User:Eurodog/sandbox232

This is the user sandbox of Eurodog. A user sandbox is a subpage of the user's user page. It serves as a testing spot and page development space for the user and is not an encyclopedia article. Create or edit your own sandbox here.

Other sandboxes: Main sandbox | Template sandbox

Finished writing a draft article? Are you ready to request review of it by an experienced editor for possible inclusion in Wikipedia? Submit your draft for review!

Donald Byrd (born 1949) is an influential American modern dance choreographer, known for themes relating to social justice, and in particular, racism.

Career

As choreographer

For 24 years, beginning 1978, Byrd was the founding artistic director of Donald Byrd/The Group, which toured extensively, nationally and internationally until 2002, when he suspended operations due to financial duress. The Group was based in Los Angeles from 1978 to 1983 and in New York from 1983 to 2002. For 22 years, since 2002, Byrd has been artistic director of The Spectrum Dance Theater, based in Seattle. He is credited for having elevated Spectrum to a company of national rank.

Byrd has choreographed more than 80 modern dance works for his own companies and others, including the Alvin Ailey American Dance Theater, the Dayton Contemporary Dance Company (for 35 years, since 1989), The Philadelphia Dance Company (Phildanco). Byrd also has choreographed for classical companies. He has worked with acclaimed theater and opera companies, including the New York Shakespeare Festival/Public Theater, La Jolla Playhouse, the Intiman Theatre, the San Francisco Opera, the Seattle Opera, and the New York City Opera.

Career

Building on the foundation created by such predecessors as Talley Beatty and Alvin Ailey, Byrd has gone on to forge his own unique style. His work has been molded by a diverse range of influences, from classical ballet—especially that choreographed by the legendary George Balanchine—to modern dance giants like Twyla Tharp. Through collaborations with other artists, including composer Peter Sellars and playwright Robert Wilson, he has also ventured across the barriers of dance into theater, opera, and film.

^[1] ^[2] ^[3] ^[4] ^[5] ^[6] ^[7] ^[8] ^[9] ^[10] ^[11] ^[12]

Inspired by Alvin Ailey

Member of Twyla Tharp Dance Company, 1972; member of Gus Solomons Jr. company, 1976; dance instructor, California Institute of the Arts, 1976–82.

Donald Byrd/The Group

Byrd founded Donald Byrd/The Group in 1978 in Los Angeles; and since 1983, it was was based in New York. Donald Byrd/The Group ran until 2002, when Byrd shut it down under the duress of debt.

Byrd was choreographer for a variety of companies, 1976—; formed dance company Donald Byrd/The Group, Los Angeles, 1978; taught at University of California-Santa Cruz, Ohio University, and Wesleyan University, among others; moved Donald Byrd/The Group to New York City, 1983; established Donald Byrd Dance Foundation, 1985; choreographed Crumble for Ailey Repertory Company, 1987; choreographed Shards for Alvin Ailey American Dance Theater, 1988; pieces created for The Group include Prodigal, 1990, The Minstrel Show, 1991, Drastic Cuts, 1992, and Bristle, 1993; associate artist, Yale Repertory Theater; member of board of directors, Dance Theater Workshop and Dance USA.

Awards

Special mention, 3rd Grand Prix International Video Dance Festival, 1990

Bessie Award, 1992, for The Minstrel Show

Emerging Dance Award, Metropolitan Life Foundation

Numerous grants and fellowships.

Point

Byrd became, above all, a student of dance. He began taking dance classes at Tufts. At the end of the school year, he quit the University and moved to New York City to immerse himself in dance.

