NDEO鈥檚 Guest Blog Series features posts written by our members about their experiences in the fields of dance and dance education. We continue this series with a post by Pascal Rekoert, Assistant Professor and Dance Education Program Director at Central Connecticut State University. Guest posts reflect the experiences, opinions, and viewpoints of the author and are printed here with their permission. NDEO does not endorse any business, product, or service mentioned in guest blog posts. If you are interested in learning more about the guest blogger program or submitting an article for consideration, please click here.
As teachers, we spend endless time lesson planning, pondering the needs and joys of our students, and looking into our proverbial crystal ball. This process prioritizes our direct future, but what about the life learnings we implicitly share with our students? What about the distant future, the professional legacy we leave behind?
My summer was a period laden with loss and鈥攊n it鈥攍ife learnings. Four of my most impactful mentors and friends passed away over the last few months. Instead of being overwhelmed by grief, I prefer to recognize the wisdom they offered me. These four dance icons pushed me to be the best version of myself. Through them, I have adopted considerable positive personal and professional traits, ranging from productivity to kindness.
The first and perhaps most impactful of the four is Jennifer Muller (pictured below), a charismatic nimbus in the global dance scene. Jennifer was a profound and creative spirit that touched the hearts and minds of innumerable dancers, students, children, artists, and audiences worldwide. She studied at the Connecticut College School of Dance, after which she trained at the Juilliard School. As a seminal creative influence for over 50 years, performing for Jos茅 Lim贸n and Pearl Lang, and launching her own company Jennifer Muller/The Works, Jennifer was dubbed the 鈥淎merican ambassador of dance鈥� (Wild, 2023). During her career, she worked with luminaries like Yoko Ono, Keith Haring, and Keith Jarrett. Jennifer enjoyed infusing written and spoken language into her choreographic works and often wrote these texts herself. Jennifer created and taught the Muller Polarity Technique worldwide and was a treasured teacher and mentor. Informed by Eastern doctrine, her technique applies concepts of 鈥渞ising and falling, gravity and lightness, and a yin-yang flow of energy that free[s] dancers to move expressively, as opposed to in conformity with codified steps鈥� (Bauer, 2023, p. 11).
Beyond their dance-technical virtuosity, Jennifer celebrated her dancers鈥� humanity and individuality, tirelessly mentoring them to become better dance educators, performers, and human beings. In me, she instilled a robust work ethic, high standards led through a deep sense of caring for myself and my community, a keen sense of artistry and business-savviness, and a deep understanding that鈥攁s an artist and educator鈥攎y key aim is to foster curiosity, wonder and self-expression. Once, after showing one of my choreographic works, she said, 鈥淚 cannot wait for you to find your voice.鈥� Having already been a dancemaker for over ten years, I took offense, but now I see she was right. Like a teenager who thinks he knows everything, I was merely starting to find my voice. With those nine words, she nudged me beyond my then-complacency.
Jennifer鈥檚 dance teachings effortlessly transfer to life learning. As part of my Program Coordinator work at Central Connecticut State University, I push our scholars to adopt perseverance, an unwavering dedication to dance and dance education, and a powerful sense of self-discipline. They indirectly can thank Jennifer for that.
鈥淚鈥檓 not an abstractionist. A great deal of my work has a sense of celebration.鈥� Jennifer Muller - The New York Times, 1983
Robert Kellogg, affectionally known as Bob and perhaps the least known of the four dance icons, studied Dance and Lighting Design at Connecticut College. After various dance and acting jobs on Broadway, Bob became a Stage Manager for productions like Grease, A Chorus Line, and Hair, but he also worked with dance troupes like Les Grands Ballets Canadiens. Having been a performer and stage manager with 45 years under his belt, Bob was a big dance advocate. After his retirement, Bob religiously visited dance performances, befriending many dancers. With heart and enthusiasm, he frequently told stories about celebrated theater folks, like Tommy Tune, Meryl Streep, or Joan Rivers, entertaining his entertainer friends and鈥攑erhaps without realizing it鈥攂ecoming the glue of the New York downtown dance scene.
