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Leslie Satin and the Dance of Memory

Leslie Satin and the Dance of Memory ART & PERFORMANCE NOTES Ann Bogart’s production of Charles Mee’s bobrauschenbergamerica at BAM. Photo: Courtesy Richard Termine. LESLIE SATIN AND THE DANCE OF MEMORY Nicole Plett Leslie Satin and Dancers, The Construction Company, New York, New York, April 26–27, 2003. ne of the first dances I saw by Leslie Satin, Walking the Plankton in Santa Fe, in 1980, upended much of what I thought I knew about dance. It also brought me into dance criticism. She and I were both much younger then, both products of American university arts education (in my case art history in California in the late 1960s; in her case dance in New York in the early 1970s). What continues to astonish me is that I can still recapture the tone of that “Plankton” dance—its playful, punning title, the structural complexity of its movement themes, its real-world references to divers and diving boards, its dance abstraction. And there was the indisputable materiality of its planks: those pine boards, hefted about by the dancers, defining, redefining, and carving up space, that slotted right into my intense interest in minimalist sculpture. Out of that meeting and shared dance-art connections, our long-lived friendship arose. Walking the Plankton, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Leslie Satin and the Dance of Memory

Plett, Nicole
PAJ: A Journal of Performance and Art , Volume 26 (2) – May 1, 2004
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Publisher
MIT Press
Copyright
© 2004 Performing Arts Journal, Inc.
Subject
Art & Performance Notes
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/152028104323048287
Publisher site
See Article on Publisher Site

Abstract

ART & PERFORMANCE NOTES Ann Bogart’s production of Charles Mee’s bobrauschenbergamerica at BAM. Photo: Courtesy Richard Termine. LESLIE SATIN AND THE DANCE OF MEMORY Nicole Plett Leslie Satin and Dancers, The Construction Company, New York, New York, April 26–27, 2003. ne of the first dances I saw by Leslie Satin, Walking the Plankton in Santa Fe, in 1980, upended much of what I thought I knew about dance. It also brought me into dance criticism. She and I were both much younger then, both products of American university arts education (in my case art history in California in the late 1960s; in her case dance in New York in the early 1970s). What continues to astonish me is that I can still recapture the tone of that “Plankton” dance—its playful, punning title, the structural complexity of its movement themes, its real-world references to divers and diving boards, its dance abstraction. And there was the indisputable materiality of its planks: those pine boards, hefted about by the dancers, defining, redefining, and carving up space, that slotted right into my intense interest in minimalist sculpture. Out of that meeting and shared dance-art connections, our long-lived friendship arose. Walking the Plankton,

Journal

PAJ: A Journal of Performance and Art – MIT Press

Published: May 1, 2004

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