For the next several years, Byrd studied dance at a variety of schools, both in the U.S. and abroad. Along the way, he also managed to graduate from Tufts. Byrd spent two years in the early 1970s at the Ailey School in New York. He also studied with Twyla Tharp and was invited to join her company. He was shown the door after only two months, however. The rejection left him deeply depressed for months. While still rebounding from that disappointment, Byrd met choreographer Gus Solomons. Spotting his untapped potential, Solomons invited Byrd to join his dance company in 1976. When Solomons was named dean of the dance program at the California Institute of the Arts, he brought Byrd along to the West Coast to teach. Formed His Own Dance Company

In California, Byrd’s career began to blossom. He began choreographing on a regular basis, and his earliest work was well received in Los Angeles. Word of his talent spread back East and by 1977, Byrd was producing shows of his own work at the Dance Theater Workshop in New York. Eager for a steady outlet for his choreography, Byrd founded his own company, Donald Byrd/The Group, in 1978. Byrd’s style around this time was largely an extension of the work of Talley Beatty, particularly in its combination of classical ballet, modern dance, and urban street dancing. Byrd also experimented with punk rock for a short time in the early days of The Group.

The Los Angeles press was quite taken by Byrd’s brash approach, and the company’s success brought invitations for residencies at several universities. Success also contributed to a struggle with drugs and alcohol that would last for the next several years. In 1983, Byrd relocated his entire company back to New York. There he quit using drugs for six months, but his drinking intensified. He began taking classes at the Merce Cunningham studio in hopes of finding the necessary discipline to stay away from both substances.

When Byrd returned to New York after a residency in Minneapolis in 1984, his problems with cocaine and alcohol reached a peak, and their effect on his work became increasingly apparent. Then, in 1985, New York Times dance critic Jennifer Dunning, a longtime admirer of Byrd’s work, wrote a scathing review of a Byrd performance at LaMaMa. In the review, Dunning questioned what had become of the promise Byrd’s career had once held. Stung by this response, Byrd acknowledged that he needed treatment. He entered the Hazelden Clinic in Minneapolis for a 31-day rehabilitation program; he has been sober ever since. Began Creating Pieces for Ailey

With his drug and alcohol problems behind him, Byrd was able to reignite his stalled career. In 1987 he was asked to choreograph a piece for the Ailey Repertory Company, the junior Ailey ensemble. The resulting work, Crumble, was well received, especially by Ailey himself, and soon Byrd was a regular contributor of works to the main Ailey group. His first piece for the Alvin Ailey Dance Theater was Shards, a work heavily influenced by Balanchine, originally staged in 1988. “Shards,” Byrd told Chris Pasles of the Los Angeles Times, “was about a deconstruction of the vocabulary that people considered, quote-unquote, black movement.”

Byrd’s association with the Ailey company continued over the next several years. In 1991 the Ailey Dance Theater debuted Dance at the Gym, a piece about adolescent bravado. A Folk Dance, premiered the following year, was created specifically for the Ailey company’s four senior members, Sarita Allen, Marilyn Banks, Gary DeLoatch, and Dudley Williams, and featured original music by Byrd’s longtime collaborator Mio Morales, a close friend from his days at Tufts. Meanwhile, Donald Byrd/The Group was gaining international attention in its own right; in 1990 The Group premiered Prodigal, a piece inspired by Balanchine’s Prodigal Son.

In 1991 Byrd and The Group presented Minstrel Show, a controversial dance addressing racial stereotypes. In Minstrel Show the company’s dancers appeared in blackface, which aroused a spectrum of responses, from amusement to rage, in audience members of all races. The show won a prestigious Bessie Award in 1992. That year also marked the premier of Drastic Cuts, an evening-length suite of abstract dances that, according to company literature, “investigates the basic elements of theatre and performance,” relying on a stripped-down theatricality without sophisticated sets or props.

By 1993 Byrd’s work was in demand all over the world. Donald Byrd/The Group toured throughout the United States and Europe, and work choreographed by Byrd was presented, among other places, in New York by the Ailey company, in Paris by Concordanse, and in Boston by Boston Ballet II. 1993’s premier offering from The Group was Bristle, a long work exploring tensions between the genders. Plans for the 1994–95 season included Domestic Violence Project, inspired by German playwright’s Bertolt Brecht’s ideas about theater, and the development of The Harlem Nutcracker, an African American take on that classic Nutcracker using Duke Ellington-style big band arrangements of Tchaikovsky’s original music.

