Repertory Etudes, developed by American Dance Legacy Initiative (ADLI), are short dances based on signature works of American choreographers, available to the public with unprecedented access for study, viewing, and performance. Now, just as anyone can study and perform music from Bach to Duke Ellington or theatre from Shakespeare to Tennessee Williams, ADLI grants access to dance works by historical and contemporary choreographers on an ongoing and intimate basis. Dancing Legacy members perform and teach Repertory Etudes at an expert level and are often involved in the development process. The Repertory Etude Collection currently includes works by: Robert Battle*, Danny Buraczeski*, Deborah Friedes after Sophie Maslow, Danny Grossman*, Carla Maxwell after José Limón*, Donald McKayle*, David Parsons*, Pearl Primus, and Anna Sokolow arranged by Lorry May. (The asterisks [*] indicate RepEtudes we currently offer for teaching residencies.)
Visit ADLI's web site to find out more and visit YouTube to see videos of Repertory Etude excerpts.
Dancing Legacy's repertory includes a diverse roster of works by independent choreographers, including Carolyn Adams, Ruth Andrien, Eve Gentry, Danny Grossman, Donna Jewell, and Anne-Alex Packard. Because of a unique emphasis on the process by which dances are passed on, grounded in the Legacy Methodology (outlined below), Dancing Legacy provides a trustworthy and living archive for dances, particularly for artists without their own active companies. In addition, Dancing Legacy members create or set their own work on the ensemble.
The Legacy Methodology is a systematic and dynamic process for teaching and learning the multi-dimensional aspects of dance works. The Legacy Methodology highlights the role the performer plays in bringing choreography to life, instilling in dancers the sense of responsibility both to the original choreography and their own individual relationship with it. Dancing Legacy is committed to guiding learners in understanding the intention behind the movement, rather than an imitation of the effect of the movement. To use a cooking analogy, it is like using a recipe, rather than trying to figure out how to make a dish by looking at plastic food in a Japanese restaurant display.