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Chevalier
de la Barre, 9-4: Dumb & Dumber; Smart
Protas Lawyer Puts Slipper in Mouth; Just Some of the Facts at the
Times; Ulrich Exits Chronicle; Kickoff Booted from Dance Magazine;
Morris Gets his Vigor Back with Faith; Caspersen Does Deneuve; Dakin
Floats with Graham; Zimmer Processes and Produces
By Paul Ben-Itzak
Copyright 2002 The Dance Insider
PARIS -- Good morning
from France, dance insider, where I am trying to make my French
look as dumb as possible so I don't get placed in the advanced beginner's
section of Welfare French. (I may know the difference between "Oh
lah lah" and "Ooh lah lah," but I still can't understand "What is
it that you want?") Speaking of lessons, did Judd Burstein, lawyer
du jour for "Seraphic Dialogue" owner Ron Protas, learn everything
he knows about dance from his client? I can't find any other explanation
for the gaffe contained in Burstein's reaction, quoted in the New
York Times Monday, to the recent federal court ruling
that except for 'Seraphic,' Protas doesn't own any other Graham
dances:
"In essence," Burstein
told the Times's Jennifer Dunning, "the court concluded that Martha
Graham was nothing more than a hired hand of the foundation that
had been created to serve her needs. Other choreographers should
be quaking in their slippers over what this case can mean to their
right to control their artistic legacy."
I don't know whether
any living choreographers are quaking at the judge's decision that
most of the Graham dances still extant belong to the Graham Center
that employed her, but the mother of all Modern Dance choreographers
must be rolling in her grave at Mr. Burstein's inference that she
wore slippers -- or anything else on her Modern feet -- when she
created her dances.
Speaking of spinning, the Times continues to stand by its man Protas,
notwithstanding that federal judge Miriam Goldman Cedarbaum, after
four careful months of deliberation, concluded that it's the Martha
Graham Center of Contemporary Dance which owns the copyrights to
45 of the 70 still tenable Graham dances, and can also produce unchallenged
an additional 19 dances either clearly or possibly in the public
domain.
Granted, Ms. Dunning's
story cites Paul Taylor as firmly supporting the judge's decision.
But when it comes to biased journalism, the devil is often in the
(omitted) details. Ms. Dunning writes:
"Charles Reinhart, co-director
with Stephanie Reinhart of the American Dance Festival in Durham,
N.C., is also troubled by the decision. Mr. Reinhart recalled a
conversation with a prominent choreographer who was elated by the
ruling. 'I asked her if she realized the implications for her,'
Mr. Reinhart said. 'Say the American Dance Festival gives her a
huge amount of money for a commission. She wants to leave it to
her son, but we say, 'Wait a minute, that belongs to us.' Is everything
work for hire?"
And I say: Wait a minute!
Isn't this the same Charles Reinhart whose same American Dance Festival
the Graham company was scheduled to open two years ago when it suddenly
suspended operations and cancelled the engagement with about a month's
notice, leaving the ADF and its directors in the lurch? Is it too
much to suppose that Mr. Reinhart might have been -- justifiably
-- more than a little miffed at being stiffed by the Graham Center?
Whether this history colors his judgment or not is not for me to
say, but Ms. Dunning should have included this episode and let the
Times's readers judge for themselves whether Mr. Reinhart is an
objective source of authority on this question. As well, of course,
there's a difference between a commissioner of ballets such as the
ADF and an employer of choreographers such as the Graham Center
-- similar to the distinction between a Times staffer like Ms. Dunning,
whose work for the paper it owns in perpetuity, and a freelancer,
to whose work it relinquishes exclusive rights two weeks after publication.
Speaking of relinquishing, the San Francisco Chronicle recently
granted a buy-out to dance critic Allan Ulrich, depriving readers
of Baghdad by the Bay's only daily newspaper of authoritative dance
criticism. Like any of us, Alan has his critical blind spots --
no more and certainly less than moi -- but he was the only of the
Chronicle's two critics with a sure grasp of dance history, and
the only with the vivid critical vocabulary that dance criticism
requires and that dance artists deserve. (For an example, please
click
here.)
