Out of the Mirror and into the Gaga with American-Israeli choreo Ohad Naharin, in performance and in his own words

By Aimee Ts’ao
Copyright 2006, 2019 Aimee Ts’ao

From the Dance Insider / Arts Voyager Archives, first published on November 10, 2006. Today’s re-publication sponsored by Slippery Rock University Dance. To learn how to obtain your own copy of the DI / AV Archive of more than 2000 reviews of performances, exhibitions, films, and books from around the world by 150 artist-critics, including Aimee Ts’ao, e-mail paulbenitzak@gmail.com . Pull-quote from Hendrix added by PB-I. 

“Cover your mirrors or break them. Don’t use mirrors when you dance. Don’t use mirrors when you live. They are very limiting, they are an illusion.”

— Ohad Naharin

“I used to live in a roomfull of mirrors.
All I could see was me.
Well I took my spirit and I crashed my mirrors
Now the whole world is there for me to see.”

— Jimi Hendrix, as sung by the Pretenders

SAN FRANCISCO — Sometimes it is not just the performance of a choreographic piece that has an impact, but also the serendipitous events surrounding that performance that covertly conspire to reshape one’s perceptions of that first viewing. And so my recent experience with the Tel-Aviv-based Batsheva Dance Company turned out to be far richer than I could have imagined before I walked into the Yerba Buena Center for the Arts Theater for the Thursday, October 26 performance of artistic director Ohad Naharin’s “Three.” The next day, both interviewing Naharin and participating in a company warmup gave me further insight into the performance and deepened my appreciation of these exceptional artists.

Granted, I had already been to YBCA the previous Tuesday night to see two films, “Israel Dancing,” a documentary by Czech television and “Boobies,” a dance choreographed by Inbal Pinto and performed by her company. The latter was so long and eclectic, or derivative, that you could use it as the sole visual aid to teach a course on the influence of every dance and theater style of the 20th century on current work. The former featured some interesting footage of various Israeli dance companies as well as interviews with choreographers. The one moment that lodged in my mind was Naharin saying, “Everybody should dance every day, for a few minutes at least.”

Now it’s Thursday night, as I take my seat after conversing with other critics, dancers, and a couple of my teachers in the lobby. It’s quite gratifying to see so many from the local dance community in attendance. “Three” runs 70 minutes, with no intermission. There are three sections (hence the name), which I later learn by searching online are called Bellus (beauty), Humus (earth) and Secus (‘otherwise’ or ‘to the contrary’ in the Latin legal definition; “this…not this” in Naharin’s more poetic rendering). They can be performed separately as well as together, I also read.

The opener, Bellus, is danced to a number of Bach’s “Goldberg Variations,” recorded by Glenn Gould. (I confess that I am a serious admirer of the late Canadian pianist.) Basically the dance begins with a solo section, then a second dancer enters and stands to the side. As the first dancer exits, the second continues with some of the same choreographic material as well as new phrases, while a third enters, then the second dancer exits and the third begins, and so on. There is a pas de deux and a section of ten dancers running and jumping in what I would call an imaginary primitive folk dance. In the final section the movement is both new and recycled from previous sections, but seamlessly woven together, befitting the nature of musical variations. For me, there is one exquisite section in which the dancers stand in a line across the stage facing the audience. Each performer gently raises his/her arms straight up, sometimes from the shoulder, sometimes only from the elbow, at varying times and at varying speeds. There is no readily obvious pattern, though the complexity increases; then they shift into new material that includes different gestures and epaulement (angling the shoulders), executed while they’re still in line. It is so utterly simple yet so profoundly deep and resonates with the spirit of Bach’s music in a mysterious way, visually reflecting its essence without being a slave to the notes, motifs or compositional form.

In Humus, to music by Brian Eno, nine women explore weight, balance and gravity, first in a very slow and purposeful manner then gaining momentum as they walk or run around the stage to another location for another exploration of the possibilities of their bodies.

It is the last part, Secus, that is the most substantial, both in length and choreography. Over the course of 35 minutes, to Ohad Fishof’s compilation of music (Chan Chan, Kid 606 and Rayon [mix: Stephan Ferry], AGF, Fennesz, Kaho Naa Pyar Hai, Seefeel, and The Beach Boys), the dancers go ever so gradually from the chaos of everyone doing something different to the entire ensemble moving in unison. One section has the performers in three groups. One dancer from each articulates a brief phrase or action, then goes to the end of the line while the next dancer does the step in his/her own personal way. Usually there are only two or three repetitions before the dancers move on to new movement phrases. At one point the women on the right turn their backs one at a time to the audience, jump straight up in the air and quickly pull their pants down and up, flashing ever so briefly their derrieres. The men in the middle also pull their pants down, again one by one, but facing the crowd while concealing their private parts between their legs, a la emasculated Ken dolls. In general, the choreography for Secus is brilliantly crafted, from the use of space, to the permutations and combinations of movement phrases and finally to the ominous ensemble marching around the stage, hunched over, grabbing the air and chanting the word “welcome” as the lights dim.

Rarely do I see such emotionally powerful dancers. They are not mere automatons replicating steps. They touch us in a profoundly human way because their movement is born from intensely personal depths.

Batsheva for re-postBatsheva Dance Company in Ohad Naharin’s “Three.” Gadi Dagon photo copyright Gadi Dagon and courtesy San Francisco Performances.

The next morning I meet Naharin at his hotel for an interview. We find a quiet corner in the atrium on the mezzanine and settle in. As we talk for more than half an hour, what follows are only a few main points of our conversation:

Aimee Ts’ao: You seem to resist being called an Israeli choreographer.

Ohad Naharin: It’s trivial information in terms of what I really do. Because [then] you put all the Israeli choreographers in one box. I think the community of choreographers shouldn’t have national, ethnic or religious connotations. I’m also an American citizen, by the way. So you can call me an American-Israeli choreographer. My grandparents were from Russia and Poland, so maybe you can call me a Russian-Polish-Israeli-American choreographer. Being Israeli is not even a race; being Israeli describes geographically where I’m from. It doesn’t tell anything about who I am or what I am.

AT: I’m reading a biography of Gertrude Bell called “Desert Queen.” She was a British woman who lived and worked in the Middle East from the 1890s through the 1920s. It’s all the same problems we still have today. Nothing has changed. It really reinforces for me that the world doesn’t really change that much in a very fundamental way.

ON: That’s reassuring too.

AT: But it’s sad on the other hand.

ON: Very sad, I agree.

(Later, responding to a follow-up question in which I ask his opinion on the Israeli occupation, the wall and Israel’s recent actions in Lebanon, he offers: “The current situation is not new, it shows ignorance on the part of our leaders and many people, and it is distorting the desire for peace. It is the same as what is going on with the current government in the USA. It is not stupidity, this ignorance is intelligent but a one-way one, in which our leaders react only to their own reflections while totally blind to what is really in front of them. It means that they are not in touch with reality — while possessing so much power they create innocent victims, unnecessary suffering, and a much less secure world.”)

