual artists who performed at the Judson Memorial Church and became known as the Judson Dance Theater; experimentalists who rejected the

neg: Barbara Dilley has remained involved with Naropa as director of the dance department (1974-1985), and president (1985-1993) since that time, and has maintained a busy schedule teaching and performing throughout the US and Europe. She is currently a professor of Contemporary Performance in Naropa University’s School of the Arts department. Barbara Dilley Barbara Dilley (Lloyd) (born 1938) is an American dancer, performance artist, improvisor, choreographer and educator, best known for her work as a prominent member of the Merce Cunningham Dance Company (1963-1968), and then with the groundbreaking dance and performance ensemble The Grand Union, from 1969 to 1976. She has taught

neg: Brooklyn Academy of Music building is adjacent to downtown Brooklyn, near the Atlantic Terminal of the Long Island Rail Road and the Williamsburgh Savings Bank Tower, once the tallest building in Brooklyn. In 1967, Harvey Lichtenstein was appointed executive director and during the 32 years that Lichtenstein was BAM's leader, BAM experienced a renaissance. BAM is now recognized internationally as a progressive cultural center well known for The Next Wave Festival (started in 1983). Artists who have presented their works there include Philip Glass, Peter Brook, Pina Bausch, Merce Cunningham, Laurie Anderson, Lee Breuer, ETHEL, Nusrat Fateh Ali Khan, Steve Reich, Seal, Alice in

neg: Ruth Asawa artist Jacob Lawrence, photography curator and historian Beaumont Newhall, Jean Varda, composer John Cage, choreographer Merce Cunningham, artist Willem de Kooning, and R. Buckminster Fuller. According to Asawa, the dance courses she took with Merce Cunningham were especially inspirational. Asawa married architect Albert Lanier in July 1949. The couple had six children: Xavier (1950), Aiko (1950), Hudson (1952), Adam (1956), Addie (1958), and Paul (1959). Albert Lanier died in 2008. Asawa died of natural causes on August 5, 2013, at her San Francisco, California, home at the age of 87. In the 1950s, Asawa experimented with crocheted wire sculptures of

neg: Cunningham shoulder reduction Cunningham shoulder reduction Cunningham shoulder reduction is a method of shoulder reduction that utilizes bicipital massage and the patient's own cooperation. The method is one of several techniques used for shoulder reduction. Shoulder disclocation is a common complication of trauma or misuse and is often anterior. In this condition the humeral head has moved anteriorly out of the glenoid fossa. The Cunningham technique involves massaging the bicipital muscle in the mid humerus, with the patient's affected arm adducted (close to their body), and the elbow flexed. At the same time the patient is told to move the shoulder superiorly (up),

neg: Works for prepared piano by John Cage prepared. Composed in 1947 for a segment of Hans Richter's surrealist film "Dreams That Money Can Buy". The film contains several segments designed by different artists, and Cage's music was composed for a segment designed by Marcel Duchamp. The segment—a dream one of the characters is having—is titled "Discs" and consists mostly of Duchamp's "rotoreliefs". These are designs painted on flat cardboard circles, which are to be spun on a phonographic turntable. The work was later choreographed by Merce Cunningham. The global structure is 11x11 (eleven sections of eleven bars each), the rhythmic proportion is 2, 1, 1, 3, 1,

neg: Barbara Morgan (photographer) as well, which continued through the 1970s. Barbara Morgan (photographer) Barbara Morgan (July 8, 1900 – August 17, 1992) was an American photographer best known for her depictions of modern dancers. She was a co-founder of the photography magazine "Aperture". Morgan is known in the visual art and dance worlds for her penetrating studies of American modern dancers Martha Graham, Merce Cunningham, Erick Hawkins, Jose Limon, Doris Humphrey, Charles Weidman and others. Morgan’s drawings, prints, watercolors and paintings were exhibited widely in California in the 1920s, and in New York and Philadelphia in the 1930s. Barbara Brooks Johnson was born

neg: Barbara Morgan (photographer) Barbara Morgan (photographer) Barbara Morgan (July 8, 1900 – August 17, 1992) was an American photographer best known for her depictions of modern dancers. She was a co-founder of the photography magazine "Aperture". Morgan is known in the visual art and dance worlds for her penetrating studies of American modern dancers Martha Graham, Merce Cunningham, Erick Hawkins, Jose Limon, Doris Humphrey, Charles Weidman and others. Morgan’s drawings, prints, watercolors and paintings were exhibited widely in California in the 1920s, and in New York and Philadelphia in the 1930s. Barbara Brooks Johnson was born on July 8, 1900 in Buffalo, Kansas.