Now, before last Friday,
I was all set to introduce the above item with the quip: "While
the Chronicle just got dumber, Dance Magazine just got smarter,"
reporting that by hiring Alan to fill in for another editor while
she's on maternity leave, DM had its most authoritative and and
respected news editor since Joe Mazo passed away in 1995. But then
the magazine went and did the dumbest thing it's done since it moved
out of New York, giving the heave-ho to Richard Philp's Kickoff
column after more than 13 years.
Kickoff graced the opening
pages of the magazine for more than 13 years, starting shortly after
Richard succeeded William Como as editor-in-chief in 1989, 19 years
after Richard was made managing editor by then-publisher Jean Gordon.
(Disclosure: Richard hired me in 1995, and fired me in 1997.) For
many years, Richard fought against odds that would have daunted
many another strong man and woman to maintain the magazine's high
quality and its role as the publication of record for the dance
industry.
Unless you worked at
Dance Magazine, particularly under the ownership regime that followed
Jean Gordon, I don't think you can completely understand what Richard
endured every day in his efforts to make a magazine that in the
depth and authority of its content and the presentation of its art
reflected the depth and beauty of the field we were writing about,
dance. Richard was the hero. Even as the magazine continued to erode
-- a process accelerated when the owners moved it out of New York,
effectively jettisoning most of the quality staff that Richard had
brought together -- Richard stayed on. When they removed him as
editor-in-chief in 1999, he continued to write Kickoff. In addition,
his mere name on the masthead as "executive editor" retarded if
not the magazine's qualitative descent, than the awareness of that
descent among some in the profession. His column, together with
the limited (in number) contributions of dance artist and critic
Wendy Perron and the column of Clive Barnes, were just about the
only claims the magazine had left to any authority in the dance
world.
Two weeks ago, according
to a reliable source, the magazine told Richard that his column
would be terminated after the December issue. His name will reportedly
remain on the magazine's masthead. (Contacted in New York State
by telephone Friday, Mr. Philp declined to comment at this time.)
"Dance Magazine" does
not automatically confer on its owners prestige, authority, respect
or a place at the table in the civilized dance world because of
its name. It's the staff which always made the magazine. It's the
staff which gave the magazine credibility. And let's be clear: With
all respect to the sincere and talented Ms. Perron and the deservedly
esteemed Mr. Barnes, by letting go of Richard Philp's Kickoff column
the magazine has now relinquished its last claim to credibility
in the dance world. Indeed, far from its once lauded role as the
standard-bearer for the dance world, the magazine's current owners
and its current publisher and editor have betrayed the profession.
It is this fact -- more than any personal gripes -- which upsets
me and, I believe, many others who used to work there and, under
Richard's guidance, fought the good fight, not for personal gain
but because we thought the dance world deserved a publication driven
more by love for the field than commercial interests.
In April 1997, in a
typically wide-ranging Kickoff column that ranged from extracting
heavy-weight issues for the field from a dance competition (Lausanne)
to championing the recently striking members of the Dance Theatre
of Harlem, Richard closed with this prophetic reflection:
"Things happen, people
burn out, life leaves us behind -- all tough on the egos of people
used to being at the center of things. But behavior that shows disrespect
for others in the profession -- if not for the profession itself
-- is what the symposium in Lausanne warned against. This is a great
new time full of potential for dance, and we must go forward together.
Hardened self-interest satisfies only temporary personal needs,
while serving the needs of the larger dance world ensures, we hope,
that it will be around for a long time to come."
Richard Philp will go
forward, leaving Dance Magazine in what Scott Fitzgerald once called
"the dustbin of history." What a shame, and shame, shame, shame
on the magazine's inheritors for destroying their -- and our --
legacy.
Speaking of legacies, we've been sharing the reaction of leading
members of the Graham community to the aforementioned return of
their legacy to them. Christine Dakin, longtime legendary principal
dancer and, with Terese Capucilli, co-artistic coordinator, writes
in from Mexico:
"I am really floating
in the joy. With this cloud lifted, it seems possible to see the
enormous expanse of things the Company and Center can now do to
make Martha's work seen again. To have her dancers dancing again.
And to present her work in this new era, in some new and different
ways that show its scope : Her relation to composers, set designers,
to literature, art.
