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Interview with Douglas Dunn

Disc 2 (ca. 70 min.). May 1, 2009 continued. Douglas Dunn speaks with Joan Arnold further about the impact of his upbringing; about the encouragement to dance he received from a professor at Princeton; his first dance teachers and first performance; his father's response to his dance career; attending the Jacob's Pillow Dance Festival; experiences shortly after college, including taking class with Alexandra Danilova; working in a mail room and at a social welfare agency; returning to school to study aesthetics; marrying and teaching at a prep school for three years; the birth of his son; attending his first dance class at the Merce Cunningham Dance Studio; Cunningham's teaching; Dunn's first performance experiences in New York; Margie Jenkins's involvement with the Cunningham studio; learning Cunningham's role in Rune, in a workshop; the expanding role of dance in his life; being asked to join the Merce Cunningham Dance Company.

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  • "Disc 2 (ca. 70 min.). May 1, 2009 continued. Douglas Dunn speaks with Joan Arnold further about the impact of his upbringing; about the encouragement to dance he received from a professor at Princeton; his first dance teachers and first performance; his father's response to his dance career; attending the Jacob's Pillow Dance Festival; experiences shortly after college, including taking class with Alexandra Danilova; working in a mail room and at a social welfare agency; returning to school to study aesthetics; marrying and teaching at a prep school for three years; the birth of his son; attending his first dance class at the Merce Cunningham Dance Studio; Cunningham's teaching; Dunn's first performance experiences in New York; Margie Jenkins's involvement with the Cunningham studio; learning Cunningham's role in Rune, in a workshop; the expanding role of dance in his life; being asked to join the Merce Cunningham Dance Company."@en
  • "Disc 5 (ca. 67 min.). June 22, 2009. Douglas Dunn speaks with Joan Arnold about the relationship between music and dance in general and in his own work; management issues in his early career; describes some of his early pieces including Gesture in red; Lazy Madge; more on the atmosphere at the Merce Cunningham Dance Company during the time he was there and how his own creative process developed; other pieces including Rille and Coquina; experimenting with chance operations; more on his creative process and motivations; individualism and art; the challenges of recording movement and reconstructing dances; his work, Game tree; his home at 541 Broadway in New York City and the other dance artists who live in the building."@en
  • "Disc 6 (ca. 76 min.). June 22, 2009 continued. Douglas Dunn speaks with Joan Arnold about his dance Pulcinella and working directly with music for the first time; site specific works including Disappearances; his collaborative works and collaborators, including Mimi Gross, Charles Atlas and David Ireland; Rudy Burckhardt, including a film they did together, Rubble dance, Long Island City; Dunn's approach to physically and psychologically warming up dancers for performance; his attitude toward his own role in relationship to the dancers he works with and the work that he gives them."@en
  • "Disc 1 (ca. 66 min.). May 1, 2009. Douglas Dunn speaks with Joan Arnold about his childhood in then-rural Palo Alto, California; his first school, The Peninsula School; other early memories; moving to San Francisco in 4th grade; his father, Robert Douglas Dunn, and his mother, Editha Wright Dunn, and their family dynamics and history; his childhood nature; working with cattle and horses; returning to Palo Alto for junior high and high school; his first experiences with dance; his perception of his relationship to American culture; his interest in sports and moving to the East Coast to attend Princeton University."@en
  • "Disc 4 (ca. 65 min.). May 15, 2009 continued. Douglas Dunn speaks with Joan Arnold about meeting Sara Rudner; their relationship and dancing together; working with the performance group The Grand Union (also known as The Rio Grand Union) as well as with Yvonne Rainer and her group before it became The Grand Union; Rainer's sources of inspiration; his own first choreography and his developing identity as an artist; the naming and incorporation of The Grand Union; consciousness and creativity; economic survival while dancing with Cunningham; physical aspects of survival in terms of injury and care of the dancer's body; his own injury and state of mind during this period; his next crossroads as an artist, including finding the courage to be an independent choreographer."@en
  • "Disc 3, (ca. 43 min.). May 15, 2009. Douglas Dunn speaks with Joan Arnold, first clarifying some names and facts from the last interview; about his attraction to Merce Cunningham's use and training of the body; his affinity for the way ballet was taught at the Joffrey School; with reference to the work Place, the inherent drama of Cunningham's choreography; early conflicts in Dunn's life and his feeling that Cunningham's work helped him to resolve them; Twyla Tharp's use of the body as compared with that of Cunningham's; her choreography and career; describes his reaction to Sara Rudner's dancing in Tharp's work."@en

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