neg: Lucinda Childs legends such as Hanya Holm and Helen Tamiris. As a musical choreographer, Tamiris gave Childs her first acting job which proved to be a frightening experience for Childs. After this traumatic experience, Childs decided to focus on dance and pursued a Bachelor of Arts degree in dance. She was able to broaden her technical experience by studying with Judith Dunn, Bessie Schonberg and Merce Cunningham. Childs describes Cunningham saying that he “elucidated a kind of particularity and clarity in dance that felt distinctly separate from anything I had experienced up to that point”. While studying at the Cunningham studio, Childs

neg: Rachel Rosenthal some stage she was an apprentice of director Erwin Piscator and directed some off-Broadway productions. Additionally, she was an assistant designer to Heinz Condella at the New York City Opera and danced in Merce Cunningham's company. It is the integration of these various skills and talents that have enabled her to produce complex and multi-layered performance art pieces. After settling back in New York in 1953, her social circle included John Cage, Merce Cunningham, Sari Dienes, Robert Rauschenberg and Jasper Johns. She was introduced to Zen Buddhism and Asian philosophy by Cage. She soon grew an interest in martial arts

neg: Merce Cunningham The 'front and centre' spot traditionally coveted by soloists no longer exists in his works. Dance can take place on any part of the stage; it need not even be frontally oriented, but can be viewed from any angle (at performances in Cunningham's own studio, for instance, audiences are seated in an L-shaped configuration). The viewer's focus is never directed to a particular spot; he must often decide among many centres of activity. Merce Cunningham's sees randomness and arbitrariness as positive qualities because they exist in real life. Most of Cunningham's choreographic process works to break the boundaries of "putting

neg: Douglas Dunn (choreographer) he continued his studies at the Martha Graham summer program in 1963 and 1964, the Joffrey Ballet School from 1964–1965 and the Margaret Jenkins Studio. Dunn moved to New York in 1968 where he started training at the American Ballet Center with Françoise Martinez and at the Merce Cunningham School. In New York, Dunn began working with Yvonne Rainer and was a dancer with her company from 1968-1970. After completion of his studies with the Merce Cunningham studio, he was accepted into their professional company as a dancer from 1969-1973. In 1970 he became a member of the avant-garde improvisational

neg: Postmodern dance manifestos." Postmodern dance utilized many unconventional methods during the choreographic process. One of the main methods used was chance, which is a technique pioneered in dance by Merce Cunningham that relied on the idea that there were "no prescribed movement materials or orders for a series of action." Choreographers would use random numbers and equations or even roll dice to determine "how to sequence choreographic phrases, how many dancers would perform at any given point, where they would stand on stage, and where they would enter and exit.” In using the chance technique, it was not uncommon for dancers in

neg: Works for prepared piano by John Cage structures. According to Cage, "The Perilous Night" expresses "the loneliness and terror that comes to one when love becomes unhappy". All of the six movements of this work are untitled. 38 years after its composition, his longtime friend artist Jasper Johns included a silkscreen of the score in a large mixed-media diptych which itself is also titled “Perilous Night.” Composed in 1945 for a dance by Merce Cunningham. This is another large-scale work with moderately complex piano preparation, involving 27 notes. It contains five sections. Composed in 1945 for a dance by Jean Erdman. Contains nineteen sections. Thirty-nine notes are

neg: Franziska Boas as Bird Larson and, through a summer program, Mary Wigman. Boas founded in 1933 the Boas School of Dance, an interracial school, where she taught “creative” and improvisational dance. There were many notable students who were taught at the school, including Merce Cunningham and John Cage. Her focus was not on creating technically perfect dancers; instead, she wanted to use dance as a method of exploring oneself and the body. She sought to break down social barriers, and believed this could be done by bringing people of all races together through dance.. In 1944, Boas partnered with Katherine Dunham in

