Arrive Magazine - January/February, 2009

in real life. Whether it’s the constantly increasing demands on our leisure time or an outdated impression that modern dance is somehow unapproachable or overly intellectual, for some, dance can be a hard sell.

Even a spectacularly successful choreographer like Mark Morris experiences resistance.

“The public attitude toward modern dance hasn’t really changed that much,” he says. “They’re still afraid. Afraid of being bored. Afraid of not ‘getting it.’ Fear not: There is wonderful dancing going on to wonderful music. Watch and listen and don’t decide what it should be like.”

Considered the center of the American modern dance world, New York is home to countless exceptional dance companies, and because modern dance was born in the 20th century, audiences still have the opportunity to see work produced by some of the genre’s pioneers. Though modern dance legend Martha Graham died in 1991, her company is still going strong. Revered choreographers Paul Taylor and Merce Cunningham are still working, and their eponymous companies maintain active performance schedules all over the world. The groundbreaking Alvin Ailey American Dance Theater and Lar Lubovitch Dance Company are celebrating their 50th and 40th anniversaries, respectively, with special events and tours, in addition to their regular performance slate.

NEW at the Convention Center

Hoofing It, Old School If these companies represent a strong and vital connection to the origins of modern dance, the Brooklyn-based Mark Morris Dance Group has been heralded as one of the most important dance companies of a younger generation. Known for his intense commitment to music and for his artistic daring, choreographer Morris this year demonstrates his ability to challenge expectations once again by tackling— and changing—a classic. Romeo and Juliet, On Motifs of Shakespeare gives the timeless tale of star-crossed lovers a happy ending, which is what composer Sergei Prokofiev had originally intended before the idea was vetoed by Stalin’s art committee. Morris’ company tours constantly and performs regularly in