Alwin Nikolais & Murray Louis: A 1971 Dance Magazine Profile
A 1971 Dance Magazine profile offered a rare glimpse into the philosophies of two titans of modern dance: Alwin Nikolais and Murray Louis. The feature, penned by Tobi Tobias, appeared shortly after both choreographers had relocated their companies to a new midtown Manhattan home following years at Henry Street Playhouse. The article, resurfaced recently by Dance Magazine, continues to resonate with dancers and choreographers today, offering insights into what these “wizards” – as Tobias described them – sought in a performer.
Nikolais, who founded his company in 1951, prioritized a dancer’s internal drive and emotional freedom. “What I look for in a dancer,” he told Tobias, “is a body that responds to the dictates of the mind without undue censorship or coercion. I look for a person so compelled to move that it’s in his substance. I look for bravery—the willingness not always to be caught in the comfort of an arabesque. I look for people who are free, physically and emotionally, at the time of dancing. I want people who are creatively alive.” This emphasis on internal motivation and a rejection of rigid technique speaks to Nikolais’s broader artistic vision, which often incorporated multimedia elements and explored themes of human experience in a technologically evolving world.
The Importance of Doing
Louis, who met Nikolais in 1949 while studying with Hanya Holm – a pivotal figure in the development of modern dance in the United States – and subsequently became a leading dancer with Nikolais Dance Theater, echoed the sentiment of prioritizing experience over endless preparation. While acknowledging the value of training, Louis believed that the true crucible for a dancer was the stage itself. “I believe that the searing moment of being on stage and having to do it, does more for the muscles, to say nothing of the psyche, than hundreds of classes,” he stated. This perspective underscores a belief in the transformative power of performance and the necessity of confronting the challenges of live execution.
Holm, a German expatriate, brought the principles of German Expressionism to American dance, emphasizing emotional intensity and dynamic movement. Her influence on both Nikolais and Louis is undeniable, shaping their approaches to choreography and performance. You can learn more about Hanya Holm’s contributions to modern dance here.
A Partnership Forged in Innovation
The relationship between Nikolais and Louis was a cornerstone of American modern dance for decades. Louis not only performed with Nikolais’s company but also concurrently led his own, founded in 1953, and established himself as a respected teacher. This dual role allowed him to explore his own choreographic voice while remaining deeply connected to Nikolais’s innovative function. Their collaborative spirit and mutual influence helped to push the boundaries of dance, challenging conventional notions of movement and expression.
Tobias’s 1971 profile captured this dynamic at a pivotal moment, as both companies transitioned to a new space in Manhattan. This move symbolized a new chapter for both choreographers, allowing them to expand their reach and continue to develop their unique artistic visions. The article itself serves as a valuable historical document, offering a snapshot of the dance landscape in the early 1970s and the perspectives of two artists who were shaping its future.
Nikolais and Louis’s Lasting Legacy
The impact of Nikolais and Louis extends far beyond their immediate circle of collaborators and audiences. Their emphasis on emotional honesty, physical freedom, and the transformative power of performance continues to inspire dancers and choreographers today. Nikolais’s innovative use of technology and multimedia, combined with Louis’s focus on the visceral experience of movement, helped to redefine the possibilities of dance as an art form.
While both artists are no longer with us – Murray Louis passed away in 2012 at the age of 89 – their work continues to be studied and performed, ensuring that their legacy will endure for generations to come. Dance Magazine’s recent re-publication of the 1971 profile is a testament to the enduring relevance of their ideas and the ongoing fascination with their artistic partnership. You can find more articles about Murray Louis on the Dance Magazine website here.
Looking Ahead: Preserving the Nikolais and Louis Repertoire
Currently, efforts are underway to preserve and reconstruct the repertoires of both Nikolais and Louis. These projects involve working with former dancers and archival materials to ensure that their choreography is accurately transmitted to future generations. The Nikolais/Louis Foundation for Dance, for example, plays a crucial role in supporting these initiatives, providing resources for research, reconstruction, and performance. The foundation also offers workshops and residencies for dancers and choreographers interested in exploring the techniques and philosophies of these two influential artists. Further information about the foundation’s work can be found on their website (though a direct link wasn’t available in the provided sources).
The renewed interest in Nikolais and Louis, sparked by the republication of Tobias’s profile, highlights the ongoing importance of preserving and celebrating the history of modern dance. Their contributions to the art form are undeniable, and their ideas continue to resonate with artists and audiences alike. The work of preserving their choreography ensures that future generations will have the opportunity to experience the power and beauty of their vision. You can read the original article on Dance Magazine here.