Although his work owes much to predecessors such as George Balanchine and Alvin Ailey, Donald Byrd has succeeded in developing his own vision as a choreographer, producing more than 80 works during his career thus far. Many of his pieces are about social issues, but they always leave room for the audience’s interpretation. The dances often hint at telling a story, but generally the narrative is stripped away, revealing the bare bones of movement itself, unencumbered by a concrete plot line. This ability to jump back and forth between social commentary and abstract movement, as well as between classical and modern influences, is key to Byrd’s work. As he stated in a Los Angeles Times interview, “One of the opportunities of being a choreographer in this generation is that finally there’s enough dance history and enough ideas that… maybe our job is to synthesize all this information that’s popped up over the last 100 years, since Sleeping Beauty.”

Family and growing up

Byrd was born July 21, 1949, in New London, North Carolina, to Jeter Byrd, Jr., and Emmarene Clark (maiden; 1928–1999). His parents divorced shortly after he was born; and soon after that, with his mother, he moved from New London to Clearwater, Florida. Donald's mother remarried and, around the time he was entering the fifth grade, she and her new husband moved to the Midwest. Donald stayed in Clearwater and, from the fifth grade through high school, was raised by his maternal grandmother, Willie Mae Clark (née Willie Mae Chester; 1910–1993).^[i]

As a child, his first love was music. Byrd’s earliest artistic training was as classical flute. He played flute with the Pinellas High School Band and the Pinellas County Youth Orchestra. He was also active in his school’s theatrical projects and on the debate team.

Byrd’s first exposure to dance came when he was 16 years old. Two dancers from Balanchine’s New York City Ballet, Edward Villella and Patricia McBride, conducted a lecture-demonstration in Clearwater. Since it was near his home, Byrd decided to attend. The dancers left quite an impression on Byrd, and though it would be several years before he received any formal training in dance, the mark was permanent.

Education

Byrd lived in Clearwater, Florida, with his grandmother from the fifth grade until he graduated 1967 from Pinellas High School, a bygone segregated school in the Greenwood section of downtown Clearwater. He played flute in the Pinellas Youth Symphony and was drum major with the Panthers Marching Band. His parents lived in the Greenwood section of Clearwater.^[13]

In 1967, Byrd attended Yale University, initially majoring in philosophy, though he had thoughts of becoming an actor. At Yale, Byrd attended every play produced by the School of Drama and the Long Wharf Theatre. Yale was also where Byrd experienced overt racism for the first time, in the form of slurs and insults, these contrasting with the institutionalized racism of segregation that he had encountered growing up in the South.

The summer after his freshman year, Byrd's prowess on the flute earned him the opportunity to join an ensemble that toured Europe. On his return from Europe, Byrd decided to leave Yale, where he did not feel entirely welcome, and enroll in Tufts University in Boston.

One of the first friends Byrd made at Tufts was actor William Hurt. By this time, Byrd had begun to study acting seriously. It was from Hurt that Byrd first heard about the Alvin Ailey Dance Theater. On Hurt’s suggestion, Byrd attended a performance of Ailey's signature work, Revelations. The performance was indeed a revelation for Byrd; for the first time in his life, he became aware of the theatrical power of dance.

1967–1968: Attended Yale University for one year

1968–1974: Attended Tufts University and, in 1974, earned a Bachelor of Arts degree

Studied with Mia Slavenska for six years

1969–1973: Attended Cambridge School of Ballet, Cambridge, Massachusetts^[ii]

Attended Harvard Summer Dance Center in the 1970s; he taught repertory dance classes there in the 1980s^[14]^[iii]

1972: Attended London School of Contemporary Dance

1976: Attended Alvin Ailey American Dance Theater Center

Selected choreographic works

Donald Byrd/The Group, in 1978. Originally based in Los Angeles this moved to New York in 1983 and Byrd created more than 80 works for it including Prodigal (1991), The Minstrel Show (1991), Drastic Cuts (1992), Bristle (1993), Life Situations: Daydreams on Giselle (1995), The Beast (1996), Still (1996), and Jazz Train (1998).

