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Merce Cunningham, 1970. (credit: Jack Mitchell)
Merce Cunningham, 1970. (credit: Jack Mitchell)
For more information on Merce Cunningham, visit Britannica.com.
Merce Cunningham
| Britannica Concise Encyclopedia: Merce Cunningham |
| 5min Related Video: Merce Cunningham |
| Biography: Merce Cunningham |
The American Merce Cunningham (born 1919) was a solo dancer of commanding presence, a controversial choreographer, an influential teacher, and an organizer of an internationally acclaimed avant-garde dance company.
Born in Centralia, Washington, on April 19, 1919, Merce Cunningham studied modern dance under Bonnie Bird in Seattle. Here he met the composer John Cage. From 1940 to 1945 Cunningham was a soloist with the Martha Graham Company, creating such roles as the Christ Figure in El Penitente, the Acrobat in Every Soul Is a Circus, March in Letter to the World, and the Revivalist in Appalachian Spring.
While still with the Graham Company, Cunningham began independent work, at first in solo concerts. His first important large creation was The Seasons (1947), with music by Cage. For the next quarter century, Cage acted as Cunningham's chief composer and musical adviser.
Cunningham's first substantial success came in 1952 (also the year he formed his own company-school) with his setting of Igor Stravinsky's "dance episodes with song," Les Noces. He continued working with music by experimentalist composers such as Erik Satie, Pierre Schaeffer, and Alan Hovhaness, as well as with Cage. Cunningham also danced to sounds produced solely by his own voice: grunts, shrieks, squeals, and howls.
Cunningham's personal dance style, reflected in his choreography, was usually athletic in forcefulness. But he could also effect a slow, nearly suspended motion which, when opposed sharply to the cross rhythms of accompaniments - either musical, or antimusical - produced unique effects. Cunningham never used such "tricks" as facial expressions to reach an audience, relying solely upon pure body movement to produce effects.
Cunningham experimented with Cage and others of futuristic thought from fields of dance, music, theater, visual arts, and even the technical sciences in combining abstract dance elements with musique concrète, electronic music, random sounds, lighting effects, action films or photo slides superimposed upon or backlighting stage action, pure noise, and even silence. But, though he worked frequently with "chance" methods, Cunningham remained a deadly serious creator who never really left anything to uncertainty. For example, in the late 1960s he worked on dances using body-attached cybersonic consoles which could increase, reduce, distort, unbalance, and then rebalance sounds by stage movements, according to the dimensions of different spatial areas; and on the control of stage lighting as affected by the dancers moving within range of electronic devices that changed hues and densities of illuminations.
In 1958 Cunningham's company began tours which took them to nearly every continent. Cunningham gave lecture-demonstrations or participated in symposiums at universities and museums around the world. By 1970 he had created nearly 100 ensemble dance works and dozens of solos for himself, had made significant documentary films on modern dance, and had authored a book.
Cunningham's awards include honorary member of the American Academy and Institute of Arts and Letters (1984), the Samuel H. Scripps American Dance Festival Award for lifetime contributions to dance (1982), the MacArthur Award (1985), the Laurence Olivier Award (1985), the National Medal of Arts (1990) and the Digital Dance Premier Award (1990).
Ocean, the final collaboration between Cunningham and John Cage, premiered at the University of California, Berkeley in April, 1996. In 1995, Cunningham developed a computer software program called Life Forms, to choreograph dances on computer.
Further Reading
Cunningham's partly autobiographical Changes (1968) mainly relates his ideas on dance. Pictures of his company's work are in Jack Mitchell, Dance Scene U.S.A. (1967), with commentary by Clive Barnes. Walter Sorell, ed., The Dance Has Many Faces (1951; 2d ed. 1966), includes good essays on modern dance and Cunningham's place in it. Cunningham was also featured in a public television broadcast of Point in Space (BBC, 1986).
