‘A Delightful Flurry’: Dances to Bach
One of the joys of watching a Tanowitz performance is catching moments that seem unplanned: a gracious smile between dancers, a performer who stays airborne after her peers have landed, or a group huddle that falls to the left of a spotlight.
February 1, 2020
Those of us who were privileged to study with Merce Cunningham at whatever point in his long career will cherish forever the physical challenges he posed for a dancer. Followers like myself also loved his senseless determination to make every piece new, even if it meant losing audience members unwilling to work that hard for the payoff. We loved Merce’s courage: he showed up for work when he was exhausted, when he was injured, when he was suffering, and he always danced full-out. But in an extraordinary act of artistic self-immolation, the creator of some of the twentieth century’s most moving dance works decided in his final years that the Merce Cunningham Dance Company should have a last world tour after his death—and then shut down. Whether he should have been allowed by his board to torch everything he worked so killingly hard to create will be debated for a long time, along with the question of why he did it.
December 29, 2011