Primier	Work	Venue	Role	Company
19??	The Rehearsal		Choreographer
19??	Speak Easy		Choreographer
1978	Brass Orchid		Choreographer
6 March 1981	Hot Time/ A Minstrel Collage	University of California, Santa Cruz	Choreographer
1981	Theme and Variations		Choreographer
1981	Hot Time		Choreographer
1983	Low Down and Dirty Rag		Choreographer	Donald Byrd/Group II
1983	P-HP (Post-Holocaust Pop) or Popular Dancing After the Bomb: A Primer	Bessie Schönberg Theater	Choreographer
12 March 1986	A Formal Response^[iv]	Japan America Theatre Los Angeles	Choreographer	Donald Byrd/The Group
1988	Partite		Choreographer Music by Mio Morales	Donald Byrd/The Group
1988	Enactments in Time of Plague	Symphony Space New York	Choreographer	Donald Byrd/The Group
14 December 1988	Shards	City Center New York	Choreographer	Alvin Ailey American Dance Theater
4 August 1989	Honey Chil' Milk	Baltimore School for the Arts	Choreographer Director	Diverse Works '89 Maryland Art Place (in collaboration with Baltimore artists)
1991	The Minstrel Show		Choreographer	Spectrum Dance Theater
4 December 1991	Dance at the Gym	City Center New York	Choreographer	Alvin Ailey American Dance Theater
1992	Drastic Cuts		Choreographer	Alvin Ailey American Dance Theater
1992	A Folk Dance		Choreographer	Alvin Ailey American Dance Theater
1993	Bristle		Choreographer	Boston Ballet II
1995	Life Situations: Daydreams on Giselle		Choreographer
1996	Everybody		Choreographer	Philadelphia Dance Company
1996	The Beast (The Domestic Violence Project)		Choreographer
1996	Harlem Nutcracker		Choreographer
2002 (workshop)	Burlesque		Choreographer	Donald Byrd/The Group
2004 (workshop)	The Color Purple (musical)	Alliance Theatre Atlanta	Choreographer
2005	The Color Purple (musical)	Broadway Theatre Manhattan	Choreographer
2009	Sentimental Cannibalism		Choreographer	Spectrum Dance Theater Seattle
30 Oct 2015	Minstrel Show Revisited	Skirball Center for the Performing Arts	Choreographer	Spectrum Dance Theater
6 December 2019	Greenwood	City Center New York	Choreographer	Alvin Ailey American Dance Theater

Collaborators

Byrd has collaborated with composer Mio Morales on several works.

Shards, choreography by Donald Byrd ; music by Mio Morales
The Minstrel Show, acts for coons, jigaboos, and jungle bunnies, presented by Dance Theater Workshop; artistic direction and choreography by Donald Byrd; original music by Mio Morales
Drastic Cuts, choreography by Donald Byrd; music by Mio Morales
1992: A Folk Dance, premiered in 1992 by the Alvin Ailey American Dance Theater; choreography by Donald Byrd; music by Mio Morales
1988: Partite, presented by Donald Byrd/The Group; choreography by Donald Byrd; music by Mio Morales

The Solomons Company

Differences of Need, choreography by Gus Solomons, Jr.; music and sound collage by Mio Morales
Melba, presented by the Suitcase Fund of Dance Theater Workshop in association with Pepatian; conceived by Tony Gillotte, Eva Gasteazoro and Yolanda Blanco; choreography by Eva Gasteazoro; directed by Tony Gillotte; music and sound design by Mio Morales
Unplay Dances, presented by the Solomons Dance Company; choreography by Gus Solomons, Jr.; music by Mio Morales
Steps, environmental dance structure for 12 dancers; choreography by Gus Solomons, Jr.; music by Mio Morales and Carl Riley
Bone Jam, presented by the Solomons Dance Company; choreography by Gus Solomons, Jr.; music by Mio Morales
Nōz, presented by the Solomons Dance Company; choreography by Gus Solomons, Jr.; music by Mio Morales
''PsychoMotorWorks, presented by the Solomons Dance Company; choreography by Gus Solomons, Jr.; music by Mio Morales
Steps #8, pedal-rock rebus; presented by Solomons Dance Company; choreography by Gus Solomons, Jr.; music by Joe Jackson, Police, Steely Dan, arranged by Mio Morales
Foot/Tongue/Web, conceived, choreographed and performed by Judith Ren-Lay; music by Mio Morales

Ailey

Reference Point, presented by the Alvin Ailey American Dance Theater; choreography by Troy Powell; music by Mio Morales

Other

Scott, Queen of Marys, choreography by Doug Elkins; score by Mio Morales
2019: AngelCrash, presented by Colleen Thomas & Co. (New York); choreography by Bill Young; score by Mio Morales

Organizations

The Donald Byrd Dance Foundation, Inc., a New York not-for-profit corporation established February 7, 1985

Quotes

“

I felt that something about the civil rights movement didn't take, that people didn't get it, that if these kids were behaving that way, it was a clear indication that something didn't work.