| Dictionary of Dance: Merce Cunningham |
Cunningham, Merce (b Centralia, Wash., 16 Apr. 1919). US dancer, choreographer, and company director. One of the towering figures of 20th-century modern dance. He studied tap, folk, and ballroom dancing in Centralia, then studied acting at the Cornish School of Fine Arts in Seattle. There, under the influence of the former Graham dancer Bonnie Bird, he changed his major from theatre to dance. It was also there that he met the composer John Cage, his lifelong partner and collaborator. Further dance studies at Mills College in Oakland, California, and at the Bennington Summer School of Dance, held in 1939 in Oakland, followed. Accepting an invitation to join the Martha Graham company in 1939, he left the Cornish School before graduation and went to New York. For the next six years he was one of Graham's leading dancers, creating roles in many of her works, including Every Soul is a Circus (1939), El Penitente (1940), Letter to the World (1940), Punch and Judy (1941), Deaths and Entrances (1943), and Appalachian Spring (1944). During this time he also studied ballet at the School of American Ballet. In 1942 he gave a recital of his own choreography at Bennington College in Vermont, an event which marked the beginning of his artistic collaboration with Cage; in 1944 he and Cage gave their first joint concert at the Humphrey-Weidman Studio Theater in New York, with the choreographer performing six solos all set to Cage's music. After leaving Graham in 1945 Cunningham became an independent choreographer. One of his early commissions was a piece (again with Cage) for Ballet Society, The Seasons, danced at its premiere on 18 May 1947 by Tanaquil LeClercq and Cunningham. He set up his own company in the summer of 1953, with dancers such as Carolyn Brown, Viola Farber, Remy Charlip, and Paul Taylor. John Cage and David Tudor were the company musicians. The company made its New York debut on 29 Dec. 1953 at the Theater de Lys in Greenwich Village. It made its first US tour in 1955, its first international tour in 1964. A leading light of the American avant-garde, Cunningham has always chosen equally radical collaborators, such as Cage. Painters such as Robert Rauschenberg (resident designer 1954-64), Andy Warhol, Frank Stella, and Jasper Johns also contributed hugely to the success of Cunningham's work, although his unorthodox dance philosophy insisted upon the total independence of movement from their input. His choreography relies on neither music nor design for inspiration; indeed, such elements are created in isolation from the choreography and all three often meet for the first time in performance. The only commonality between them is that they happen at the same time. Choreography itself is often the result of chance, the movement options selected at random. Like Cage, Cunningham was willing to allow artistic decisions to be made by the toss of a coin, for example, or the roll of the I Ching. Late in life, still the keen experimenter, Cunningham became the first major choreographer to use computer technology, creating movement sequences on screen before setting them on his dancers. He has rarely made dances to existing music (although Septet from 1953 is a famous exception, being set to Satie) and most of the scores which accompany his work are electronic. In 1964 he started his famous series of Events, performances of excerpts from the repertory which are then arranged into a single evening without interval. His works are in the repertoires of ballet and modern dance companies around the world, and his company has toured to virtually every corner of the globe. He was much loved as a performer, his appearances on stage adding an impish sense of humour to the proceedings. His influence on other choreographers has been tremendous. He has been a guest teacher at universities throughout America and opened his own New York studio in 1959. A selection of his works includes The Seasons (mus. Cage, 1947), Septet (mus. Satie, 1953), Minutiae (mus. Cage, 1954), Suite for Five (mus. Cage, 1956), Nocturnes (mus. Satie, 1956), Antic Meet (mus. Cage, 1958), Summerspace (mus. Morton Feldman, 1958), Rune (mus. Wolff, 1959), Crises (mus. Nancarrow, 1960), Aeon (mus. Cage, 1961), Story (mus. Ichiyanagi, 1963), Field Dances (mus. Cage, 1963), Winterbranch (mus. LaMonte Young, 1964), How to Pass, Kick, Fall and Run (mus. Cage, 1965), Scramble (mus. Ichiyanagi, 1967), RainForest (mus. D. Tudor, 1968), Walkaround Time (mus. D. Behrman, 1968), Canfield (mus. P. Oliveros, 1969), Tread (mus. Wolff, 1970), Signals (mus. Tudor, Mumma, Cage, 1970), Landrover (mus. Cage, 1972), Un jour ou deux (mus. Cage, Paris Opera, 1973), Sounddance (mus. Tudor, 1975), Changing Steps (mus. Cage, 1975), Rebus (mus. Behrman, 1975), Squaregame (mus. Kosugi, 1976), Locale (mus. Kosugi, for video, 1979), Roadrunners (mus. Tone, 1979), Duets (mus. Cage, 1980), Fielding Sixes (mus. Cage, 1980), Quartet (mus. Tudor, 1982), Roaratorio (mus. Cage, 1983), Pictures (mus. Behrman, 1984), Points in Space (mus. Cage, for video, 1986), Fabrications (mus. Pimenta, 1991), Field and Figures (mus. Tcherepnin, 1989), Inventions (mus. Cage, 1989), Beach Birds (mus. Cage, 1991), Trackers (mus. Pimenta, 1991), Change of Address (mus. Zimmerman, 1992), CRWDSPCR (mus. John King, 1993), Ocean (mus. David Tudor and Andrew Culver, 1994), Signals (mus. Cage, 1994), Ground Level Overlay (mus. Stuart Dempster, 1995), Rondo (mus. Cage, 1996), Pond Way (mus. Brian Eno, 1998), and BIPED (mus. Gavin Bryars, 1999). He has choreographed a number of video and film dances, working in collaboration with Charles Atlas and Elliot Caplan. Author of Changes: Notes on Choreography (New York, 1968). L'Ordre des Arts et des Lettres (1983), Légion d'honneur, 1989; National Medal of Arts, US, 1990.
