The Decade's Best Dance

Gordon, Rudner, Monk, and more—remembering the finest work of the past 10 years

It has been interesting to see such choreographers as John Jasperse, Sarah Michelson, Trajal Harrell, and Luciana Achugar experiment with reconfiguring the city's black-box theaters and altering audience perception. And over the decade, some bright new choreographers have developed and thrived. I'm not speaking just of mainstream balletmakers like Christopher Wheeldon and the up-and-coming Benjamin Millepied, but of the more daring Andrea Miller, Kate Weare, Miguel Gutierrez, Monica Bill Barnes, Faye Driscoll, Aszure Barton, and others.

More vivid memories trickle in as I write: Susan Marshall's 2009 Adamantine, Jo Strømgren's 2002 There, Jérôme Bel's 2007 Pichet Klunchun and Myself, Anne Teresa De Keersmaeker's 2001 Rain, Ralph Lemon's 2004 Come Home Charley Patton, Rosane Chamecki and Andrea Lerner's 2003 Visible Content, Akram Khan's 2002 Kaash, and Vincent Mantsoe's amazing dancing in 2007.

A Finn meets the Shakers: Tero Saarinen's Borrowed Light
Jack Vartoogian
A Finn meets the Shakers: Tero Saarinen's Borrowed Light

If I think of the field's stalwarts, Paul Taylor's recent, poignant Beloved Renegade comes to mind, but most important, his company's annual seasons regularly reintroduce gems from this decade and beyond. Elizabeth Streb keeps developing new technological circuses. And Trisha Brown! As with Cunningham, age only makes her more inquisitive, more ready to dance into new entanglements—opera! technology!—without ceding her original vision of dance or her integrity. Bring on 2010.

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