AT: What made you start to dance?

ON: I don’t know exactly what you mean, but when I think of starting to dance, it’s starting to live. As long as I can remember I’m dancing. Not dancing in a classroom, but being very aware of my body, my weight, being aware of the pleasure and joy I got out of movement, of the extreme physicality and effort. I think a lot of how we dance today has to do not with just our training, it has a lot to do with how we grew up, our genes, and what we did since we were born, with our body development. Our weaknesses, our strengths, our sexuality, our intelligence, our awareness of the universe has a lot to do with how we dance.

AT: How did you arrive at developing Gaga [as Naharin calls the movement language he uses in daily company training]?

ON: In order to be able to talk about it, I have to decide to make it more systematic than it really is. I’ve decided to talk about two important points, or maybe three. The first point will be my back injury. More than 20 years ago I had a very serious back injury, where I shattered a disc and I was paralyzed in my left leg and I didn’t think I’d be able to dance. I had a serious operation, but I was already choreographing, so coming back from the injury I needed two things: to get my body to move a little bit and also to be able to give other people the keys to the way to move in my work. This process of finding keys for me and for my dancers brought me to deal with my weaknesses and efficiency of movement. I needed to be so efficient because I was so limited. I developed an awareness that had to do with finding where in my body I’m not hurting and where in my body I have unused muscles, unused movement. I discovered my explosive power, the efficiency of movement. I started to really be able to connect between pleasure and pain, and between effort and joy. At the same time I needed to articulate it because I needed to give it to myself and others. So it became a language and a method. That was one, then about ten years ago, almost as a joke I started meeting [with] a group of non-dancers, workers of Batsheva company who are not dancers [but] who wanted to dance. So I started meeting [with] a group of five people twice a week in the morning. Very quickly I realized in these meetings with non-dancers, I learned a lot about movement, movement habits, all the things I described before but in a new light because none of them had the ambition to be on stage. They just wanted to feel better, and to move better and to get stronger. So then Gaga became something that had nothing to do with performing arts, just had to do with the maintenance of your body. Healing your body, finding pleasure and joy in movement and nothing to do with ambitions to be on stage. That became a very serious thing in my life — working with non-dancers. Today we have a venue with hundreds of non-dancers who come to take Gaga classes.

AT: Is it possible for someone to start as a child and be completely trained as a dancer? Or do you need to supplement with other forms?

ON: Right now I think of Gaga as the higher education of dance. You do elementary school, high school and go to college. So Gaga is this part of your education. We do have schools which approach us to teach kids. I’m more interested [in working] with adults. This year we allowed Gaga to be in the curriculum of the performing arts school in Jerusalem. But that is for 17-year-olds and over, not for kids. All the people already have [dance] training. The important idea is to make people excel in the method they already know. It’s not to abolish or cancel or change their techniques. If someone wants to be a ballerina, then Gaga can help her to be a ballerina. You should come and take Gaga class with us. We do it before the show as a warmup.

AT: I wanted to ask you about your choreographic process. Is it something that evolved, that you started in one spot and then the more you did it, you got more ideas of how you work? Not the actual choreography, but your whole way of thinking about it.

ON: Evolved is the key word. It’s evolving. It’s a process that takes me to places I’ve never been before. Otherwise I would be bored with it. The sense of discovery is always there. I think it has a lot to do with how my relationship with my dancers evolved, too. They [have] become more and more meaningful contributors to the process, especially since we started doing Gaga as our training about four years ago.

AT: I wanted to ask about music, because it is obvious that it’s an important element for you.

ON: Yes, yes. There’s something about music and structure and order and mathematics. There is something particular about this Bach piece [“Goldberg Variations”] and the way that Glenn Gould is playing it that the beauty of it really comes from making the music very bare. It’s so beautiful without any decoration. You really feel how the structure of the piece and the rhythm and the logic of it actually can create all the emotions and transport you into this landscape. This music is also almost like the sound of a metronome. Something so clean and minimalistic about it. Somehow meditating with it brought me to create the system of lifting the arms [in the Bellus section], which is really different from the system of the music. But I still feel loyal to it somehow.

AT: You also have a sense of space.

ON: It’s space that gives me the reason I can dance. I consider the importance of space in my existence more than time. I feel time passes anyway. I have no control over time, but I have control over space. I can really change the space and create the space, but I cannot change time and I cannot create time. I’m aware of time, how long it takes to do something, and I make a decision how long I want to do something, but it’s more about how long it takes to go from one place to another and that has more to do with space than with time.

AT: Is there anything else you’d like to say?

ON: Every interviewer asks me that. Yes. Cover your mirrors or break them. Don’t use mirrors when you dance. Don’t use mirrors when you live. They are very limiting, they are an illusion. They have really stopped dance from developing as far as it could go without [them]. That’s for sure. Every time I come to a ballet company to choreograph, I cover the mirrors. At the beginning it is so difficult, but at the end of the process, the dancers are so grateful.
Much later the same day I arrive at the stage door of YBCA, wondering if trying to do the Gaga warmup is really such a good idea. Nearly two years ago, I was hit by a car while walking across a street. The whiplash from being thrown at least eight to ten feet still plagues me and I have had major setbacks from such minor events as picking up a flowerpot. The ballet classes I do every day are at least a known quantity and quality, but what am I really signing on for now?

On stage the company is getting notes from Naharin, and I watch the dancers run through several sections of “Three,” which I saw last night. Finally they get a 15-minute break before warmup and I continue my stretching even more as a prophylactic against re-injuring myself. I need not have worried. Gaga turns out to be very liberating. I can just tune into what my body is feeling and then figure out what it needs. I am listening deeply to what it is telling me about its limits, but it reminds me, too, that there are strengths. Watching Batsheva’s members doing Gaga also shows me why they are so powerful on stage, individually and as an ensemble. By the end of the warmup, my body feels looser and more fluid than it has for a long time. I am positively exhilarated. I’m a convert; I’m thinking about incorporating some of it into my daily routine. You might even say — I’m going ga-ga over Gaga.

Breathless: Pina Meets the (French) Press

By Paul Ben-Itzak
Copyright 2004, 2019 Paul Ben-Itzak

First published on the Dance Insider on June 4, 2004. To find out how you can obtain your own complete copy of the more than 2,000 critiques of performances, exhibitions, books, and films from five continents that the Dance Insider’s 150 critics have covered since 1998 in the Dance Insider Archives, e-mail paulbenitzak@gmail.com . Today’s re-posting is sponsored by Slippery Rock University Dance.

PARIS — “What is the source of your imagination?”

