Merce Cunningham Trust




Cunningham Technique® in New York City

City Center Studios :: 130 West 56th Street
Monday – Friday
12:15 – 1:45 pm
Open Level

Taught by Jennifer Goggans, Carol Teitelbaum, Andrea Weber
and other former Cunningham dancers



Teaching Schedule for the week of September 22nd

September 22 - Carol Teitelbaum
September 23 - Jennifer Goggans
September 24 - Dylan Crossman
September 25 - Lisa Boudreau
September 26 - Daniel Madoff


For a working dancer in the city I have yet to find an environment as connected as the one surrounding these classes. The dancers who attend as well as those who teach provide a connection to our field that is incomparable.

Joshua Tuason
Dancer for Stephen Petronio Company, and Ian Spencer Bell Dance

Quite simply, my motivation for training in this technique is that it has made me a stronger, smarter dancer for all my other projects. Beyond the functionality as a physical warm-up, the class structure is embedded with ideas central to Cunningham’s artistic legacy.

Christiana Axelsen
Independent choreographer; dancer for Beth Gill, Molissa Fenley, Michou Szabo, and zoe | juniper




Workshops - NY

Merce Cunningham and Carolyn Brown in Crises
Photo: Harry Shunk and Janos Kender 1964 (c) Getty Research Institute of Los Angeles
Crises (1960) Cunningham Fellowship Workshop
led by Jennifer Goggans (MCDC 2000 - 2011)
October 2014
This was a dance for the then company of eight dancers, later augmented to eleven. It consisted of eighteen sections whose order could be changed, or omitted, hence the difference in length. Cunningham performed a clownlike solo (this aspect tended to be left out when other dancers performed it) and a duet with Carolyn Brown, who also had a solo with slow, swimming movements. The music by Toshi Ichiyanagi (Activities for Orchestra) is scored for western instruments; the players perform multiple activities in cued sequences that are scrambled by the musicians in performance. Scramble was the first piece whose designer was selected by Jasper Johns after his appointment as artistic advisor. Frank Stella made a set consisting of strips of canvas in the colors of the spectrum, mounted on vertical frames that could be moved about the stage by the dancers. He specified the colors of the costumes; the men wore jumpsuits, the women leotards and tights.

Workshops - US

Merce Cunningham Dance Company in Scramble
Photo (c) James Klosty 1967
Scramble (1967) Workshop
Technique and repertory with Patricia Lent (MCDC 1984 - 1993)
University of North Carolina School of the Arts
December 12 - 19, 2014

Workshops - International


People often wonder what is the best way to support and foster the development of emerging artists. I think the workshops are a great solution. What could be better than working to improve technique and learn prestigious repertory under the direction of insightful and interested coaches? It is a great introduction to the NYC dance scene. 

Andrew Harper
Independent choreographer;
graduate of University of North Carolina School of the Arts

I feel that the work has challenged me to be precise and efficient. It has challenged me to be rhythmically clear and exact. I really appreciate that there is never anything extra to be 'put on' or added, and I have to find my own meaning in dancing. It feels like each piece I've learned requires me to step into a different realm. 

Benny Olk
Dancer for Sarah Michelson;
graduate of NYU Tisch School of the Arts