"I am finishing up my
work here, in Mexico, choreographing and teaching. When I received
the news on Friday night (Aug. 23), I went into the company rehearsal
and in some kind of altered state of hysteria told them we had won.
Many other companies of dancers, and of course the enormous world
public has been so much a part of this struggle that it was wonderful
to immediately share it with dancers who are part of that public.
There will be time later to celebrate with the MG company. The best
of which will be when we begin rehearsal for the Joyce season in
January." We asked Ms. Dakin which of the many Graham dances now
affirmed as belonging to the company she would like to see revived:
"Until I talk with Terese
and (executive director) Marvin (Preston) more in detail, I really
could only mention a few of the most obvious great works that we
would plan to bring back into the rep: 'Primitive Mysteries,' 'Every
Soul is a Circus,' 'Phaedra,' 'Deaths and Entrances,' 'Cortege of
Eagles,' 'Owl and the Pussycat.' There are others, very little known,
that we have plans to revive little by little by tapping the experiences
and knowledge of the dancers who were part of their creation and
are a fascinating link to some of Martha's development of the material
in later dances."
We also asked Ms. Dakin
if she had any memories of working with MG that she cared to share.
"Lots of memories: of
working with MG on 'Tangled Night,' carrying the heaviest, longest
staff there was, learning to bourree endless hours. Learning 'O
Thou Desire' in hotel rooms and music practice rooms on tour and
finally performing it at Covent Garden witn Bert Terborg. Watching
Martha's joy and fun in making 'Owl and the Pussycat' -- an original
dolphin/mermaid I was. Working with Martha and latter Liza Minelli
to learn the Emily speaking in 'Letter to the World.'"
Speaking of the World,
in French that translates as "Le Monde," and the Paris newspaper
of that name made a whopper of a boner last week in its report on
William Forsythe's decision to resign from the Ballett Frankfurt
in 2004. Here's the correction, which ran on the paper's editorial
page and which I'll leave in French because it's funner:
"DANSE: Contrairement
a ce que nous avons ecrit dans l'article 'William Forsythe abandonne
la direction du Ballet de Francfort' (Le Monde 29 aout), la porchaine
creation du choregraphe a Francfort, le 11 septembre, n'aura rien
a voir avec les attentats contre le World Trade Center. 'Il s'agit
uniquement d'un hasard du calendrier,' nous a precise Mechtild Ruhl,
sa collaboratrice."
Speaking of boners (hey, I'm just quoting from the press release
-- please don't make me touch the rock again, Mr. Burstein!), that's
what Mark Morris says he got while watching the performatrice Faith
Pilger, guerilla host of the Vim Variety Show. That's what Faith
(also an occasional contributor to the DI) claims anyway (exact
quote: "Wow, I just got a boner."). If you want to test that statement's
veracity, your own vigor, or just put some vim back into your life,
check Faith and company this Friday at 10 p.m., when the VVS returns
to Surf Reality's House of Urban Savages, 172 Allen Street, 2nd
floor, between Allen and Rivington. In addition to Mistress of Multimedia
Faith, the line-up includes Henry Faulkner, Belgian starlet of song
Micheline, human beat box Adam Matta, and chanteur provocateur Mr.
Kam. The F or V trains get you there, and calling 212-673-4182 makes
sure you have a spot.
Speaking of William
Forsythe, French institutions (Le Monde) and of vim, Catherine Deneuve
will be interpreted by goddess of vim Dana Caspersen when the Ballett
Frankfurt brings Forsythe's 2000 Kammer/Kammer to the Theatre National
de Chaillot here, September 25 to 28, as part of the Festival d'Automne
a Paris. For more info on the festival, which also features the
new Anne Teresa de Keersmaeker duet "Small Hands" and other dance
attractions, please click
here.
Speaking of process-servers
(de Keersmaeker), a while back we asked for your input on the question:
Dance -- Process or Product? Most perspicacious answer comes from
my opposite in verbosity Elizabeth Zimmer, senior editor at the
Village Voice, who needed only the subject line of her e-mail to
declare: "Dance is a product which, because of its fragile, flesh-and-blood
nature, is not reproducible and is always in process. So there."
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