The question comes at the end of Pina Bausch’s Wednesday press conference at the Theatre de la Ville – Sarah Bernhardt, which tonight sees the French premiere of “Nefes” (Turkish for “Breath”), Bausch’s latest site-created work for the Tanztheater Wuppertal, this one developed in Istanbul, where it premiered last year. Bausch, seemingly forever clad in black, leans her chin on one palm, her eyes rolling upwards — not in exasperation, but as if searching her head for the words — as whispy tendrils of smoke spiral from the long cigarette held in her long fingers. (Only Pina Bausch can imbue cigarette smoke with drama; one could swear the smoke is lit with its own follow spot.)

“Desire,” she answers. Then: “The desire to find the essence of a thing.”

Pina Bausch by Robin Hoffman

Pina Bausch by Robin Hoffman.

The essence of Pina Bausch, much imitated but never replicated, is not to be found in a press conference or in the morsels that one out-of-practice interviewer can salvage from such a group interview, which Bausch has consented to so that she doesn’t have to grant additional interviews; “”I’m not a big talker,” she says. “I do all my things to not talk.” (Contrast this restraint with the increasing number of choreographers of the current generation, here in Europe anyway, who seem to create “dances” so that they can talk.) But for the true Pina (and Tanztheater Wuppertal; let’s not forget those droll performer-collaborators) groupie — for whom even a three-hour spectacle, sans intermission, is not enough — the press conference can and does flesh out the process behind the work, if only a little, and amplify the artist’s motivation and creative universe.

This being France, where the schools until recently have discouraged interrogation, your humble correspondent was obliged to get things going, which he did by reminding Bausch of her remarks at the end of Chantal Akerman’s 1983 documentary (screened at the Centre Pompidou recently), “One Day Pina Asked me to….” “What do you want for the future?” the filmmaker asks. Bausch’s shoulders slacken, as if under the weight of the world, and her head dips, as she repeats gloomily, “What do I want for the future? There are so many problems in the world…. Strength.” Noting that some would say the world has even more problems now, I ask her how she would respond to the question today.

“When she asked me that question, I had more time to think of an answer,” says Bausch, dressed in black slacks, turtleneck, and jacket (discarded halfway through the 75-minute encounter), her long hair in the signature loose ponytail. “I feel still very similar because we all need a lot of strength to continue and to do and make positive efforts, and not give up. Our desire doesn’t stop, to build, create, make friendships. It doesn’t change.”

What does change for Tanztheater Wuppertal is the locale in which it creates a new spectacle. Istanbul, however, felt in one respect like a homecoming. The troupe had been there before, with “Der Fensterputzer” (The Window-Washer). “This was one of the most wonderful performances we ever had — I will never forget it,” she recounts. “There’s a scene where a dancer takes out pictures of herself when she’s small, showing them to the public; later on, all the dancers do this. And suddenly, the public also took their family pictures out and started showing them to each other.”

One might be skeptical about whether an artist, even one of the intuitive capacity of Pina Bausch, can come to know a country and city well enough to create a piece about it after a three-week residency. But the premise would be wrong, because in these site-created works, the ville is not so much the subject as the canvas, or even the wind, inflected gestures of place subtly affecting the gestures of movement and the landscape of story. “Nefes” — which uses Tom Waits as well as the Istanbul Oriental Ensemble, among other music, and even retains tango in the shape of Astor Piazzolla — is “not only about Istanbul, it’s about us in this time — what we want to express,” says Bausch. “Each time” the company creates in residency, the resulting spectacle draws “only a tiny bit from where we are working.” But material assimilated in one milieu might show up later in another piece.

“Material” might be too crass a term to describe what Bausch retains from her residencies. For instance, asked about working in Istanbul, she recalls the joy of the Wuppertal performers excited to practice their Turkish — they crammed before the trip — with the local technicians after the first rehearsal. And the interaction she wants to talk about did not involve a cultural heavy-weight, but her driver. The morsel he gave her whose essence we might find in a future work — that’s my conjecture based on how it seems to have affected her, not her promise — is the sadness of this older man when they drove past his house, which he’d sold, and around which the new owners had put a fence. Is that a feeling of loss? Is it a feeling of regret? Of finding it difficult to accept change? Is it a theme that could be expressed to sum up a libretto? Probably not, but this is precisely the matter that Bausch deals in, the inchoate; if we can’t (well, I can’t!) reproduce a linear “plot” after we see a Bausch ballet, we know there was a story, we know it took us from a to b to c (if not z), and that if we’re not changed for life — “What we do is so little,” Bausch acknowledges sadly — we’re re-oriented, or at least emerge askew from the orientation we had before the curtain went up. Before I knew — before I really knew — I wrote a clever item simply listing all the props that Bausch had utilized in a show (in fact, “Der Fensterputzer,” seen at the Brooklyn Academy of Music), but these are a diversion because the drama of a Bausch spectacle comes not from what was seen, but from how it alters your view, whether globally or on an intimate scale.

Also intriguing for her in Istanbul, as a source of inspiration, was that “the women in Turkey are a big mystery…. You don’t see how they look because they are covered, but you have their eyes. And you have a fantasy of how they are… underneath.”

The harsh reality for up to half of all Turkish women, according to a report issued by Amnesty International Wednesday, is that they are victims of domestic violence, including so-called “honor” killings, and that while neither the problem nor its scale are unique to Turkey, the failure of the authorities to adequately recognize and address the crime is. As “Nefes” would seem, from the program description, to treat relations between men and women, I ask Bausch if the piece addresses this aspect of their relationship in Turkey.

“There are many ways we can do a work,” Bausch begins. “I always try to find something that is similar in us — what we have together, why we can understand each other. Why music makes us sad, happy. I try to find a way to speak about this language of being together.” She never addresses something so specific as, in this case, domestic violence. But regarding domestic violence in Turkey, she says, “We know in any part of the world things like this exist.” The local producers who introduced the company to Istanbul, from the International Istanbul Theatre Festival and the Istanbul Foundation for Culture and Arts, “didn’t show us only the good sides, only the chocolate sides. They showed us where the problems are too, opposite sides. We saw poor and strange things.” And regarding the situation of women, she found that apparently, “In Turkey, all the people in important positions are women. I don’t remember any other country where women are so strong.”

The violence of our times is not confined to Turkey, and many artists in dance and theater, one questioner pointed out Wednesday, have responded to this violence by reflecting it in increasingly brutal work, while Bausch, by contrast, has become more and more positive in her creations. Why?

“It’s a reaction to this” violence, she explains. “I react different. There is a reaction because it is so terrible. It’s in each one’s hands. I thought years ago, If I now cannot once smile, I have to give up, I cannot continue. If I can help how you are with other people, to try to keep a balance…. I feel like even difficult decisions should be taken on balance. I don’t know if it’s better to all blow on the same horn about ‘How terrible it is,’ or if we need an effort to remind us it could be different.” If she is responding to carnage with roses (my words), “It’s not an escape, it’s a reaction.”