| Wikipedia: Merce Cunningham |
| Merce Cunningham | |
|---|---|
 |
|
| Born | Mercier Philip Cunningham April 16, 1919 Centralia, Washington |
| Died | July 26, 2009 (aged 90) New York City |
| Occupation | Dancer, choreographer |
| Years active | 1938-2009 |
| Domestic partner(s) | John Cage[1] |
| www.Merce.org Official website |
|
Mercier "Merce" Philip Cunningham (April 16, 1919 – July 26, 2009) was an American dancer and choreographer who was at the forefront of the American avant garde for more than fifty years. Throughout much of his life, Cunningham was considered one of the greatest creative forces in American dance. Cunningham is also notable for his constant collaborations with artists of other disciplines, including musicians John Cage and David Tudor, artists Robert Rauschenberg and Bruce Nauman, designer Romeo Gigli, and architect Benedetta Tagliabue. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance.
As a choreographer, teacher, and leader of the Merce Cunningham Dance Company, Cunningham had a profound influence on modern dance. Many dancers who trained with Cunningham formed their own companies, and they include Paul Taylor, Remy Charlip, Viola Farber, Charles Moulton, Karole Armitage, Robert Kovich, Foofwa d’Immobilité, Kimberly Bartosik, Floanne Ankah and Jonah Bokaer.
In 2009, the Cunningham Dance Foundation announced the Legacy Plan, a precedent-setting plan for the continuation of Cunningham’s work and the celebration and preservation of his artistic legacy.
Cunningham earned some of the highest honors bestowed in the arts, including the National Medal of Arts and the MacArthur Fellowship. He also received Japan's Praemium Imperiale, a British Laurence Olivier Award, and was named Officier of the Légion d'honneur in France.
Cunningham’s life and artistic vision have been the subject of numerous books, films, and exhibitions, and his works have been presented by groups including the Ballet of the Paris Opéra, New York City Ballet, American Ballet Theatre, White Oak Dance Project, and London's Rambert Dance Company.
Contents |
Biography
Merce Cunningham was born in Centralia, Washington in 1919, the second of three sons. Both his brothers followed their father into the legal profession. Cunningham initially asked to attend dance school when he was 10 years old, and received his first formal dance and theater training at the Cornish School (now Cornish College of the Arts) in Seattle, which he attended from 1937-9. During this time, Martha Graham saw Cunningham dance and invited him to join her company.[2]
In the fall of 1939, Cunningham moved to New York and began a six-year stint as a soloist in the company of Martha Graham. He presented his first solo concert in New York in April 1944 with composer John Cage, who became his life partner and frequent collaborator until Cage's death in 1992.
In the summer of 1953, as a teacher in residence at Black Mountain College, Cunningham formed the Merce Cunningham Dance Company as a forum to explore his new ideas on dance and the performing arts.
Over the course of his career, Cunningham choreographed more than 200 dances and over 800 “Events,” which are site-specific choreographic works. He often used the I Ching in order to determine the sequence of his dances and, often, dancers were not told until the night of the performance. In addition to his role as choreographer, Cunningham performed as a dancer in his company into the early 1990s.
