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Margaret Fuhrer
Writer and editor
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| New York, NY |
09.22.010
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Step By Step: Preserving Choreographic Legacies
by Margaret Fuhrer
What is a dance, when it's not being performed? Who owns it? How should it—can it—be 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' steps—meaning 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.
Read more.
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MORE Highlighted Work:
Brooklyn Rail - Edwin Denby
Dance Magazine Review - Ballet Builders
Brooklyn Rail Review - Gallim Dance
Diana Vishneva at City Center: A Review
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Feature Story: Ballet as a Reality Show
Criticism: Brooklyn Rail Review - GeraldCaselDance
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maf448 at nyu dot edu
Curriculum Vitae
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