April 8, 2015
New York Times
The history of the leading figures of American modern dance can sound like lines from the Book of Genesis. Senior choreographers nurtured company dancers who in due course became choreographers in their own right. To adapt the King James Version, Ruth St. Denis and Ted Shawn begat Doris Humphrey and Martha Graham; Humphrey begat José Limón while Graham begat Merce Cunningham and Paul Taylor; Mr. Taylor begat Twyla Tharp. ...
Usually, however, the next generation has substantially rejected its progenitors’ achievements. There have been exceptions: notably, Limón kept the Humphrey repertory going. The new Paul Taylor’s American Modern Dance project is an effort, as yet half-baked, to include choreographers older and younger than Mr. Taylor; so far it exhibits vague ideas of taste rather than any actual lineage. Lineage, however, is the overt subject of the project started at the Joyce Theater this week by the choreographer Stephen Petronio. Hence its name: “Bloodlines.” It’s as admirable as it is ambitious.
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