Inner Enchantments (1991)

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This week we arrive in 1991, and look at the first of three solos that Peggy commissioned from dancer and choreographer, Molissa Fenley.

“Like all of the solos I commissioned from her, Molissa Fenley’s Inner Enchantments is a dance she made with the intention that both she and I would have it in our repertoires. Mo stayed at least one rehearsal ahead choreographically so she could work at her own pace and then teach me the material she had formalized, always dancing with me. I loved that, because her impulses were very different from mine and emulating her gave me a way of getting closer to her style.

Inner Enchantments is danced to Music in Twelve Parts: Part 1 by Philip Glass and it uses landmarks in the music as entry or completion points for choreographic sequences that unfurl over a minute or longer. The movement phrasing remains open, so as Mo and I danced together we would fall in and out of sync.

When I arrived at rehearsal the first day after she had completed the dance, Mo told me in a kind of off-hand way that Phil was coming to watch me do a run-through. I immediately began to panic. I barely knew the choreography and the thought of dancing alone for Philip Glass - to his music! - was terrifying, so Molissa agreed to dance with me. It was still terrifying, but also sensational! Phil loved seeing us dance together, our offset timing, the concentric circles of our floor patterns, the contrast in our physiques and physicalities. His response inspired me to invite Molissa to dance the premiere in Toronto as a duet, and upon seeing that duet, Cathy Levy invited us to dance together at the Canada Dance Festival. From that point on, Molissa and I each performed Inner Enchantments as a solo, though in my own performances the choreographer and the composer never failed to be present as a kind of afterglow.” - PB

Of this first commissioned solo, Molissa writes “Inner Enchantments is composed of two distinct movement/spatial phrasings: phrases that take place close in and around the body (an inner world) and expansive phrases that take place along the wide perimeter of the circle enclosing that inner space. The phrases are of pure movement and yet danced by Peggy with her very exact physical execution merged with her emotionality and spirit of generosity, a dance of possible mystery and magic is created. She immerses herself in the underlying internal and expresses to us that appearance in a joyful realization.”

Find out more about Molissa Fenley’s childhood and career in Dance Icons here.
Read more about Philip Glass’ bond with dance in Dance Magazine here.

Accident (1989)

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This week we look back at Peggy’s mentorship and work with American dancer and choreographer, Annabelle Gamson.

“More than any other artist in the mid-1970s, Annabelle Gamson initiated unprecedented attention to the history of American modern dance. Her musically inspired, passionate performances of dances, choreographed by Isadora Duncan and others in the early twentieth century, brought about a resurgence of interest in Duncan’s work and her legacy, modern dance. Although Gamson was in her forties when she began performing Duncan’s dances, the dynamic strength and maturity of her physical presence, crowned by a mane of long white hair, distinguished her as singularly original.” The Encyclopaedia of Jewish Women

Peggy writes: “In my late thirties, eager to learn more about solo dancing, I sought out Annabelle as a mentor. She allowed me to take her classes alongside the extraordinary women in her group (including Roxane D’Orleans-Juste, Risa Steinberg and Nina Watt – all soloists with the Limon Company), and to understudy the historic works she was currently staging as well as the new group work she was creating. As a culmination of our work together, Annabelle choreographed two solos for me, Accident (1989) and Sand (1990).

Though she was working with her group mainly at the 92nd St Y in New York City, Annabelle was living outside the city, in Rye Brook, and all of our rehearsals took place in her home studio – an expansive space with a beautiful hardwood floor and wide windows, furnished only with a grand piano. For the weeks that we worked together I took morning class in the city, caught a train at Grand Central, was picked up at the station by Annabelle, and then rehearsed with her for 2 or 3 hours. Annabelle always insisted on giving me dinner before I left, and conversations over those meals were the occasion for stories about her childhood dance lessons, about Agnes de Mille and Anna Sokolow, about dancing on Broadway and with American Ballet Theatre, and about the interior world of the Isadora’s dances.

Accident was made in the wake of the death of a young woman – the child of one of Annabelle’s friends – in a car crash. It was a tragic dance, with sequences of jarringly brutal action, the body a distorted tangle. One day in rehearsal the images at play brought me to tears. Annabelle was shocked. “What ‘s wrong with you?” she demanded, “This isn’t happening to you, you’re telling the story.” Without that blunt intervention, some of the dances that lay ahead for me over the next decades could never have been navigated safely.” - PB

“Ms. Baker is a performer with a shining, expressive innocence and a body that is an astonishing collection of big bones and lithe muscles. Annabelle Gamson made inspired use of all that in ''Accident,'' set to a dark score by Francis Poulenc, in which a life seems to be relived in the moments right after an accident.” Jennifer Dunning, The New York Times

Read more about Annabelle Gamson’s Isadora Duncan reconstruction project here on The New York Times.

