I heard these words spoken by a venerable black choreographer in reference to the Grand Union, that groundbreaking, influential improvisation group of the early 1970s. The full sentence was something like, “The only reason the Grand Union was more successful (or more avant-garde) than my group was because they were white.” The claim, uttered during the “Bill Chat” at New York Live Arts last Sunday, met with a nod of agreement from Bill T. Jones. I’ve gotten used to his role as provocateur and can take it in stride, but I was surprised by Dianne McIntyre’s statement.
I think the combative tone that Bill T set during this panel, the last of three “Bill Chats,” fostered a kind of reverse racism. I hasten to add that the first two Bill Chats were more driven by Bill T’s curiosity than his determination to “prove something,” and the whole series has served the dance community in that it has sparked both conversation and agitation.
In the first one, titled The Decrepitude of Art, Bill T. sincerely asked Damian Woetzel why Lincoln Kirstein trashed Merce Cunningham and John Cage—along with all of modern dance—in a 1971 letter he wrote that was reprinted in James Klosty’s book Merce Cunningham. Here’s an example of Kirstein’s lambasting: “I am personally very fond of Merce and admiring of John, but I think they are self-restricted to an audience which is both blind and deaf to the orthodoxy and apostolic succession of four centuries…I feel they have missed the big boat and console themselves with charming hand-hewn yachts.”
Woetzel was articulate and impassioned in explaining Kirstein’s embrace of “orthodoxy” as the one true path. And it was moving to witness Bill T earnestly trying to understand. When the talk was over, I saw Woetzel, Heather Watts, and Robert LaFosse showing Bill how Balanchine’s preparation for pirouettes differs from other methods. (You plié only on the front leg.) Of course, there are many true paths in dance, which I tried to say in this posting.
The second Bill Chat mulled over the question, When was the downtown established? Clearly Bill T wanted to open up what could be considered “downtown”: Was Clark Center on 51st Street, where Ailey sometimes rehearsed, downtown? The Cubiculo (which was open to dancers of all colors, including myself)? Could Harlem be considered downtown? Or was “downtown” only the Kitchen, Danspace, and DTW and assorted loft spaces? In my mind, “downtown dance” started with Judson Dance Theater in 1962 at Judson Memorial Church on West 4th Street. (Members of Judson became the nucleus of the Grand Union.) But Bill had specified that he was focusing on the years from 1965 to ’85, so I didn’t bring it up.
By the end of this discussion, Bill T declared that he’d like to ban the term “downtown.” I don’t see the menace in this word because I never felt that downtown excluded anyone who was interested. And certainly many professional dancers had no interest in downtown—then or now. In any case, during this second Bill Chat, I learned a lot about the other pockets of dance around the city at that time.
The third and last Bill Chat, which posed the question “When did the avant-garde become black?” became belligerent as Bill T goaded people both on the panel and in the audience in an unpleasant way. I was the only “white person” who spoke up voluntarily. I will leave it to Eva Yaa Asantewaa to say frankly how the discussion veered off into a domineering, goading dare-fest that was far from the constructive dialog it could have been.
Now, back to Dianne McIntyre and her remark, which I interpreted as denigrating to a group that was consistently mind-blowing during its six-year existence. I feel that the Grand Union’s anarchistic performances caught the feeling of the times, but broke up because the strong individuals within it—David Gordon, Trisha Brown, Steve Paxton, Barbara Dilley, Douglas Dunn—wanted to go their own ways. Without the benefit of longevity and anniversary shindigs, the Grand Union only lives on in what people say about it.
Since most of the dance artists on the panel, including Bebe Miller, Ralph Lemon, Ishmael Houston-Jones, Charmaine Warren, and Bill T, arrived in NYC after the Grand Union fell apart in 1976, I’ve written a simultaneous posting for them and anyone else interested in the heyday of experimentalism in New York dance. Click here to find out more about the legendary Grand Union.