Merce Cunningham gives rare public lecture

From left, Jim Self, Cornell senior lecturer in dance, moderates a panel discussion with choreographer Merce Cunningham and David Vaughn, the Merce Cunningham Foundation historian and archivist, March 29 in the Proscenium Theater of the Center for Theatre Arts. Robert Barker/University Photography

By Deborah Schoeneman '99

Choreographer Merce Cunningham has displayed his innovative and influential talents for over 50 years, but he rarely gives public lectures. However on March 29 in the Proscenium Theater of the Center for Theater Arts, he discussed topics ranging from his use of technology to his experience with artists such as Jasper Johns and Robert Rauschenberg.

Cunningham has been called "the dance world's Einstein," as he pioneered separating music from dance and integrating visual art and technology. He also was a principal dancer with the Martha Graham Dance Company.

Cunningham's lecture and his company's performances March 30 and 31 at the Center for Theatre Arts were presented by the Cornell Department of Theatre, Film and Dance, as part of the dance program's celebration of 20th century dance.

Joining Cunningham at the lectern was David Vaughn, the Merce Cunningham Foundation historian and archivist. The discussion was moderated by Jim Self, senior lecturer in dance at Cornell and a dancer in Cunningham's company from 1977 to 1980.

Cunningham frequently looked to Vaughn for facts about the company's history and admitted, "I've always been grateful to David. I can ask him a question about something we did in '63 and he can immediately bring up an answer. He has set an example for archivists for dance companies."

Cunningham discussed his utilization of video and computers in his choreography, identifying repetition as an example of a choreographic device that does not transfer well to video. "Repetition is not too good on camera because everyone will flip the channel," he said.

He also explained how choreographing with computers has enabled him to learn new ways of creating movement: "What I like about technology is that it opens my eye to the possibilities within the way I work."

But senior Deirdre Carroll, a dance and premed major, confessed she felt threatened by Cunningham's merging of technology and dance. "As a dancer, it's scary to think of where my role comes in," Carroll said. "I don't see why it's necessary to take movement from a human form to a non human form -- I feel like it puts my position in jeopardy."

Describing his style, Cunningham said, "I work from movement. It could be the movement of an animal or a person, but not what it's about."

Said senior Jessica Behm, a College Scholar and dancer: "There's a certain clarity in his impetus being movement. The emotional overlay is solely what the audience constructs."

Cunningham and Vaughn also shared stories from the company's history and discussed ways in which Cunningham has manipulated his choreography to accommodate unusual performance spaces, ranging from Grand Central Station to a museum in Vienna.