This fifth in a series of portraits of Rudy Perez is akin to the third: an anatomy of a performance and collaboration: The Dance-Crazy Kid from New Jersey Meets Hofmannsthal.
In talking with Rudy Perez about his career’s performances over the last nine months, I noticed how many took place in art spaces. Of course, by the time I met Rudy in 1980, performances—dance and otherwise—were often hosted by galleries—large and small, for-profit and non. What follows are reminiscences of such productions during the years before I left Los Angeles for Denver in 2005, including bits from our conversations earlier this month.
An extension of Part 2 of my interview with dancer-choreographer Rudy Perez. It’s an anatomy of the performance that first brought Rudy and me and my fellows together.
This is a second conversation with dancer-choreographer Rudy Perez.
Last year, in Everybody Dance Now 1, I reminisced about studying with dancer-choreographer Rudy Perez in the early 1980s. Nearly four decades later Rudy agreed to let me interview him.
Most of our readers will know why I haven’t posted here for two months. In preparing for Portrait of Rudy Perez 2: Remain in Light in June, my musical partner Rob Berg and I dusted off music we hadn’t visited in decades.
Two years ago today I began a virtual dialog with acclaimed visual artist Jim Morphesis in which I queried him about the themes in his work and responded in kind.
This fourth edition of Everybody Dance Now involves travel in space and time.
An initial meandering musing on dance: casual, staged, amateur, professional, choreographed, spontaneous, celebratory, liberatory.