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    Margaret Fuhrer
    Writer and editor
    New York, NY 09.22.010
    Highlighted Work
    Step By Step: Preserving Choreographic Legacies
    by Margaret Fuhrer
    What is a dance, when it's not being performed? Who owns it? How should itócan itóbe preserved?

    I plan to explore the difficulties associated with the transfer of dances from one generation to the next. This transfer is uniquely complicated. Dance has no canonized form of documentation (with the possible exception of Labanotation, which isn't known widely enough to be useful in most cases), and dancers are generally encouraged to develop their own interpretations of choreographers' stepsómeaning that performances of a work can vary widely. When a choreographer is still alive, he is able to shape and endorse the way his work is performed. But after his death, choreographic legacies are singularly challenging to maintain. And now that a choreographer's body of work has become a definable commodity, with each dance an item to be copyrighted and licensed, the way dances are preserved is critically important.
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    Criticism: Brooklyn Rail Review - GeraldCaselDance
    maf448 at nyu dot edu

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