He continued to lead his dance company until his death, and presented a new work, Nearly Ninety, in April 2009, at the Brooklyn Academy of Music, New York, to mark his 90th birthday.[3]
Cunningham lived in New York City, and was Artistic Director of the Merce Cunningham Dance Company. Cunningham died peacefully in his home on July 26, 2009.[4]
Merce Cunningham Dance Company
Cunningham formed Merce Cunningham Dance Company (MCDC) at Black Mountain College in 1953. Guided by his radical approach to space, time, and technology, the Company has forged a distinctive style, reflecting Cunningham’s technique and illuminating the near limitless possibility for human movement.
The original Company included dancers Carolyn Brown, Viola Farber, Paul Taylor, and Remy Charlip, and musicians John Cage and David Tudor.
In its early years, MCDC toured in a Volkswagen bus driven by John Cage with just enough room for six dancers, the two musicians, and a stage manager, who was often Robert Rauschenberg. MCDC’s first international tour in 1964—which included performances in Western and Eastern Europe, India, Thailand, and Japan—solidified a constant stream of national and international bookings. In the years since, MCDC has continued to tour the world to critical and popular acclaim, serving as an ambassador for contemporary American culture.
Recent performances and projects include a two-year residency at Dia:Beacon, where MCDC performed Events, Cunningham’s site-specific choreographic collages, in the galleries of Richard Serra, Dan Flavin, and Sol LeWitt among others. In 2007, MCDC premiered XOVER, Cunningham’s final collaboration with Rauschenberg, at Dartmouth College in New Hampshire. In 2009, MCDC premiered Cunningham’s newest work, Nearly Ninety, at the Brooklyn Academy of Music. The Company continues to perform and tour internationally.
Artistic philosophy
Collaboration
Since its founding, Merce Cunningham Dance Company has frequently collaborated with visual artists, architects, designers, and musicians.
From the company's beginnings, Cunningham collaborated with John Cage, its Musical Advisor and Cunningham's life partner from the 1940s until Cage’s death in 1992. Cage had the greatest influence on his practice. Together, Cunningham and Cage proposed a number of radical innovations. The most famous and controversial of these concerned the relationship between dance and music, which they concluded may occur in the same time and space, but should be created independently of one another. They also made extensive use of chance procedures, abandoning not only musical forms, but narrative and other conventional elements of dance composition—such as cause and effect, and climax and anticlimax. For Cunningham the subject of his dances is always dance itself.
After his death, John Cage was succeeded by David Tudor. Since 1995, MCDC has been under the music direction of Takehisa Kosugi. MCDC has commissioned more work from contemporary composers than any other dance company. Its repertory includes works by musicians ranging from John Cage and Gordon Mumma to Gavin Bryars and Sonic Youth.
The Company has also collaborated with an array of visual artists and designers. Robert Rauschenberg, whose famous “Combines” reflect the approach he used to create décor for a number of MCDC’s early works, served as the Company’s resident designer from 1954 through 1964. Jasper Johns followed as Artistic Advisor from 1967 until 1980, and Mark Lancaster from 1980 through 1984. The last Advisors to be appointed were William Anastasi and Dove Bradshaw in 1984. Other artists who have collaborated with MCDC include Tacita Dean, Rei Kawakubo, Roy Lichtenstein, Bruce Nauman, Ernesto Neto, Frank Stella, Benedetta Tagliabue, and Andy Warhol.
Chance operations
John Cage and I became interested in the use of chance in the 50's. I think one of the very primary things that happened then was the publication of the "I Ching," the Chinese book of changes, from which you can cast your fortune: the hexagrams.
Cage took it to work in his way of making compositions then; and he used the idea of 64—the number of the hexagrams —to say that you had 64, for example, sounds; then you could cast, by chance, to find which sound first appeared, cast again, to say which sound came second, cast again, so that it's done by, in that sense, chance operations. Instead of finding out what you think should follow—say a particular sound—what did the I Ching suggest? Well, I took this also for dance.
I was working on a title called, “Untitled Solo,” and I had made—using the chance operations—a series of movements written on scraps of paper for the legs and the arms, the head, all different. And it was done not to the music but with the music of Christian Wolff.
—Merce Cunningham, Merce Cunningham: A Lifetime of Dance, 2000
Although the use of chance operations was considered an abrogation of artistic responsibility, Cunningham was thrilled by a process that arrives at works that could never have been created through traditional collaboration. This does not mean, however, that Cunningham holds every piece created in this fashion is a masterpiece. Those dances that do not "work" are quickly dropped from repertory, while those that do are celebrated as serendipitous discoveries.