“I did a lot of things before completely different,” she adds, “but that was a different time and I felt the opposite. What we try to do is so little, and I’m happy about any result because it’s so little in relation to what you want to say. It’s never enough, but maybe that’s why I don’t stop. The past few years I’ve still felt like I can’t do anything, and yet I still tried. It’s so little, and I know. So we just try. We are little people making something small….

“I’m like a child — if somebody does something nice or smiles at me, I’m happy…. When we’re travelling, sometimes we think how lucky we are — we have so many experiences. I would like to spend my life giving back some of this beauty we have received — that I can only do with my company.”

The Theatre de la Ville – Sarah Bernhardt is just across the street from the Seine; across the River on your right, you can see the Eiffel Tower, which now lights up in sparkles for ten minutes every hour after sunset. Cross the bridge just in front of you, and you’re on the Ile St. Louis, where after Pina’s early evening press conference I found myself a spot on the stone boardwalk facing Notre Dame. A soft wind was blowing, caressing the cheek and making the trees rustle like in a Corot painting. Like the wind, the effects of a Pina Bausch spectacle (or a Pina Bausch press conference, it turns out) may be invisible, but the atmosphere has been altered.

Pina Bausch’s “Nefes” (Breath), a co-production of the International Istanbul Theatre Festival and Istanbul Foundation for Culture and Arts, receives its French premiere tonight on the Tanztheater Wuppertal at the Theatre de la Ville – Sarah Bernhardt in Paris, where it continues through June 22. Decor and videos are by Peter Pabst, costumes by Marion Cito, and musical collaboration by Matthias Burkert and Andreas Eisenschneider.  In the Fall, Tanztheater Wuppertal brings Pina Bausch’s 2002 “For the Children of Today, Tomorrow, and the Future” to the Brooklyn Academy of Music. Next spring, the Paris Opera Ballet performs Bausch’s 1975 “Orphee et Eurydice.

Post-modern classics: In Paxton ‘Bound’ and Jingju Peking Circus ‘Women Generals,’ a tale of two countries’ attitudes towards dance preservation

paxton boundJurij Konjar in Steve Paxton’s “Bound.” Nada Zgank photo copyright Nada Zgank and courtesy Theatre de la Ville.

By Paul Ben-Itzak
Copyright 2003, 2119 Paul Ben-Itzak

(To celebrate its 20th anniversary as the leading artist-driven publication in the United States, the Dance Insider and Arts Voyager  is reflecting on Post-Modern classics, as captured by Dance Insider critics in performances around the world over the past two decades. This Flash Review from the Dance Insider Archive was first published on October 26, 2015. To find out about purchasing your own copy of the DI’s Archive of more than 2000 exclusive reviews by more than 150 leading critics of performances and art exhibitions on five continents over the past 20 years, e-mail paulbenitzak@gmail.com . To become a DI/AV sponsor and receive linked sponsor credit in this space for as little as $36, you can make a donation through PayPal in US $ or Euros by designating your donation to paulbenitzak@gmail.com, or write us at that address to learn how to donate by check. Today’s re-publication of this Flash Review is made possible by Freespace Dance.)

PARIS — What do the aesthetics of Steve Paxton and the Peking Opera have to do with each other? When performed by, respectively, Jurij Konjar and the Jingju Theatre of Beijing, as they were last week at the Theatre de la Ville – Abbesses and the Theatre de la Ville Sarah Bernhardt, virtuosity and engagement.

When I asked His Judson Eminence after last Thursday’s opening of the 1982 solo “Bound” (continuing through October 27) what distinguished it from his earlier work, he answered: “Spectacle.” When I asked which parts of the 55-minute piece were up to the performer to create, he smiled like the Sphinx and answered: “The dance.” While the humility of this response, from the inventor of a form of dance, Contact Improvisation, wildly popular in France but for which the 76-year-old creator no doubt gets no royalties, is admirable, it does raise the question of variability: In the hands of a less expressive, inventive, intuitively droll, supple, smart, and well-trained interpreter of Paxton’s intentions and design than the 37-year-old (for improvisation, the perfect conjuncture, in which mental maturity and comprehension still has at its disposal a capable vehicle to execute its intentions) Konjur, who trained at Anne Teresa De Keersmaeker’s P.A.R.T.S. school in Brussels before working with the Ballets C de la B and Boris Charmatz, might the choreographic elements have been less imaginative? The question is partially answered by the slim results when La De Keersmaeker herself apparently left her much younger charges to come up with the moves for her recent “Golden Hours.” And the dancer-dancemakers for that farce (in the ‘rip-off’ sense of the term) had a whole text to work with, Shakespeare’s “As you like it.” But if Paxton doesn’t give his performer a text per se, he definitely furnishes a rule book. It’s easy to forget when Contact Improvisation has become the biggest excuse for aimless and indulgent noodling around that dance has ever seen, but his system for creating dances is as rigorous as those devised by Petipa, Balanchine, and Forsythe. (And a lot more original than recent Forsythe, which regurgitates Merce Cunningham and Trisha Brown.) If the choreography is not set, there are still, Paxton explained to me, musical and scenographic parameters, or put more simply certain tasks that the dancer has to undertake at certain times. Imagine this structure as a scaffold. How the dancer gets to the top (or the bottom from the top) is up to him, but he has to make contact with certain points at certain junctures and arrive by the end at a fixed terminus.

For “Bound,” the physical terrain was circumscribed from the beginning by four planks marked along the side by different colors of tape later sometimes predictably arranged as see-saws, but also arrayed and balanced creatively as abstract art. A screen upstage center became a tapestry whose projected kaleidoscope formed a military pattern when Konjar stood in front of it, probably because of the fatigue formed a military pattern when Konjar stood in front of it, probably because of the fatigue shorts he sported over red pants, the ensemble rounded out by a white shirt, Lennon-esque shades and a bathing cap which made him look like an Olympic swimmer circa 1920, the shorts revealed after he stepped out of a box which had been hung from his shoulders by suspenders so that it covered his mid-section. When I asked Paxton later what differentiated “Bound” from his pioneering Judson work, he answered that he wanted to do more “Spectacle,” and Konjar sets that tone right away. This is no blasé post-mod performer who seems to be pretending the audience isn’t there, but an interpreter determined to engage us, to get us to shut off our cell phones and stop zapping and surfing and watch one man taking the time to create a world out of very few elements, pointedly utilized. Mid-spectacle, he brings onstage a wooden rocking chair and a darker mahogony newspaper bin simply to rock them one by one as he sits between them in his box, only his trunk visible. This arrived, as I recall, during a musically quiet moment, but even when it came to responding to the pure music, the Bulgarian State Women’s Choir, and sound effects — resembling first traffic noise, later garbled military commands to a helicopter pilot — Konjar, as directed by Paxton, once again defied what one often expects from a post-modern dancer and actually seemed to be responding to the score, moving lyrically to the Bulgarian adagio sections, swerving around in traffic to the car noise, parading during martial horn music, and frantic and alienated during the military maneuvers.

