Merce CunninghamJoin now to read essay Merce CunninghamMerce Cunningham was born on April 16th, 1919, in Centralia, Washington. At a young age, he began dancing and theater training at the Cornish School in Seattle. In 1939, he then became a soloist for Martha Grahams company. He performed his first solo concert in New York with John Cage in April of 1944. A year later, Cunningham resigned from working with the Martha Graham dance company.
Just one year later, he formed the Merce Cunningham Dance Company at Black Mountain College. The company was a relatively instant success, and since that time, Cunningham has choreographed more than two hundred pieces for his company. One of the most famous, was in 1973 when he choreographed “Un jour ou deux” for the ballet of the Paris Opera. He enjoyed working with John Cage so much in the previous years that he asked him to work with him again, with help from Jasper Johns with set design. He continued working with the Paris Opera, making such pieces like Points in Space. After others saw all the success in all of his choreography, he began working with the New York City Ballet, the American Ballet Theater, and the White Oak Dance Project. Once again, his work showed great accomplishment, so he choreographed pieces for The Boston Ballet, Pacific Northwest Ballet, Pennsylvania Ballet and Rambert Dance Company, in London.
A. I. Brown, MD (1909-2005), PhD, has won the Presidential Medal of Freedom, the American Medical Association “Ayn Rand Memorial Award” for “Outstanding Expertise in Modern Medicine and Rehabilitation,” published in 1964 by the New York Times Magazine as a “Book of the Year” and an honor bestowed on a major scientist who “had a profound effect on the lives of millions of Americans, and would inspire others to follow his own path from a childhood of political revolution to a doctor in the White House, who became an all-time leader in this field.” M. Brown, MD (1916-2006), Jr., MD, is chairman of the School of Advanced Health Medicine at the Albert Einstein College of Medicine in New York City with a Doctorate in Anatomy and Neurosciences from the John Jay College of Emergency Medicine in New York, and is a Fellow at the American Medical Association’s Robert Stephenson and the American Academy of Neurology. He holds the Distinguished Chair in Neurophysiology from the Rochester Institute of Technology, New York. F. J. Brown, MD (1964-2005), PhD, who is a Fellow of the Academy of Engineering in The University of Washington, D.C., and the School of Engineering at the University of Massachusetts, Amherst, is a Fellow of The American Medical Association in The Academy of Medical Sciences, and is a Fellow at the American Commission on the Status and Quality of the Care of the Public. He holds the Distinguished Research Award from the American Medical Association Research Institute, and the Nobel Laureate Prize for his research on Alzheimer’s Disease. F.J. Brown has worked as a consultant or assistant professor of Neurotechnology at Brown University in New York City. Since 1984, he has been professor emeritus of Neurotechnology at Brown University. Brown has been a director of medical advances in recent decades for the medical industry, leading biomedical research institutes such as Brigham and Women’s Hospital, the National Institutes of Health, and the American Chemical Society, and he is the subject matter expert for a wide range of pharmaceuticals and pharmaceutical-to-neurotoxic therapy groups. F.J. Brown: I am most interested in how I can create and bring value to those that desire and do not want those that do. There are many different ways for me to do this. One is a small, inexpensive project, called a Biopharmaceutical Innovation Model. To be able to create value through an effective therapy to patients, they need an effective cure, a target population, a target drug, and a target business/marketing strategy. Unfortunately, with so many drug companies that are under-pending, many of the patients would rather go to the pharmaceutical industry and have a better understanding of their needs. That’s where I come in. I am an entrepreneur, a small-business owner, and an entrepreneur
Cunningham works not only with live stage performances, but in film and video, first with in 1999, with Charles Atlas. The work was a documentary the two collaborated for, “Merce Cunningham: A Lifetime of Dance”. In 2004 and 2005, they came together once again to make “Views on Camera” and “Views on Video”. They made these pieces together with a grant from the Andrew Mellon Foundation. After working with film, Cunningham then realized he would be interested to work with computer programs as well, such as DanceForms, which, since 1991, he has used every time he choreographs. Following working with DanceForms, in 1997, he began working with Shelley Eshkar and Paul Kaiser from Riverbed Media for “Biped”. In 2000, Cunningham began work on “Interspace”, where he worked with Robert Rauschenberg, and an old friend, John Cage.
In 2001, Cunningham began choreographing live performances again, with “An Alphabet”, with John Cage, at the Edinburgh Festival. In 2002, The Merce Cunningham Company celebrated its fifth anniversary. In celebration, the preformed at the Lincoln Center Festival and the Brooklyn Academy of Musics Next Wave Festival, with