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Article Excerpt
Last October, choreographer Douglas Dunn traveled to Stockholm, Helsinki, St. Petersburg, Kiev, and the ancient shrine Angkor Wat, in Cambodia. The trip, which combined pleasure, curiosity, and work, ended back at his childhood home in the San Francisco Bay area. While traveling he contemplated his past and present artistic urges, and took notes in preparation for his new dance. Muscle Shoals, April 3-6 at Danspace Project in New York City.--Editor
What I see in the world I reconstruct in human form.
I suspend, compress, and refine reaction to offset the familiarity of human presence.
When imagined moves meet kinetic limits, new steps arise.
Dancers' differences add choreographic Variability and detail.
Will travel improve my choreography?
At Newark's Terminal B, a circle of thirteen wooden, white-painted rocking chairs. Identical. Free standing. Movable. An unlikely and iconic arrangement. Sculpture? I sit. So do a few others. The women rock. The men do not. Will I emulate this airport anomaly in the dance, inserting contrasting imagery into recognizable context for the sake of surprise? As I rock I see there's more here. On planes we get together in tight-fitting rows to...
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