I was even more startled about the eminent watchability and appeal of this 55-minute piece when Paxton informed me afterwards that for its creation, he had no “outer eye.” It was mostly “thought up” while he was on tour, ahead of the Rome premiere. Given that the choreography can dramatically diverge from night to night, he explained, he was also lucky in the reconstruction of the dance to have recovered two videos capturing radically different outcomes.

This leads to my one gripe, which has less to do with Paxton than the dance world’s lack of care in preserving its own legacies. If one is to believe the promotional material for “Bound,” if not for the fortuitous discovery of the video recordings, this master-work which opens up a multi-dimensional understanding of a critical dance forefather would have been lost. It was not notated. Contrary to the ludicrous, ill-informed, ignorant assumptions proffered by the journal of the Festival d’Automne, which co-produced this presentation with the Theatre de la Ville, it is not a given that there’s no such thing as preserving the original version of a dance. Not just ballet but also modern mavens like Martha Graham and Paul Taylor have been notated. With a dance whose kinetic core is flexible, the task is not so different; the notator would record the ground rules, structure, and props, and then attend several performances or rehearsals to save the variants, already an improvement on video because the methode de travail itself is preserved, not just one performance.

And yet in dance, there seems to be not simply an illusory exaltation that the art is ephemeral, as if this impermanence is a value to be vaunted and boasted about because as each performance is gone forever when it’s over, you will never see it again, therefore, you have been privileged, but a confounding of the uniqueness of a performance and of an interpretation with the oeuvre itself. Paint is liquid too, but what painter would be happy if his work never dried and kept getting smudged over the years? Freedom of interpretation (by interpreter and audience) can only endure if the work itself is preserved and lasts.

Jingio Theatre Peking Theater CircusJingju Theatre’s Zhang Shu Jing in “The Women Generals of the Yang Family,” directed by Shen Jia Xin. DR photo courtesy Theatre de la Ville.

While they certainly didn’t have video in the 12th century, on Wednesday at the Theatre de la Ville – Sarah Bernhardt the Jingju Theatre of Beijing and director Shien Jia Xin were somehow able to resurrect the nearly thousand-year old but surprisingly contemporary “The Women Generals of the Yang Family,” no doubt in part because while there may not be a Judson department at Juilliard, there’s still a Peking Opera school in China. Like Paxton, Jingju primes the delectably slow and like Konjar, its interpreters prime the well-articulated and etched gesture. The whole first half of the two-hour, 15-minute show was taken up with his warrior brothers and widow (the divine Li En Jie, who doubles as a sort of narrator in high-pitched song) summoning up the courage to tell the 100-year-old Wang clan matriarch (the sprightly Shen Wen Li) that her grandson has been felled by an enemy arrow defending the country from invaders, and in the grandmother’s campaign to convince the prince to let her and the eight widows of her other warrior grandsons lead the campaign to repulse the enemy. And it took almost the whole second half for an expeditionary squad lead by Li to find the high-mountain drawbridge which allowed them to surprise the far more numerous invading army. If this part was punctuated by some acrobatics — somersaults and meticulously choreographed sword, spear, and bow and arrow battles, often crowned with flourishes of brown peacock feathers streaming from the contestants’ helmets — the dose, particularly when the sublimely graceful warrier the general Zhang Shu Jing was charged with the battle-task, was parceled out just sparingly enough so that one never got the impression that the story was just an excuse for the circus tricks and schticks. And the athleticism wasn’t confined to these displays; when the performers weren’t walking about with splayed feet, they were balancing on high platforms.

Not only was Li’s singing/story-telling exquisite, so was her acting, both in an opening segment in which she struggles to keep her husband’s death secret from the grandmother, reluctant to lift a ceremonial glass of wine for a birthday toast to a man she knows is dead, then faltering before being lead off, and in a sword and spear fight with her son (Chen Yu) to determine whether he’s capable enough to join the crusade. “Mom!” he complains as she continues to dominate. “How am I going to be able to join the expedition if you don’t let me win?!”

Holding up the comedy element was Li Yang’s invading king, whose frustrated sputterings from beneath a long black beard and behind a heavy mask or very thick make-up as the women continued to defeat his male minions sounded a lot like Curly Howard.

One of the many miracles from all the Peking-Opera trained performers was that their facial expressions managed to be nuanced and expressive under layers of make-up so thick that if their mouths hadn’t clearly been moving, I’d have thought they were wearing masks. The dramatic oomph of their delivery was helped by the immaculate timing of the music and sound effects being played — humbly, offstage — by Ma Shuai, Qin Qin, Zhen Rui Fen, Wang Xiao Dan, Ai Zao Sheng, Zhang Ye, Ding Rui, Yin Hang, Sun Yu, and Wang Song Hai. Indeed the timing was so well-synchronized with the onstage performers, at first I thought it was a recording.

During the intermission, the Chinese-Frenchman sitting next to me — judging by their presence in the audience, the Theatre de la Ville did a great job of promoting this engagement, part of a mini-festival “Focus on China,” among the French Chinese community — told me that for the Chinese, respecting one’s parents is vital, moreso than in Western cultures. Comparing the deliberate preservation of this 1,000-year-old oeuvre with the accidental preservation of the work of a vital American ‘ancestor’ like Paxton seems to confirm this observation.

Thanks to Denise Luccioni for her help in understanding Steve Paxton’s ground rules, and as always to Robin Hoffman for help in understanding the importance and fundamentals of dance notation and preservation.  

The Lutèce Diaries, 20: American post-moderns in Paris or, how Rosemarie Castoro carved out hallowed spaces in the sexist space of the art world

Rosemarie Castoro in Beaver's Trap studio performance 1977 polaroid estate of rosemarie castoro jpegRosemarie Castoro in a 1977 studio performance of her work “Beaver’s Trap.” Besides the sexual innuendo, the title also refers to the English translation of the artist’s Italian last name. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

by Paul Ben-Itzak
Text copyright 2019 Paul Ben-Itzak

“I’m not a minimalist. I’m a maximist.

— Rosemarie Castoro (1939-2015)

Like what you’re reading? Please let us know by making a donation so that we can continue this work. Please designate your PayPal donation in dollars or Euros to paulbenitzak@gmail.com , or write us at that address to learn how to donate by check. Special thanks today to DI co-founder and long-time supporter Jamie Phillips, who like Rosemarie Castoro created art for many years on the 100 block of SoHo’s Greene Street — where the Dance Insider was born in 1998.