Bob taught me the importance of community and showed me the value of compassion and generosity. Through him, I am reminded to connect to my students and the learning environments they serve. I recall Bob鈥檚 kind and attentive presence whenever I feel overcome with long lists of to-dos, must-dos, and will-do-if-I-have-time. Sometimes, the sole thing one needs to do for their students is bear witness to them. Since dance is an interpersonal art form, its meaning lies in being witnessed by an audience. Dancers naturally thrive on being seen. Bob flawlessly oscillated between his two Connecticut College undergraduate learnings of performer and lighting designer, shifting from entrancing his audience to shedding light on the most powerful conversations. He was a guiding light in the dance community lightyears ahead of his time, and I am happy he was my friend.
鈥淒o not ever expect anyone to say thank you. If they do, you know that you have a friend.鈥� Robert Kellogg - personal correspondence, 2012
Gus Solomons jr was best described as a Renaissance man. During his life, he was an educator, performer, choreographer, and writer. After obtaining an architecture degree at the Massachusetts Institute of Technology (Rizzuto, 2017), Gus moved to New York City with a 鈥渂urning itch to perform and make dances鈥� (Banes, 2003, p. 105). He stood out as one of the few specs of color in downtown postmodern dance in the 1960s. Working with dance icons Martha Graham, Merce Cunningham, Donald McKayle, and (like Jennifer Muller) Pearl Lang, Gus stood tall, not only because of his height and long legs but also because of his warm and effusive stage presence. Gus鈥� teaching experience was extensive, ranging from mentoring choreographers to his 19-year employment as an Arts Professor at NYU鈥檚 Tisch School for the Arts. For over 40 years, Gus wrote dance reviews, including articles for The Village Voice, Attitude, and The Chronicle of Higher Education.
Gus was radiant with joy and wit, bringing his insight and expressiveness into his community. In a 2010 interview, he described himself as ecumenical (Merce Cunningham Trust, 2019). Gus was precisely that in the dance community, promoting unity, courage, and wisdom. During one of our teatime conversations, he prided himself on always saying yes to an opportunity. His statement, 鈥淣ever have a bucket list. Instead, say 鈥榶es鈥� to life.鈥� was made so casually but stayed with me to this day.
Gus taught me to embrace life, bring people together through verbal and kinesthetic dialogue, and鈥攑erhaps most importantly鈥攂ecome a movement and language architect. He encouraged me to become a better choreographer and writer throughout the years. Gus鈥檚 charisma inspired many, and he will be missed.
鈥淎rchitecture and dancing are exactly the same. You design using all the same elements 鈥� time, space and structure 鈥� except that in dance, time is not fixed.鈥� Gus Solomons jr - Cambridge Black History Project, u.d.
Like Gus and Jennifer, Leda Meredith (pictured in featured photo) was a writer. After a career as an accomplished dance instructor, choreographer, and professional dancer (including for Jennifer), she chose ethnobotany, the science of plants鈥� uses, as her second career. As a prolific author of foraging and cookbooks, she enjoyed teaching urban foraging wherever she traveled. In addition to her impressive credentials, Leda was awarded an honorary doctorate in Fine Arts for her writing from La Universidad Leonardo da Vinci in El Salvador. Her teaching excellence was also duly recognized, as she was bestowed with Adelphi University鈥檚 prestigious Teaching Excellence Award.
Leda inspired me through her wisdom, grace, and enthralling enthusiasm for life. Her intelligence, curiosity, courage, and sense of adventure motivate me beyond what I assumed to be my limits. As an educator, dance artist, and writer, I aim to echo Leda鈥檚 joy and passion for life in my students. The last time we spoke, she knew she was dying. That did not stop her from proudly standing in her composed elegance, zeal, and bravery. I miss her. While she lives on through her teachings, recipes, and talent, I will always miss her. I will miss all four of them.