Listen to dance legends discuss the home created for modern dance by the 92nd Street Y here.

The Volpe Sisters (1989)

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Peggy Baker Dance Projects has five works from the celebrated New York choreographer Doug Varone in our repertoire: two are commissions (The Volpe Sisters, Heaven), and three are acquisitions (In Thine Eyes, Home, and armour).

When asked about making this first work for Peggy, Doug wrote “It would have been easy to craft something physically sublime for her dancing body but I was interested in challenging both of us to dig deep into a non-dance narrative work that embraced the emotional center of Peggy’s talents. Letting that then define the physical nature of the work was a constant stripping away process of anything remotely dance related. Watching Peggy inhabit this character as an actor more than a dancer was revelatory and an aspect of her artistry I was in awe of.”

Of her performance partners for the piece, Peggy writes: “My original partner for The Volpe Sisters was Janie Brendel, and the duet was a commission for a concert we produced together at Danspace Project at St Mark’s Church in New York City. Janie is thin, with a fragile looking body that belies her strength and grit, and Doug threw her into the position of attempting to manage, guide and calm me as my big boned body pushed and obessed inside the choreography. Janie danced The Volpe Sisters with me in my debut solo concert in Winnipeg, May 1990, and a few months later Doug donned a housedress to perform a studio showing with me at the Amercan Dance Festival. Over the next few years Janie toured with me across the country from Vancouver to St. John’s, plus a hop across the pond to Ghent, Belgium.

Then in 2000, The Volpe Sisters was revived as an opportunity for me to perform with the great actor, Jackie Burroughs. We reconstructed the piece in Toronto prior to a rehearsal week in New York City. Doug is an incredible performance coach and an impeccable director of his work, and it was magnificent to be in rehearsal with the two of them - Jackie opening herself to her character and to the choreography with complete vulnerability, and Doug guiding her with clarity, nuance and tenderness. Throughout our week in NYC, Jackie narrated every street with memories from the 1960s and her time with Lovin’ Spoonful guitarist, Zal Yanovsky. The time with Jackie went deep. The performances with her are unforgettable.”

Deborah Jowitt reviewed the Danspace premiere of the work in The Village Voice in 1989: "Baker...is a woman damaged in some way, watched over almost emotionlessly...Everything between the women is careful and fugitively tender, as if love long ago had eroded into patience.” Read the full review here.

Learn more about Doug Varone and his incredible NY-based company Doug Varone and Dancers here.

Learn more about the story of Jackie Burroughs meeting Zal Yanovsky in Spacing here.

The Windows (1988)

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Acclaimed dancer and choreographer Christopher House created The Windows on Peggy back in 1988. He is our guest writer for this Creation Catalogue blog entry:

The Windows is an eight-minute solo I made for Peggy Baker, set to Philip Glass’s gorgeous String Quartet #2. I can’t remember where the title came from, but I think it was Peggy’s idea. Watching a VHS recording of the piece, the first time I’d seen it in thirty years, I was blown away by her performance.

Making a solo for another dancer is an intimate act. In sharing your kinetic impulses with just one other artist, you often make them a surrogate for the dancer you imagine in your dreams. You always learn from this experience and when you work with a singular artist like Peggy, your habits and assumptions can be transformed.

Rediscovering The Windows, I was reminded that watching Peggy dance is a master class in space and phrasing. She carves, sculpts and extends the space around her with uncanny skill, using her hands, feet, limbs, torso and head with legato mastery. Every surface of her body participates in every gesture. The clarity of her trajectories leaves afterimages and her innate sense of time makes her body sing. When confronted with more challenging passages of fast footwork and percussive changes of direction, she unleashes her inner warrior, holding nothing back. Her presence resonates with her ardent commitment to each passing moment.

My favourite moment in this solo comes at the end of the third movement as she turns slowly to the floor and melts into a series of knee crawls on an upstage diagonal. Facing away from us, her expressive back compels us to join her on her mysterious, touching journey.

I love Peggy as a friend and as an artist. Working with her on this solo was a rare privilege. - C. H.

“Mr. House is superbly served by a dancer who more than completes every sharp, slicing gesture. A fast dance of enigmatic tension involving kicks, pounces and clenched fists, it plays up to Ms. Baker’s grace and power and goes beyond the traditional psychological study.” Anna Kisselgoff, New York Times, 1989.
Full review here.

For more about Christopher House visit CBC Gem here.