”

— Donald Byrd
Los Angeles Times – 1992^[15]

“

The most disturbing thing about Donald Byrd's Minstrel Show is this: that men and women in blackface, recreating racial parodies recognized by most people today to be unfair, can nonetheless make you laugh. And you laugh in perhaps exactly the way people laughed during those first 19th-century sendups of (over and over) the same witless, clowning, superstitious black slave.

”

— Joan Katherine Smith
San Francisco Examiner – 1993

Byrd – 1989 slaying of Yusef Hawkins, a 16-year-old African American, in Bensonhurst, Brooklyn, attacked by a crowd of 10 to 30 white youths in Bensonhurst, Brooklyn, beaten, and killed.

I felt that something about the civil rights movement didn't take, that people didn't get it, that if these kids were behaving that way, it was a clear indication that something didn't work. – Donald Byrd Los Angeles Times (1992)^[15]

The most disturbing thing about Donald Byrd's Minstrel Show is this: that men and women in blackface, recreating racial parodies recognized by most people today to be unfair, can nonetheless make you laugh. And you laugh in perhaps exactly the people laughed during those first 19th-century sendups of (over and over) the same witless, clowning, superstitious black slave. – Joan Katherine Smith, San Francisco Examiner (1993)^[16]

Videography

Donald Byrd: Conscientious Choreographer, (via YouTube), produced by Drew Jacoby (born 1984) and Joshua Martens (flourished 2010), New York: TenduTV^[v] (2011), 10 minutes; OCLC 1125895688, 8136575296, 7996990163, 7996757127, 7996812276, 7996589827, 7996876927, 7996689027

References

Donald Byrd Video Archive at the New York Public Library for the Performing Arts, Jerome Robbins Dance Division

disturbing

important

Notes

^ Byrd's Harlem Nutcracker, which premiered 3 years after the death of his grandmother, prominently features a grandmother.
^ Cambridge School of Ballet was founded in 1953 by Esther Brooks (née Esther Magruder; born 1925), who had studied at the School of American Ballet. She was married to American poet Peter Chardon Brooks (1918–2000), who was a great-great grandson of Peter Chardon Brooks (1767–1849) and grandson of Shepherd Brooks (1837–1922). Esther had previously been married to American violinist Paul Makanowitzky (1920–1998). By way of her sister, Agnes Ethel Magruder (maiden; 1921–2013), Esther was a sister-in-law of Armenian American painter Arshile Gorky (1904–1948).
^ The Harvard Summer Dance Center was established in 1972 by Nelson Goodman (1906–1998) and Martha Armstrong Gray (née Martha Kneass Armstrong; born 1946) in collaboration with Harvard University. At Harvard, Goodman was producer of the Arts Orientation Series from 1969 to 1971, consultant in the Arts for Summer School from 1971 to 1977, and Director of the Dance Center. Gray served as Director of The Harvard Summer Dance Center for five years.
^ A Formal Response was a Byrd production in reaction to various negative reviews in 1986. The production included a video Byrd reading and then burning the clippings. (Boston Globe, July 5, 1955, p. 23)
^ Marc Kirschner founded TenduTV, Inc., in 2008, in New York. He is General Manager.

