Photo: Paula Court
Photo: Paula Court

Steve Paxton (1939-2024) from the tD Archive

Emilee Lord

Postmodern dance lost a great one on February 21st. Steve Paxton, collaborating founder of Contact Improvisation and a key player in postmodern dance, leaves behind him a profound legacy of physical exploration. He was great in multiple senses of the word but also thoughtful, generous, inventive, ingenious, collaborative, and watchful. To some, he was a teacher, an inspiration. To others, a co-conspirator, a friend.

In 2017, I went to Tea for Three, an evening of improvisation, interaction, and text with Steve Paxton, Simone Forti, and Yvonne Rainer. In one part of the piece that has stayed with me very vividly for these past years, Paxton began to read a section of his book Gravity while slowly, almost imperceptibly, melting onto his back on the floor. It was a singularly gentle and authoritative gesture that describes his work in some simple way. For modern dance overall, his spine will still ripple through us for a long time.

thINKingDANCE would like to take a moment to honor his work by pulling from our archives.

Firstly, a piece by Lisa Kraus on Steve Paxton: Selected Works, Dia:Beacon, in 2014.

“What creates the ‘authority’ that Paxton has? Is this the result of an august history? Or is there something in Paxton and his performers’ own straightforward conviction that gives depth and credibility to everything they do?”

In 2018, Megan Bridge and Beau Hancock wrote an article on reconstructing the improvised dance PA RT that Paxton and Lisa Nelson toured from 1978 to 2002.

“How do you navigate a performance landscape that is built on the felt experience and idiosyncratic choices of its makers?”

From the 2020 book review by Andrew Sargus Klein of Paxton’s Gravity:

“Gravity is a fragmented and lyrical rumination on its central theme: gravity and the human relationship to it.”

And again in 2020, in part 2 of a series remembering Nancy Stark Smith by Jonathan Stein, Paxton’s words ring out by way of introduction.

“But this isn’t about me. It’s about we.”

And finally, in a letter to the editor, Paxton himself on Bob Ashley.
(In response to an article by Megan Bridge found here.)

Our hearts are with his community and family far and wide as we remember and honor a leader in our field.

Share this article

Emilee Lord

Emilee Lord is a visual and performing artist based in Brooklyn. Her art, lectures, and reflections investigate the multiple ways through which a drawing can be made, performed, and defined. She is an editorial board member, editor, and staff writer with thINKingDANCE.

PARTNER CONTENT

Keep Reading

Celebrating Philadelphia’s Black Dance Legacies

Caitlin Green

“Without [them] we wouldn’t have had a portal to come through.”

The West Philadelphia High Dance Ensemble performs in front of an audience seated around the perimeter of the room. The dancers stand close to each other with their arms raised mid-clap overhead. Some dancers wear long evergreen or rose colored dresses, while others are dressed in black pants and a white button-down shirt. One dancer stands in front of the group wearing a preacher’s robe. The ensemble resembles a lively church congregation.
Photo: Courtesy of Black Dance Confab

Serious Play

Brendan McCall

Cathy Weis prioritizes experimentation over commercialism in her “Sundays on Broadway” series.

Dancer KJ Holmes, leans onto her left hip, legs folded behind her, and both hands planted on the hard wood floor. She wears a blue t-shirt, white pants, and her grey hair is pulled back from her face. Newspapers are scattered about the floor around her, and she watches the pieces she has just thrown at the camera as they fly away from her. They are blurred by their motion and closeness to the camera.
Photo: Rachel Keane