鈥淲hen you started this life, you signed a contract with the universe to become whoever you want to be when performing on stage. No limits and no excuses. You must stay true to that.鈥� Leda Meredith - personal communication, 2010
In speaking about her passing mother, Maya Angelou said, 鈥淟ove liberates. It doesn鈥檛 bind. Love says, 鈥業 love you. I love you if you鈥檙e in China. I love you if you鈥檙e across town. I love you if you鈥檙e in Harlem. I love you. I would like to be near you. I鈥檇 like to have your arms around me. I鈥檇 like to hear your voice in my ear. But that鈥檚 not possible now, so I loved you. Go.鈥�
I have never been a particularly religious person. However, I believe that spiritual energy鈥攊n this case, Jennifer鈥檚 grit and creativity, Bob鈥檚 kindness and generosity, Gus鈥檚 radiance and wit, and Leda鈥檚 elegance, zeal, and bravery鈥攍ives on in all of us. Although they have transitioned, they still walk, dance, and write with me. Their legacy moves on through me. I want my students to be business-savvy and creative like Jennifer. I want them to have Bob鈥檚 heart and Gus鈥檚 pride, but most of all, I want them to have Leda鈥檚 courage.
It takes savviness, creativity, compassion, and dignity to be a dancer, a writer, or a teacher. I adopted these professions to help people and pursued them with passion. My legacy is slowly coming into focus. I see it in the talented performers and educators I have taught. Unfortunately, I did not have the opportunity to thank Jennifer, Gus, Leda, and Bob. That said, today, please thank the people that inspire you. Their rich histories became part of your story, and chances are that they are unaware of their impact on your career and life. A simple gesture of gratitude might inspire them to continue forging ahead.
Thank you for your life teachings, Jennifer.
Bob, you are the kindest.
You will always be a star, Gus, even in heaven.
Leda, I miss you every day.
I hope you will find the time to all dance together in heaven.
REFERENCES
Angelou, M. (2011, January 16). Maya Angelou鈥檚 master class quotes. Oprah.com. https://www.oprah.com/own-master-class/maya-angelous-master-class-quotes/all
Banes, S. (2003). Reinventing dance in the 1960s: Everything was possible, Madison: University of Wisconsin Press.
Bauer, C. (2023, April 10). Jennifer Muller, choreographer whose dances told human tales, dies at 78. The New York Times, p. 11.
Gus Solomons Jr. Cambridge Black History Project. (2021, July 6). https://cambridgeblackhistoryproject.org/project/gus-solomons-jr/
Merce Cunningham Trust. (2019, November 19). Gus Solomons Jr, interview 8.12.2010. YouTube. https://www.youtube.com/watch?v=kC_nkZl_iJk
Rizzuto, R. (2017, May 16). Gus Solomons Jr: How I teach Cunningham. Dance Teacher. https://dance-teacher.com/gus-solomons-jr-teach-cunningham/
Silverman, J. (1983, February 27). Jennifer Muller鈥檚 dance heritage. The New York Times, p. 7.
Wild, S. (2023, April 10). Jennifer Muller, founder of Jennifer Muller/the works, has passed away. BroadwayWorld.com. https://www.broadwayworld.com/article/Jennifer-Muller-Founder-Of-Jennifer-MullerThe-Works-Has-Passed-Away-20230410
After a professional performance career in the Netherlands and the United States, Pascal Rekoert pivoted his focus to education. First, as a company member and Associate Artistic Director of Jennifer Muller/ The Works, he taught dance professionals and collegiate dance scholars across the globe. After, as an NYC K-12 educator, he taught students from Title 1 schools to pre-professionals at Fiorello H. LaGuardia High School of Performing Arts. As a Lincoln Center Scholar that finished his master鈥檚 degree in an inaugural partnership program between Lincoln Center Education and CUNY Hunter College, Rekoert helped revise the NYC DoE Blueprint for Teaching and Learning in Dance. Currently, Rekoert is pursuing a doctoral degree as part of the Ed.D. Dance Education Program at Teachers College. He is an Associate Professor and Dance Education Program Director at Central Connecticut State University, currently the only one providing state certification for K-12 dance educators in the state.
Photo Credits: Both Action Shots by Tom Caravaglia, Headshot by Nico Illiev