General

"Donald Byrd: Prodigal Talent," by Iris M. Fanger, Dance Magazine, Vol. 67, No. 7, July 1993, p. 42; ISSN 0011-6009 (accessible via ProQuest 223471938, Research Library database; subscription required)
"Review/Dance – Exploring the Somewhat Unknown," by Jennifer Dunning, New York Times, February 20, 1992, p. C26
"Dance – Creating a 'Folk Dance' for Friends of Long Standing," by Jennifer Dunning, New York Times, December 13, 1992, p. H23
"Dance View – Donald Byrd: An Unabashed Eclectic," by Jack Anderson, New York Times, August 14, 1994, p. H24
"Dance – Donald Byrd's Dance of Reality: The Choreographer's 'Minstrel Show' Will Bring Audiences Face to Face with Themselves on Issues of Race," by Chris Pasles, Los Angeles Times, April 25, 1993, Calender, p. 5 (accessible via ProQuest 282068104, US Newsstream database; subscription required)
San Diego Reader, January 23, 1992
"Dance – Donald Byrd's Ferocious 'Drastic Cuts,'" by Alan M. Kriegsman, Washington Post, April 25, 1994 (accessible via ProQuest 307735894, US Newsstream database; subscription required)
What's Up (Durham, North Carolina), January 28, 1994, p. 21

— Robert R. Jacobson

Inline

^ "Donald Byrd's Theory of Disruption" (Richard Hake interviews Donald Byrd; audio and transcript), WNYC News (New York), December 6, 2019
^ "Donald Byrd 1949–," by Robert R. Jacobson, encyclopedia.com (retrieved December 12, 2019)
^ "Can Dance Make a More Just America? Donald Byrd Is Working on It," by Siobhan Burke, New York Times, November 28, 2019
^ "Donald Byrd: Prodigal Talent," by Iris M. Fanger, Dance Magazine, Vol. 67, No. 7, July 1993, p. 42; ISSN 0011-6009 (accessible via ProQuest 223471938, Research Library database; subscription required)
^ "Dance – Donald Byrd's Dance of Reality: The Choreographer's 'Minstrel Show' Will Bring Audiences Face to Face with Themselves on Issues of Race," by Chris Pasles, Los Angeles Times, April 25, 1993, Calender, p. 5 (accessible via ProQuest 282068104, US Newsstream database; subscription required)
^ "Review/Dance – Exploring the Somewhat Unknown," by Jennifer Dunning, New York Times, February 20, 1992, p. C26
^ "Dance – Creating a 'Folk Dance' for Friends of Long Standing," by Jennifer Dunning, New York Times, December 13, 1992, p. H23
^ "Dance View – Donald Byrd: An Unabashed Eclectic," by Jack Anderson, New York Times, August 14, 1994, p. H24
^ San Diego Reader, January 23, 1992
^ "Dance – Donald Byrd's Ferocious 'Drastic Cuts,'" by Alan M. Kriegsman, Washington Post, April 25, 1994 (accessible via ProQuest 307735894, US Newsstream database; subscription required)
^ What's Up (Durham, North Carolina), January 28, 1994, p. 21
^ The Oxford Dictionary of Dance (2nd ed.), Debra Craine, Judith Mackrell, "Byrd, Donald," Oxford University Press (2000, 2004, 2010), p. 83; LCCN 2010-930321, ISBN 978-0-19-956344-9
^ "Choreographer Comes Home – Donald Byrd Says the World Opened up for Him in the Tampa Bay Area, Where He First Discovered Dance," by John Fleming, Tampa Bay Times, October 10, 1999, pps. 1F & 6F (accessible via Newspapers.com; subscription required)
^ "Arts & Films: Dance Notes – A Choreographer Simmers Down," by Christine Temin, Boston Globe, July 5, 1988, p. 23 (accessible via newspapers.com; subscription required)
^ ^a ^b "Minstrel Show as Social Commentary – Dance: A Racially Motivated Slaying Prompted Choreographer Donald Byrd to Create a Satirical Look at the Often Derogatory Song-And-Dance Tradition," by Frankie Wright, Los Angeles Times, January 24, 1992, Section F, pps. 1 (link) & 26 (link) (accessible via Newspapers.com; subscription required)
^ "Probing an Ugly Black Stereotype – Donald Byrd Brings Back the Minstrel Show," Joan Katherine Smith, San Francisco Examiner, May 19, 1993, p. C5 (accessible via newspapers.com; subscription required)