PARIS — The first headline above echoes the way a mentor has characterized these meanderings. If I plead guilty, I could still do with more of Gene Kelly’s aplomb and serendipity in dancing with, wooing, and landing Leslie Caron from the quays of the Left Bank to a Beaux Arts Ball misplaced on the Butte Montmartre. Instead I keep feeling like Henry James’s Lambert Strether, who in “The Ambassadors” has more luck scoring a set of Victor Hugo at a bouquiniste’s Seine-side stand then scoring with an older Frenchwoman who finally rebuffs the middle-aged Boston Brahmin with a dose of Old World cynicism. So after a month — that’s a month too much — of having my American optimism sucked up by the Old World specimen in question, on Saturday I limped up the hill to Belleville, down the hill to a Place de Republique where 30 yellow-flag waving Kurds outnumbered 20 yellow-vest brandishing demonstrators and into the narrow ancient streets of the Marais. If there was too much American signage for my taste — I don’t care if your window boasts that “Our donuts are really fabulous,” would anyone really pay 6 Euros for a krispy-kreme sized beignet and a thimble-scale cup of coffee? — the angst produced by encroaching American cuisine was worth it for the delight of dancing with the Judson-era American artist Rosemarie Castoro on the four floors of the Galerie Thaddaeus Ropac (it’s like a mini-museum except it’s free), where through March 30 curator Anke Kempkes has mounted an extraordinary multi-media (Castoro excelled in all of them) exhibition on the artist who was like Yvonne Rainer, Trisha Brown, Robert Rauschenberg and Allen Ginsberg rolled into one.

rosemarie castoro photo portraitArchival Photograph, “Rosemarie Castoro Portrait,” 1965. Vintage B&W photograph. 19.25 x 15.5 cm (7.58 x 6.1 in). (RC 1121). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

Just emerging s I am from break-up, you-just-waisted-my precious-time hell (see above; and click here if you might be the cure), of course the work that moved me the most in Rosemario Castoro: Wherein lies the Space was a quotidian journal that Castoro kept in 1970, when she was in the process of breaking up with fellow artist Carl Andre. (Who would later be charged with — and acquitted of — second-degree murder in the 1985 death of his wife Ana Mendieta after she plummeted from the window of the couple’s 34th-floor apartment at 300 Mercer Street. Mendieta was recently the subject of a major retrospective at Paris’s Jeu de Paume museum; Andre — many of whose exhibitions since Mendieta’s death have been picketed — is included in the Ropac Gallery’s current minimalism show at its space in nearby Pantin, where it hosts a conference on the subject Saturday. RSVP to laura@ropac.net.) Using a stop-watch, Castoro notes how much time simple tasks like opening the door to her studio or carrying a canvas from point x to point y take. If the language is straightforward, the emotional suffering she was going through is nonetheless suggested; for example, in the fact that it takes her 35 minutes to eat an ice cream cone.

Rosemarie Castoro Self-Portrait in Studio 1980 jpegRosemarie Castoro, Self-Portrait in Studio 1980 jpeg: Rosemarie Castoro, “Self-Portrait in Studio,” 1980. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

In addition to writings, sculptures, paintings, and installation photos, the exhibition also includes the projection of Yvonne Rainer’s 1966 “Carriage Discreteness,” which features Castoro walking determinedly across the stage in its premiere moments, whence my one frustration: Instead of showing the video in a darkened room as is customary, the gallery projects it on a white wall in broad daylight, making it difficult to actually see anything. (You can watch an excerpt here, but ignore the text below the clip as there are some inaccuracies.) The accompanying documentation helps situate Castoro in her milieu and in her epoch: A blow-up of a gathering at her home at 112 Green Street includes an appreciation from Lawrence Weiner, while the program from a performance by the New Poets’ Theater at the Unit Playhouse (157 W. 22nd Street) — with a $1 admission price to see a stellar cast — offers this quaint promise: “In case of sufficient demand there will be a further performance at 10h15 p.m.”

Rosemarie Castoro_Group Photo_Studio in Soho_New York_Polaroid_1969_© The Estate of Rosemarie Castoro_Rosemarie Castor, Group Photo, Studio in Soho, New York, 1969. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Speaking of demandes — in French, “requests” — mine to the Ropac Gallery for a few images was met with an unexpectedly generous helping of photographs of Castoro in performance and of her most famous installations, sculptures, paintings, and poems. So I think I’ll just shut up now and let Rosemarie Castoro dance across your screen. (If you’re in Paris through March 30, you can even score your own images and informative text; in lieu of the standard one-page information sheet, the gallery offers visitors a free, generously illustrated booklet.)

Rosemarie Castoro studio polaroidRosemary Castoro, Studio Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

… But not before a little rant: Given all the Judson-era hype to which I’ve been exposed since I began focusing on dance 27 years ago, including six living in the heart of Greenwich Village (next door to Electric Lady Studios), I was troubled that I’d never heard of Rosemarie Castoro until stumbling into a gallery in the Marais…. and that it took an astute Parisian curator to make up for the superficial curating of a museum in Castoro’s hometown, the Museum of Modern Art, which completely left her out of all the hype it sent out on its recent Judson exhibition. Besides MoMA’s curatorial laziness, a hint to the reason for the larger historic oublie is provided by an Art News cover displayed in the Ropac show which, over a group photo of female artists, ironically asks the question: “Where are all the good male artists?” An answer is suggested by a comment the choreographer Sara Hook made years ago at a New York roundtable discussion on the challenges faced by female dance-makers. In her own eclecticism an artistic descendent of Castoro, Hook pointed out that whereas a male dance star retiring from the stage can simply announce, “Voila, I’m a choreographer,” and the critics who ogled him on stage flock to see his work (that last part is my analysis) female dancers are expected to prove it. In other words, they don’t shout as loudly as their male counterparts. (Living up the street from the Centre National de la Danse, which recently changed its name to the Centre National for l’Art and la Danse — a standard clearly left out when the building, which looks more like a prison than a dance or art center, was designed — I also have to ask why, as far as I can see by its programming material, a center for *art* and *dance* has completely left Castoro out, missing a golden opportunity to coordinate performances with the Ropac, whose Pantin facility is right across the Ourcq canal from the CN “and A” D. Do we really need three months of Xavier Roy — another over-hyped male choreographer?)

All the more reason to shout about Rosemarie Castoro.