Another of Cunningham's innovations was the development of what might be called "non-representative" dance which simply emphasizes movement: in Cunningham's choreography, dancers do not necessarily represent any historical figure, emotional situation, or idea.
Use of technology
Cunningham’s lifelong passion for exploration and innovation has made him a leader in applying new technologies to the arts. He began investigating dance on film in the 1970s, and since 1991 has choreographed using the computer program DanceForms. Cunningham explored motion capture technology with digital artists Paul Kaiser and Shelley Eshkar to create Hand-drawn Spaces, a three-screen animation that was commissioned by and premiered at SIGGRAPH in 1998. This led to a live dance for the stage, BIPED, for which Kaiser and Eshkar provided the projected decor. In 2008, Cunningham released his Loops choreography for the hands as motion-capture data under a Creative Commons license; this was the basis for the open source collaboration of the same name with The OpenEnded Group.
In 2009, Cunningham’s interest in new media led to the creation of Mondays with Merce. This webcast series provides a never-before-seen look at the Company and Cunningham’s teaching technique with video of advanced technique class, Company rehearsal, archival footage, and interviews with current and former Company members, choreographers, and collaborators.
Legacy Plan
The Cunningham Dance Foundation announced the Legacy Plan (LLP) in June 2009. The Plan provides a roadmap for the future of the Merce Cunningham Dance Company, as envisioned by Cunningham. The first of its kind in the dance world, the plan represents Merce Cunningham’s vision for continuing his work in the upcoming years, transitioning his Company once he is no longer able to lead it, and preserving his oeuvre.
The Legacy Plan includes a comprehensive documentation and preservation program, which will ensure that pieces from his repertory can be studied, performed and enjoyed by future generations with knowledge of how they originally came to life. In addition, once Cunningham is no longer able to lead his Company, the plan outlines a final international tour for the Company, and, ultimately, the closure of the Cunningham Dance Foundation and Merce Cunningham Dance Company and transfer of all assets to the Merce Cunningham Trust, established by Cunningham to serve as the custodian for his works.
Exhibitions
There have been numerous exhibitions dedicated to Cunningham’s work. In addition, he is a visual artist represented by Margarete Roeder Gallery.
The major exhibition Invention: Merce Cunningham & Collaborators at the New York Public Library for the Performing Arts closed on October 13, 2007.
Merce Cunningham: Dancing on the Cutting Edge, an exhibition of recent design for MCDC, opened at the Museum of Contemporary Art, North Miami, in January 2007.
A trio of exhibitions devoted to John Cage, Robert Rauschenberg, and Merce Cunningham, curated by Ron Bishop, were shown in the spring of 2002 at the Gallery of Fine Art, Edison College, Fort Myers, Florida.
A major exhibition about Cunningham and his collaborations, curated by Germano Celant, was first seen at the Fundació Antoni Tàpies in Barcelona in 1999, and subsequently at the Fundação de Serralves, Porto, Portugal, 1999; the Museum moderner Kunst Stiftung Ludwig, Vienna, 2000; and the Museo d’Arte Contemporanea, Castello di Rivoli, Turin, 2000.
