City Center Studios
130 West 56th Street
Monday – Friday
12:15 – 1:45 pm
Taught by Jennifer Goggans, Carol Teitelbaum, Andrea Weber and other former Cunningham dancers.
Week of september 26th
For more information about classes at City Center contact email@example.com
“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.”
“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.“
“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.”
“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.”
Cunningham said of his choreography for Beach Birds, “It is all based on individual physical phrasing. The dancers don’t have to be exactly together. They can dance like a flock of birds, when they suddenly take off.” A work for eleven dancers, the rhythm for Beach Birds was much more fluid than other Cunningham dances, so that the sections could differ in length from performance to performance. John Cage composed the music, and painter Marsha Skinner provided the costumes and décor. The dancers were dressed identically in all white leotards and tights, with black gloves. Skinner’s backcloth was a white scrim on which the light varied in color and intensity, decided by a lighting plot that was devised using chance methods. While the timings did not relate to the dance structure, the gradual changes of light have been interpreted to imitate those that might occur from dawn to dusk on a beach. Beach Birds was adapted for film and called Beach Birds for Camera.