White Oak Dance Project

White Oak Dance Project. Founded in 1990 by legendary dancer Mikhail Baryshnikov and acclaimed choreographer Mark Morris, this collaborative ensemble was conceived as a touring repertory company for mature dancers. It provided a unique platform for established artists to explore new and historical modern dance works, operating outside the traditional structures of large ballet institutions. The company toured extensively for over a decade before concluding its activities in 2002, leaving a significant mark on the landscape of American dance.

History and founding

The genesis of the project occurred when Mikhail Baryshnikov, after departing as artistic director of American Ballet Theatre, sought a new, more intimate artistic venture. He partnered with Mark Morris, whose Mark Morris Dance Group was gaining prominence for its musicality and wit. Their shared vision was to create a mobile company that would commission and perform works specifically suited to experienced dancers, challenging the youth-centric focus of much of the dance world. Initial funding and support came from Howard Gilman, a philanthropist and chairman of the Gilman Paper Company, who owned the White Oak Plantation in Florida, which provided the company's name. The ensemble made its official debut in 1990, quickly establishing itself as a major force in contemporary dance touring.

Artistic direction and mission

Artistic direction was led principally by Mikhail Baryshnikov, who curated the repertoire and assembled the dancers. The core mission was to present a diverse repertory of modern dance, emphasizing artistic collaboration and intellectual engagement over spectacle. The project deliberately focused on dancers in their later careers, valuing their depth of experience, interpretive maturity, and technical wisdom. This philosophy stood in contrast to the athleticism often prized in larger ballet companies, fostering an environment where nuance and expression were paramount. The company operated as a collective, often involving choreographers and dancers in the creative process, which reflected the collaborative spirit of the Judson Dance Theater era.

Repertoire and notable works

The repertoire was eclectic, featuring both new commissions and reconstructions of important 20th-century modern dance works. Key pieces included Mark Morris's "The Argument" and "Three Preludes", which showcased his signature musicality. The company also performed seminal works by Merce Cunningham, such as "Septet" and "Signals", and by Twyla Tharp, including "The Fugue". Reconstructions of pieces by Ted Shawn and Ruth St. Denis highlighted the roots of American modern dance. This programming created a living dialogue between dance history and contemporary creation, often set to scores by composers ranging from Robert Schumann to John Cage.

Dancers and collaborators

The roster featured a distinguished group of veteran dancers from major companies, including Mikhail Baryshnikov himself, Rob Besserer, Kate Johnson, Katie Glasner, and Tina Fehlandt. Frequent choreographic collaborators beyond the founders included Kraig Patterson, Margo Sappington, and Charles Moulton. The project also worked with visual artists like Isaac Mizrahi, who designed costumes, and musicians from the Moscow Conservatory. This assembly of top-tier talent from the worlds of ballet, modern dance, and the allied arts was central to its identity and high artistic standards.

Tours and performances

The company was fundamentally a touring entity, performing extensively across the United States, Europe, and Asia. It appeared in renowned venues such as the Brooklyn Academy of Music, the Edinburgh International Festival, and the Teatro alla Scala in Milan. Unlike companies with a home season, its existence was defined by the road, bringing its sophisticated repertory to a wide array of audiences. These tours were often structured around specific programs or themes, and performances were noted for their intimacy and direct connection with the audience, even in large theaters.

Legacy and influence

The project demonstrated that dancers could have vibrant, evolving careers beyond their traditional prime, influencing perceptions of longevity in the art form. It served as a model for later initiatives like Baryshnikov Arts Center, founded by Mikhail Baryshnikov in New York City. By championing the works of modern masters like Merce Cunningham and Twyla Tharp alongside new voices, it played a crucial role in preserving and contextualizing 20th-century dance heritage. Its emphasis on collaborative, artist-driven production continues to inspire smaller, project-based dance companies, cementing its legacy as a pioneering endeavor in American dance history. Category:American dance companies Category:Modern dance in the United States