Rosemarie Castoro_Studio Performance_ca 1971_Polaroid_© The Estate of Rosemarie Castoro_300dpiRosemarie Castoro, Studio Performance, circa 1971. Polaroid. Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

rosemarie castoro performingChoreography and performance featuring Rosemarie Castoro and Frank
Calderoni, February 11-18, 1963. Pratt Institute, 1963. Vintage B&W photograph. 5.1 x 7.6 cm (2 x 3 in). (RC 1130). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Rosemarie Castoro flashers third avenueRosemarie Castoro, “Flashers.” Installation view at 780 Third Avenue, New York, 1984. B&W print on photo paper. Print: 11.7 x 17.8 cm (4.6 x 7 in). (RC 1049). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro.

rosemarie castro socrates sculpture parkArchival photograph: Rosemarie Castoro, “Ethereal Concrete,” Socrates Sculpture Park, Long Island City, NY. Installation view with children, 1986, 1986. Vintage B&W photograph, 35.4 x 27.7 cm (13,94 x 10,91 in). (RC 1149). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

rosemarie castoro painting oneRosemario Castoro, “Red Blue Purple Green Gold,” 1965. Acrylic on canvas, 182.2 x 361 cm (71.75 x 142.12 in). (RC 1118). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. ©The Estate of Rosemarie Castoro.

Rosemarie Castoro wordsRosemarie Castoro, “Untitled (Concrete Poetry),” 1969. Prismacolor marker and graphite on graph paper. Paper 27.9 x 21.6 cm (11 x 8.5 in). (RC 1107). Courtesy Galerie Thaddaeus Ropac, London · Paris · Salzburg. © The Estate of Rosemarie Castoro. Another Castoro poem, similarly presented and displayed in the Ropac show, pays tribute to the conscienteous objector.

rosemarie castoro in front of wall spring street padPortrait of Rosemarie Castoro in front a ‘Free Standing Wall’ in her studio, Spring Street, New York, 1970. Vintage B&W Polaroid Photograph. Dated on verso: “1970.” 8.26 x 10.80 cm (3.25 x 4.25 in). (RC 1148). Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg. ©The Estate of Rosemarie Castoro.

In case the Castoro exhibition has you thinking “Ca y est, women artists are finally getting their due alongside their male equals (and inferiors),” think again: Walking up the Street of the Old Temple in the Marais after catching the show, I ran smack dab into the most Lilliputian park in Paris, and whose one remotely adult attraction, a solitary ping-pong table, was surrounded by the smallest of those ugly green ‘off-limits’ construction barriers that continue to blight the city. A park named after the great surrealist artist Leonor Fini. Well, half-named after Fini, who shared the billing with the 17th-century salt tax profiteer who owned the property before the city bought it to house the Picasso museum. That ended up getting a much more luxurious space, while Fini — the woman — got (half) the left-overs. (The name of the park is something like “The Square of the Old-Salt-Leonor-Fini.”) Meanwhile Picasso, the second half of whose oeuvre any child playing in the Old-Salt-Leonor Fini square could scrawl or make with play-dough, is currently sharing his museum with yet another male artist, Alexander Calder, neither of whom can hold a candle to Fini. The fight is not yet over.

The Jill Johnston Letter, Volume 2, Number 6: Complete Surrender

jill dancing for warholFrom the DI Archives and the recent Museum of Modern Art exhibition Judson Dance Theater: The Work Is Never Done: Andy Warhol, “Jill and Freddy Dancing,” 1963. 16mm film (black and white, silent), 4 minutes. Original film elements preserved by the Museum of Modern Art Collections of the Andy Warhol Museum, Pittsburgh, and the Museum of Modern Art, New York. Contribution the Andy Warhol Foundation for the Visual Arts, Inc.

By Jill Johnston
Copyright 2007 Jill Johnston

First published on the Dance Insider on in 2007. Today’s re-publication is made possible by Dance Insider co-Principal Sponsor Freespace Dance