Works
Cunningham choreographed almost two hundred works for his company.[5]
Suite for Five (1956 - 1958)
Music: John Cage, Music for Piano
Costumes: Robert Rauschenberg
Lighting: Beverly Emmons
Crises (1960)
Music: Conlon Nancarrow (from Rhythm Studies for Player Piano)
Costumes, Lighting: Robert Rauschenberg
Second Hand (1970)
Music: John Cage, (Cheap Imitation)
Décor & Costumes: Jasper Johns
Lighting: Christine Shallenberg
Sounddance (1975)
Music: David Tudor, Toneburst & Untitled (1975/1994)
Décor, Lighting, Costumes: Mark Lancaster
Fabrications (1987)
Music: Emanuel Dimas de Melo Pimenta, Short Waves & SBbr
Décor, Costumes: Dove Bradshaw
Lighting: Josh Johnson
CRWDSPCR (1993)
Music: John King, blues 99
Décor, Lighting, Costumes: Mark Lancaster
Ocean (1994)
Music: David Tudor,Soundings: Ocean Diary and Andrew Culver, Ocean 1-95
Décor, Lighting, Costumes: Marsha Skinner
BIPED (1999)
Music: Gavin Bryars, Biped
Décor: Paul Kaiser, Shelley Eshkar
Costumes: Suzanne Gallo
Lighting: Aaron Copp
Split Sides (2003)
Music: Radiohead, Sigur Rós
Décor: Robert Heishman, Catherine Yass
Costumes: James Hall
Lighting: James F. Ingalls
Views on Stage (2004)
Music: John Cage, ASLSP and Music for Two
Décor: Ernesto Neto, Other Animal
Costumes: James Hall
Lighting: Josh Johnson
eyeSpace (2006)
Music: Mikel Rouse, International Cloud Atlas
Décor: Henry Samelson, Blues Arrive Not Anticipating What Transpires Even Between Themselves
Costumes: Henry Samelson
Lighting: Josh Johnson
eyeSpace (2007)
Music: David Behrman, Long Throw and/or Annea Lockwood, Jitterbug
Décor: Daniel Arsham, ODE/EON
Costumes: Daniel Arsham
Lighting: Josh Johnson
XOVER (2007)
Music: John Cage, Aria (1958) and Fontana Mix (1958)
Décor & Costumes: Robert Rauschenberg, Plank
Lighting: Josh Johnson
Nearly Ninety (2009)
Music: John Paul Jones, Takehisa Kosugi, Sonic Youth
Décor: Benedetta Tagliabue
Costumes: Romeo Gigli for io ipse idem
Lighting: Brian MacDevitt
Video Design: Franc Aleu
Honors & awards
2009
Jacob’s Pillow Dance Award
Skowhegan Medal for Performance
2008
Honorary Doctorate of Fine Arts from Bard College, Annandale-on-Hudson, NY
2007
Nelson A. Rockefeller Award, Purchase College School of the Arts, State University of New York
Montgomery Fellow (Arts and Literature), Dartmouth College, Hanover NH
2006
Honorary Doctorate of Fine Arts, Cornish College of the Arts, Seattle WA
2005
Honorary Doctorate of Humane Letters, University of Minnesota, Minneapolis MN
Praemium Imperiale, Tokyo
2004
Officier of the Légion d'Honneur, France
2003
Edward MacDowell Medal in interdisciplinary art, the MacDowell Colony, Peterborough NH
2002
Carlisle Hart Award for Outstanding Achievement in the Arts (Arts & Business Council), New York NY
MATA (Music at the Anthology) Award, New York NY
Medal of the City of Dijon, France
2001
Coat of Arms of the City of Mulhouse, France
La Grande Médaille de la Ville de Paris (echelon vermeil) from the Mayor of Paris
Career Transition for Dancers Award, New York NY
Herald Archangel Award, Glasgow, Scotland
Honorary degree from Edith Cowan University, Perth, Western Australia
2000
Nijinsky Special Prize, Monaco
The 2000 Dorothy and Lillian Gish Prize, New York NY
Named a “Living Legend” by the Library of Congress, Washington DC
1999
Premio Internazionale “Gino Tani,” Rome
Handel Medallion from the Mayor of New York City NY
Isadora Duncan Dance Award for Lifetime Achievement, San Francisco CA
Fellow of the Academy of Performing Arts, Hong Kong
The key to the City of Montpellier, France
1998
Bagley Wright Fund Established Artists Award, Seattle WA
1997
Barnard College Medal of Distinction, New York NY
Grand Prix of the Société des Auteurs et Compositeurs Dramatiques, France
1996
Nellie Cornish Arts Achievement Award from his alma mater, Cornish College of the Arts, Seattle WA
1995
Honorary degree from Wesleyan University, Middletown CT
Carina Ari Award (Grand Prix Video Danse with Elliot Caplan), Stockholm, Sweden
Golden Lion of the Venice Biennale, Italy
1993
Inducted into the Hall of Fame at the National Museum of Dance in Saratoga Springs, NY
Dance and Performance Award for Best Performance by a Visiting Artist, London, England
