
Dancing Through Time
12/28/2023 | 57m 44sVideo has Closed Captions
Dancers re-create Merce Cunningham’s 1979 “Travelogue” and premiere a new work.
Explore the connection between past and present in contemporary dance with Merce Cunningham’s “Travelogue,” last performed in 1979. Reconstructed by UNCSA with the original choreography and featuring music by John Cage and design by Robert Rauschenberg, “Travelogue” is juxtaposed with the premiere of choreographer and faculty member Brenda Daniels’ “The Bloom of Youth.”
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Premier Stage at UNC School of the Arts is a local public television program presented by PBS NC

Dancing Through Time
12/28/2023 | 57m 44sVideo has Closed Captions
Explore the connection between past and present in contemporary dance with Merce Cunningham’s “Travelogue,” last performed in 1979. Reconstructed by UNCSA with the original choreography and featuring music by John Cage and design by Robert Rauschenberg, “Travelogue” is juxtaposed with the premiere of choreographer and faculty member Brenda Daniels’ “The Bloom of Youth.”
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Learn Moreabout PBS online sponsorship[upbeat music] ♪ [upbeat music] ♪ [upbeat music] [gentle music] - Contemporary dance kind of started out as modern dance, which was a reaction to ballet.
So if you think of Isadora Duncan and the early creators of what we think of as modern or contemporary dance, you know, Martha Graham, Jose Limon, Merce Cunningham.
They wanted a style of dance that was freer in a way than ballet, but still rigorous and could address some contemporary concerns that would address issues of, could be a storyline like war or some things that maybe you don't see every day in ballet.
- I came into UNCSA as a ballet dancer and I was happy being a ballet dancer, but I wasn't fulfilled, and so the summer of my sophomore year, I emailed Brenda and I asked her if I could switch, and she said yes, and so beginning of my junior year, I think that I've been able to dig deeper into what it means to be an artist and not just a dancer in the technical sense, but to not lose the connection between being a technical dancer and being an artistic dancer because they're intertwined.
But I had lost all sense of that, and so being in the contemporary program brought me back to refining that.
- "Bloom of Youth".
It's all about the appreciation of youth and beauty.
The dance is divided into three sections.
The very first section, it's very like lifted and proper, but at the same time there's a very playful element to it, which was really fun to perform on stage and you got to interact with your peers, which also was extremely fun to do.
And skipping to the third section, it's just, it was full of tiny little like exciting moments and lots of jumps and hops and lively energy on stage.
You couldn't help but smile when you're doing it.
It was so fun to perform.
- My process for rehearsals, it can tend to change from piece to piece depending on the needs of the piece.
This particular piece, "The Bloom of Youth", I've taught technique a lot to this particular group and I was very happy to get this group to make a piece on because they're a lively group, they're a varied group, they're technically very adept, and they're a joyful group, and that's what I wanted to make my piece about.
It was going to be about joy and about the beauty and vivacity of youth.
Probably for my last 10 pieces or so at UNCSA, I've co-collaborated with the School of Music on having a live musician play.
So I've had pianists, I've had classical guitar, cello, violin, percussion, you name it.
It's really, really nice to have that live music, so the dance and the music are being created in essence in the same time and space.
It adds a magic to the process that you just can't get with canned music.
So the idea started marinating in my head about making this piece for young people, for young dancers and what they bring.
The piece is not really about anything more than the celebration of youth and beauty.
[dancers murmuring] [dancer clapping] [dancers applauding] [sprightly music] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [sprightly music continues] [dancers murmuring] [no audio] [no audio] [gentle music] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [gentle music continues] [no audio] [spirited music] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [spirited music continues] [audience applauding] - Merce Cunningham was my mentor.
I worked very closely with him.
I did not dance in his company, but I taught at his school.
He took my class when he was taking class.
I taught the company, I staged his works, and that's the technique that I teach here at this school.
- Merce Cunningham is definitely one of the most influential choreographers of the 21st century.
- Watching Merce's work is like watching a curious mind on stage.
- Merce Cunningham is an American modern choreographer.
He collaborated a lot with other disciplines.
His partner, John Cage, who also did a lot of more experimental work as a composer, untraditional work, and I think that is what he found in other artists too and why he liked to collaborate with them, because they also did a lot of untraditional work.
- There's a clarity that you just inherently step into by dancing any of Merce's work, and we've seen this realized-- - Yeah.
- By the dancers.
This is something that they can take with them as they move into the dance world and they know this language, they have it in their body and that, you know, it'll make them more versatile.
- Yeah.
- Yeah.
I don't think that most of Merce's work has a story or any sort of meeting behind it.
It's just dance for dance.
- Chance procedures.
Well, it's a method that Merce used to create his dances.
Cage also used for music.
One that I think we are very familiar with or that is very known with Merce is rolling a dice.
So he would have a die and roll it.
He may use the dice to decide how many dancers are going to be on stage at a time, he may roll to decide what facing a dancer is going to do a phrase.
He may roll a dice and say, "Okay, Marcy, you're facing stage right," or, "Andrea, you're facing stage left for this."
So I think maybe we don't know all of the things that he used the dice for, but I think that's an an easy example of the chance procedures and that's not something that we as dancers would see.
It was always something that he did while he was creating the movement or the staging of the dance.
Staging a dance that, as Andrea said, being like an archival project is looking at whatever materials we have of the dance and then actually bringing it back and having an audience be able to see it again and putting it on stage, which for this dance is very exciting because it hasn't even been seen since 1979.
And you know, we were able to bring all of the components back together and put it on stage and allow dancers to be able to learn it and perform it and for audiences to see it again.
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And so dance exists in the time and space in which it's being created, and then it's gone and it doesn't clutter up the world with a whole bunch of stuff.
Only the beautiful memory in the dancers and in the audience.
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Preview | Dancing Through Time
Video has Closed Captions
Preview: 12/28/2023 | 29s | Dancers re-create Merce Cunningham’s 1979 “Travelogue” and premiere a new work. (29s)
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