Bettijane Sills, in “Broadway, Balanchine & Beyond,” and Marianne Preger-Simon, in “Dancing With Merce Cunningham,” recall two master choreographers.
In Cunningham, the generation of Judson Dance Theater choreographers found a model who opened up new possibilities for dance in time and space.
In a new dance Mina Nishimura performs movement from a Merce Cunningham solo and then continues dancing with his spirit: “I’m meeting Merce through my body,” she said.
Maia Wechsler’s documentary goes backstage with dancers in a revival of Merce Cunningham’s “RainForest” as they learn to move from those who knew the groundbreaking choreographer.
“Night of 100 Solos,” danced by non-Cunningham dancers, was a feast of movement invention, even if the master’s hand was sometimes missing.
With Merce Cunningham’s playful “Tread” and Rudy Perez’s quiet, defiant “Coverage,” Bloodlines breathes new life into Mr. Petronio’s company.
Jodi Gottfried Arnhold, a dance advocate and a board member at the 92nd Street Y, said her donation was a tribute to the center’s place in dance history.
The company, which has been in flux, programs six world premieres, classics by Balanchine and Robbins, and tributes to Merce Cunningham and Paul Taylor.
By 1940, the year of this neo-primitivist masterpiece (which returns to repertory and the Joyce), Graham’s company had something new: 2 male dancers.