Medal of Honor from the Universidad Complutense of Madrid, Spain
(With John Cage, posthumously) the Wexner Prize of the Wexner Center for the Arts at Ohio State University, Columbus OH
New York Dance and Performance Award (“Bessie”), New York NY
Tiffany Award from the International Society of Performing Arts Administrators, New York NY
1990
National Medal of Arts, Washington DC
Porselli Prize, Italy
Digital Dance Premier Award, London, England
Award of Merit from the Association of Performing Arts Presenters, New York NY
1989
Chevalier of the Légion d'Honneur, France
1988
Dance/USA National Honor, New York NY
1987
Algur H. Meadows Award for Excellence in the Arts, Southern Methodist University, Dallas TX
1985
Laurence Olivier Award for Best New Dance Production (Pictures), London, England
Kennedy Center Honors, Washington DC
MacArthur Fellowship from the John D. and Catherine T. MacArthur Foundation, Chicago IL
1984
Inducted as an Honorary Member into the American Academy and Institute of Arts and Letters, New York NY
1983
The Mayor of New York’s Award of Honor for Arts and Culture, New York NY
1982
The Samuel H. Scripps/American Dance Festival Award, Durham NC
Commandeur de l’Ordre des Arts et des Lettres, France
1977
Capezio Award, New York NY
1975
New York State Award, Albany NY
1972
BITEF Award, Belgrade, Yugoslavia Honorary degree from the University of Illinois, Champaign/Urbana IL
1966
Gold Medal for Choreographic Invention at the Fourth International Festival of Dance, Paris
1964
Medal of the Society for the Advancement of Dancing in Sweden, Stockholm
1960
Dance Magazine Award, New York NY
1959 & 1954
Fellowships from the John Simon Guggenheim Memorial Foundation, New York NY
References
 |
This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (July 2009) |
- ^ Merce Cunningham: who died on July 26 aged 90, was a colossus of 20th-century choreography; his career in dance, which lasted more than 60 years, began when, as a Seattle-based dance student in 1939, he was invited by Martha Graham to join her company in New York. July 27 2009, UK Telegraph.
- ^ [1]
- ^ [2]
- ^ Death notice
- ^ "Merce Cunningham Dance Company – Biography". 2009. http://www.merce.org/about_biography.html. Retrieved 2009-07-28.
Sources
- Bremser, M. (Ed) (1999) Fifty Contemporary Choreographers. Routledge. ISBN 0-415-10364-9
- Cunningham, Merce (1968) Changes/Notes on Choreography. Something Else Press.
- Cunningham, M. and Lesschaeve, J. (1992) The Dancer and the Dance. Marion Boyars Publishers. ISBN 0-7145-2931-1
- Vaughan, David (1999) Merce Cunningham: Fifty Years. Aperture. ISBN 0-89381-863-1
- Vaughan, D. and Cunningham, M. (2002) Other Animals. Aperture. ISBN 978-0893819460
- Kostelanetz, R. (1998) Merce Cunningham: Dancing in Space and Time. Da Capo Press. ISBN 0-306-80877-3
- Brown, Carolyn (2007) Chance and Circumstance Twenty Years with Cage and Cunningham. Alfred A. Knopf. ISBN 978-0-394-40191-1 Biography 53750
External links
- Merce Cunningham Dance Company
- DLAR Artists bio
- PBS:American Masters biography
- Kennedy Center biography
- American Ballet Theater biography
- Merce Cunningham ìn the Mediateca Media Art Space
- Merce Cunningham at the Internet Movie Database
- Merce Cunningham - Daily Telegraph obituary
- Guardian Obituary
- US choreographer Merce Cunningham Has Died At 90 Years Old
- Online memorial
- Obituary in the Star-Gazette
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- [http://www.nytimes.com/2009/07/28/arts/dance/28cunningham.html New York Times Obituary 28 July 2009
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Mentioned in
- Coast Zone (1983 Dance Film)
- Fractions 1 (1978 Dance Film)
- Merce by Merce By Paik (1975 Dance Film)
- Sometimes it Works, Sometimes it Doesn't (1983 Dance Film)
- Event for Television (1978 Dance Film)
- Duets (modern dance)
- Pictures (modern dance)
- David Behrman (music)
- Rings (1989) / Rozart (1989) / Structures II (1988) / Short Waves 1985 (1990 Album by Emanuel Dimas De Melo Pimenta)
- David Vaughan (person)
- Patricia Birch (American Theater)
- Beach Birds (modern dance)
- computer dance (dance)
- Annie Leibovitz (person)