When Gerald Ford died I learned that his wife Betty was once a Martha Graham auxiliary and that she had her own dance company in Grand Rapids. When her husband became president, her new press secretary asked her what she could do for her, and Betty said, “I don’t know, what am I supposed to do?” I clipped the color photo of her at the Washington Cathedral service being escorted to her seat by Mr. Bush, whose wife and parents look on around him. It’s a great shot. You can count 24 people in three rows, eight of them the living presidential couples, all in identical photo-darkgray suits and dresses, and turning to look at the new widow, except for Hillary, who hasn’t turned and is staring downward. She’s wedged between Bill and Chelsea, only a piece of her head visible. Barbara Bush, in the forefront, tilts hers slightly and wears an expression of pained sympathy. Laura Bush looks a little stunned, like, “Is that what’s going to happen to me?” Betty is really old and not her former self. I can see her dancing though. I suppose after she was done with Martha and Grand Rapids she did the Chubby Checker Twist like the rest of us. I was once an auxiliary of sorts myself, however to Martha’s competitor Jose Limon. At a holiday season party someone told me they thought I had been a dancer. I said no no, I was an auxiliary. In that capacity all I did for Jose, besides taking his classes on West 57th Street for four years, was fill in for one of his three premier females at a single rehearsal. Betty Ford first studied with Graham at the Bennington Summer School of the Dance — in 1936. A decade and a half later, when the Summer School had moved to Connecticut College in New London, I endured some classes with Graham myself, easily a terrifying experience. So when someone dies, you find things out. I scan the papers very selectively. In the case of Saddam Hussein, hanged by our government (to be elliptical about it) December 30, only four days after the death of Betty’s husband Gerald, I plundered the write-ups on him for scraps describing his early life, and found a whole “narrative” of about a dozen unsurprising facts. He was raised by a class of landless peasants, and his father deserted his mother before birth. Are these reasons to kill people? Not the way we see it. But Hussein’s first job in politics, when he was 22, was a commission to assassinate, along with nine other youths, the Iraqi general then ruling the country. “Bloodshed,” the report I read went on, “became the major theme of his life.” Rooted in a culture of tribal violence, Hussein reached the summit of his tradition upon becoming dictator — an equivalent aspiration to the “presidency” for boys in democratic systems. A great hero of Hussein’s was Stalin. We have an analogous blood-group in our lawless subculture of mafias where the gang-head is anointed “godfather.” Dictators, unlike presidents or prime ministers, have been able to murder their enemies with impunity. Now things have changed. Presidents can kill dictators and behave just like them. In order to kill with impunity however, the president has to go abroad, or I should say send people abroad to do it for him, to the dictator’s territory. He can’t do it at home yet, i.e., that we know of. He can only imprison people without due process. If JFK had been able to assassinate Castro, as planned, wouldn’t we simply have annexed Cuba? Why are we saying we want Iraqis to take over their own country after we condemned to death the man who had held them, more or less, together, and we continue to occupy them? Mr. Bush doesn’t know. His mission was accomplished when Hussein was hanged December 30. The man on whose behalf he acted is standing right behind him in the Washington Cathedral photo — his father Bush Senior. Has anyone forgotten the claim that Saddam wanted or tried to assassinate his father? Are we living in father/son dramas called governments or what? Imagine all the stories swirling around these photo-darkgray outfits. Did Betty give up dancing for the fatherless Gerald? Yes Gerald’s father, like Hussein’s, deserted his wife too. And Gerald, similarly to his stepfather after whom he was happily renamed, was asked to supplant a father called Nixon when Nixon betrayed his country. Wouldn’t Betty just have been marking time until Mr. Right came along? Dancing was never very important. And girls as ambitious as Martha Graham were rare as lemons in an orange grove. Her original competitor was not Jose Limon of course but another rare fruit, Doris Humphrey, who became Jose’s advisor when an arthritic hip stopped her from dancing. I would have been a Humphrey auxiliary had hip replacements been available then. I was solidly in the Humphrey camp, where we tribally despised the “Graham Crackers.” It would never have occurred to me that nice people like Betty were over there — across town on the East side — hugging the floor tortuously in emotive contractions. In Jose’s studio, with Doris looking on, and despite Jose’s Mexican earthiness, we were celebrating the air. It was out of the air finally that I landed and broke a fifth foot metatarsal, leaving Jose’s studio for the greater world — a room in the 42nd Street Library called the Dance Collection, which was tucked into the Music Division. One day Martha Graham’s longtime associate, advisor, musical director and publisher of the Dance Observer, Louis Horst, came into the library and asked me to write a review for him. The rest became my history, and I was no longer an auxiliary. When JFK was assassinated a few years later, the four living presidential couples and two widows in this memorial photo were leading auxiliary lives, i.e. in waiting for their futures. When Betty became first lady she lobbied successfully and proudly to have Martha Graham receive the Presidential Medal of Freedom. One future I awaited myself would involve trying to understand who these people were, or what they would become, like was president or a president’s wife a calling, a directive, an accident or what? When JFK was elected — the first and nearly the last president I ever voted for — all I thought was that he and his wife looked like a beautiful couple. How could we go wrong? The Cuba mess? Heard of it; never tried to find out what it was really about. Vietnam? Very distant. The assassination? Got extremely interested, but the news behind the news was not available, and the details were soon exhausting. Quite by chance, I commemorated the event the day of the funeral with a “dance.” Curiously, in the 1960s I became a dancer, just by saying so if I wanted to — in the Dada tradition then undergoing a renasissance. I mean you could walk down the street, or do much less than that, and advertise it as a dance. Just living was dancing. I was out at Billy Kluver’s house in New Jersey for some reason, and since Andy Warhol was there also along with his camera, he shot me running around in circles in the November mud of Billy’s backyard wearing tall black boots, cutoff denims, a red jacket and a beret. A rifle, presumably Billy’s, was slung over my shoulder. At the same time, the funeral was appearing on TV in Billy’s living room. That may have been a good place to stop, but life does move us along. We know about Betty’s traumas when she was first lady and in the aftermath. Right behind Jimmy Carter in the Cathedral photo is his wife Rosalynn, her face half hidden, a sturdier woman than Betty but not nearly so fun-loving. Is that Mrs. Reagan standing behind her — in shades, at the end of the first row? I’m sorry but I’ve crossed her off, have tended to think she’s dead. I loved the California funeral on TV for her husband, though I was surely one of those who thought it was pretty dopey to elect an actor president. By now I have figured out that it’s not their fault, becoming president, but their father’s. And keep going back to the fathers’ fathers. The written JFK history is rich with them, especially his immediate one. If Hillary becomes president, and I had hoped not to mention it here, who would we blame? Her husband I guess. A number of wives around the world have pursued their husbands into the graves of presidencies. We think men die in the Senate, but look what happens to them as top gun. I voted for Bill, then regretted it the moment he followed his military into the “don’t ask don’t tell” crime against truth and thousands of our fellow citizens. Still, I favored him for having never known his father, who died in a car accident before his birth. Like Saddam and Gerald, he had special credentials for any leadership sweepstakes. I had hopes for him. But I was fooling myself because behind the unknown father stands their fathers’ fathers anyway, and if not them the whole idea of them from 4,000 years or more back. Is Hillary going to save us from this? Is it supposed to matter that she voted for the “war”? Of course it does. It means she wasn’t thinking. And if nothing else, we need someone who thinks. Which brings me to Obama, another fatherless boy, but so exotically it gives you a tremor. I cast my preemptive vote for him in a book I wrote titled “At Sea on Land,” published in 2005, having read his first memoir, “Dreams from my Father.” After a peanut grower, an actor, a lawyer (a couple of whom had also been governors), a navy pilot and a businessman, why not a writer? I know I know, Obama didn’t vote for the “war” because he wasn’t there to vote, but I’m dead certain he would not have. Now people are saying he doesn’t have enough experience to be president, but time is running out for us; and a born leader, if you recognize one, walks right into experience knowing at least that he is having one. Never mind the charisma, or admit it if you like: he’s warm, he cares about people, and he thinks internationally. If he wins, I’ll dance in complete surrender — on my new titanium hip. Lately I’ve resembled the great choreographer Doris Humphrey in her hip dotage, leaning painfully on a cane, a woman with no chance of ever dancing again. I say “complete surrender” advisedly. I found the phrase in an article about the discovery of a long-lost brother by the English novelist Ian McEwan. The story rests in my favorite realm of permanently lost fathers. A wartime mother from Reading, England, in 1942 put a want ad in a local newspaper offering her one-month-old son for adoption. Soon she was handing her newborn baby over to strangers on the Reading railroad station platform. The mother, Rose, had been having an affair with Ian McEwan’s father David, an army officer, while her husband Ernest was away at the front fighting. Two years later during the 1944 Normandy landings, Ernest died. And Rose married McEwan, with whom in 1948 she had Ian, the future novelist. The baby handed over at Reading railway station had his father’s name, David. The name of the couple adopting him was Sharp, so he became David Sharp. His new mother was another Rose. Eight years later this Rose would die. When David was 14 he discovered he was adopted, and was told only that the family “got him out of a newspaper.” Later he found the clipping, a priceless (looked at in a certain way) kind of “certificate” of origins. Squeezed between ads for musical instruments and secondhand furniture, it reads: “Wanted, Home for Baby Boy, age one month; complete surrender. — Write Box 173, Mercury, Reading.” (My italics). In later adulthood David contacted a tracing service, and located his lost family. A photo in the article shows Ian and David happily together. This may seem unrelated to my color photo of the solemn living presidents and their wives and two widows at the Cathedral ceremony for Gerald Ford. But it does explain my title, a sentiment to which I believe I should aspire.

©Jill Johnston. Previously published on www.jilljohnston.com. To read more about Jill Johnston, please click here.

Everything you always wanted to know about Dance & Sex but were afraid to ask, 2: Corpus Displayum — A Dialogue on the Power of Sex in Dance

By & copyright 2000, 2019 Asimina Chremos
& Paul Ben-Itzak

(To receive the complete article, first published on May 25, 2000, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.)