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 October 20th

October 20 - Daniel Roberts
October 21 - Daniel Madoff
October 22 - Lisa Boudreau
October 23 - Jennifer Goggans
October 24 - NO CLASS

NOTICE: There will be NO CLASS on October 24 and 31.

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 20 - November 7, 2014
First performed at the Thirteenth American Dance Festival in the summer of 1960, Crises was described by Cunningham as "an adventure in togetherness." Choreographed for four women and one man, the dance focused on physical contact between the dancers. The physical entanglements came both through holding each other and being held, and through elastic bands, worn around a wrist, an arm, a waist or a leg, which connected the dancers in various positions. Cage noted, "This is a dramatic, though not a narrative, dance concerned with decisive movements in the relationship between a man and four women." Conlon Nancarrow's musical score reinforced the dance's harsh atmosphere with an assortment of jangling rhythms, and Rauschenberg's costumes were leotards in various shades of red, evoking the romance of the piece.

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