neg: International Dance Day educational initiatives, humanitarian drives, dance performances and festivals. To help publicise International Dance Day each year the International Theatre Institute selects an outstanding personality from the world of dance to be the Message Author for the event. In the message, it is hoped that the author can underline the relevance and power of dance. Past authors have included Trisha Brown, Alicia Alonso, and Merce Cunningham. As 2018 marked the 70th Anniversary of ITI, 5 Message Authors were selected for the 2018 event, one from each of the 5 UNESCO Regions. The 5 authors were; Georgette GEBARA (Lebanon, Arab Countries), Salia

neg: Cunningham shoulder reduction and posteriorly (back) to allow the humeral head to relocate back into the glenoid fossae. The patient is often given pain management prior to the procedure to allow tolerance of the procedure. Uncooperative patients or patients with arthritis or joint deformities are often more difficult to relocate and other methods of shoulder reduction can be utilized. Cunningham shoulder reduction Cunningham shoulder reduction is a method of shoulder reduction that utilizes bicipital massage and the patient's own cooperation. The method is one of several techniques used for shoulder reduction. Shoulder disclocation is a common complication of trauma or misuse and is

neg: Steve Paxton Steve Paxton Steve Paxton (born 1939 in Phoenix, Arizona) is an experimental dancer and choreographer. His early background was in gymnastics while his later training included three years with Merce Cunningham and a year with José Limón. As a founding member of the Judson Dance Theater, he performed works by Yvonne Rainer and Trisha Brown. He was a founding member of the experimental group Grand Union and in 1972 named and began to develop the dance form known as Contact Improvisation, a form of dance that utilizes the physical laws of friction, momentum, gravity, and inertia to explore the relationship

neg: Ruth Charney 2017 she was selected as a fellow of the Association for Women in Mathematics in the inaugural class. Ruth Charney Ruth Michele Charney (born 1950) is an American mathematician known for her work in geometric group theory and Artin groups. She became president of the Association for Women in Mathematics in 2013, and holds the Theodore and Evelyn G. Berenson Chair in Mathematics at Brandeis University. She was in the first group of mathematicians named Fellows of the American Mathematical Society. Charney attended Brandeis University, graduating in mathematics in 1972. She then attended Merce Cunningham Dance Studio for a year,

neg: M. C. Richards in Greenwich Village. She also began to work on the first English translation of Anton Artaud's "The Theater and Its Double," which was published by Grove Press in 1958 to wide acclaim. Richards's translation is considered the definitive English version of the essays and was instrumental in introducing Artaud's work in the United States. She returned to Black Mountain the subsequent summer to participate in an event that came to be known as the first "happening," organized by John Cage and also involving Robert Rauschenberg, Charles Olson, David Tudor, and Merce Cunningham. In 1954 Richards, Tudor, and Cage, among other

neg: The OpenEnded Group York Minster with live reconstructions of the underlying stained glass. In 2008, The OpenEnded Group initiated the Field project, an open source integrated development environment for making digital artworks. Concurrently it released the code base for its collaboration with Merce Cunningham, "Loops", as open source, with Cunningham issuing a Creative Commons license for the underlying motion-capture data of his performance. The OpenEnded Group is supported by the National Science Foundation and the Office of Digital Humanities at the National Endowment for the Humanities. The OpenEnded Group The OpenEnded Group is a digital art collective comprising Marc Downie, Shelley Eshkar, and

neg: Ruth Charney Ruth Charney Ruth Michele Charney (born 1950) is an American mathematician known for her work in geometric group theory and Artin groups. She became president of the Association for Women in Mathematics in 2013, and holds the Theodore and Evelyn G. Berenson Chair in Mathematics at Brandeis University. She was in the first group of mathematicians named Fellows of the American Mathematical Society. Charney attended Brandeis University, graduating in mathematics in 1972. She then attended Merce Cunningham Dance Studio for a year, studying modern dance. She received her Ph.D. from Princeton University in 1977 under Wu-Chung Hsiang. Following her graduation

neg: Merce Cunningham dancers who trained with Cunningham formed their own companies. They include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d'Imobilité, Kimberly Bartosik, Flo Ankah, Jan Van Dyke, Jonah Bokaer, and Alice Reyes. In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham's work and the celebration and preservation of his artistic legacy. Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale and a British Laurence Olivier Award, and was