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Topic: Liz Lerman

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	Liz Lerman Dance Exchange
		By the end of the piece, a clump of potatoes served as a pillow to a dreaming man; as in the biblical story, a stone served as a pillow to Jacob while he envisioned angels and awoke to realize for the first time the beauty that surrounded him.
		In her solo, "Body Map," Lerman asked the audience to "Pretend [her] body is a map of Israel." She and Israel celebrated their 50th birthdays within months of each other, in 1998.
		Lerman traced the routes of her neck and torso, drawing parallels to locations in Israel.
	www.danceinsider.com /f2002/f0125_1.html (652 words)

	DANCE AND THE GENIUS OF AGE
		Since Liz Lerman first worked with elders a quarter century ago to create a dance in memory of her mother, she has built a renowned professional touring company while reaching into communities nationwide to conduct intergenerational and multicultural workshops that often lead to exhilarating public events.
		Lerman discovered that both on an artistic and a technical level, the elders "taught me to rethink what's important." She continued, "Instead of merely handing down techniques that I learned from my teachers, I had to question every single thing I was teaching.
		Lerman found that the student dancers began interacting like partners; they "were learning how to be a person" as they shifted their concentration from executing the next motion to the external focus necessary for reaching out to another individual.
	www.asaging.org /at/at-236/IF_Dance_and.cfm (1420 words)

	Who is the Dance Exchange?
		Liz Lerman Dance Exchange pursues a broad definition of dance as a multi-disciplinary art form that encompasses movement, music, imagery, and the spoken word.
		In 1975 Liz Lerman created Woman of the Clear Vision,a dance about her mother's death featuring professional dancers and adults from a Washington, DC senior center.
		Liz Lerman Dance Exchange is coordinating this major initiative in performance, celebration, and participatory artmaking at over 12 national sites between 1998 and 2002.
	www.danceexchange.org /whoweare.asp (1046 words)

	Review: (January 30 - February 5, 1997)
		For Lerman, older dancers, with their long life histories and their distinctive ways of moving, sometimes provide precisely the means to endow dance with new meaning.
		Consistent with this philosophy is Lerman's reaching out to people who are not dancers at all, in community workshops she conducts around the country and in the nursing homes where she teaches seniors to dance.
		In a recent workshop with workers at a New Hampshire shipyard, for instance, Lerman incorporated into a piece "the movements that are inherent in the lives of workers," the raising and lowering of a hammer, the tightening of a bolt.
	www.tucsonweekly.com /tw/01-30-97/review1.htm (866 words)

	Washingtonpost.com: Live Online
		Lerman has been a persuasive pioneer in redefining ideas about who gets to dance, and what dance can mean to professional dancers and community members alike.
		Liz Lerman Dance Exchange creates a unique brand of dance and theater that breaks boundaries between the stage and the audience; between theater and community; between tradition and the unexplored.
		Liz Lerman: Well there are several things in your question that are important to me. Let's start with the idea of "horrible." A lot of people think that dance is just the steps, but actually there's so much more.
	www.washingtonpost.com /wp-srv/liveonline/02/regular/metro/levey/r_metro_levey112602.htm (3845 words)

	Dance illuminates issues of genocide - The Boston Globe
		The operative word might just be ''now." Lerman hopes the work will honor the efforts of those who've confronted the issue of genocide, including people who've been victimized by it and are brave enough to come forward and talk about their experiences.
		But Lerman, 58, was a history major at Brandeis University, and she and her 30-year-old company, Liz Lerman Dance Exchange, have long dealt with weighty issues, from religious faith to the effects of closing down shipyards.
		Lerman maintains that dance can be for and about everyone, and she is a trailblazer in multigenerational, community-based dance.
	www.boston.com /ae/theater_arts/articles/2005/11/03/dance_illuminates_issues_of_genocide (703 words)

	Jewish Woman magazine
		Liz Lerman has been stretching the definition of dance and pushing the boundaries of modern composition for nearly 30 years, all the while balancing the roles of artist, wife and mom.
		Lerman, 55, was named one of 24 MacArthur fellows in 2002 for her achievements and advancements in the field of modern dance.
		For Lerman, who grew up in Milwaukee, Wis., and worked as an elementary school teacher for several years before breaking into dance, the honor is recognition for years spent committed to the philosophy that both professional dancers and average community members are strengthened and somehow better off for having spent time together.
	www.jwmag.org /articles/06Spring03/p46.asp (741 words)

	Hallelujah
		Over the last four years, choreographer and modern dancer Liz Lerman and her nine-member dance company, Dance Exchange, asked hundreds of people in workshops across the nation "What does "Hallelujah" mean to you?" and created dances that reflect those answers.
		Lerman chose the theme "Hallelujah" because she wanted both secular and sacred stories about matters that are important to communities.
		Lerman says the most interesting performers to her are the people who have not trained as dancers.
	www.acfnewsource.org /art/hallelujah.html (602 words)

	PND Job Corner - Liz Lerman Dance Exchange - Development Director
		Liz Lerman Dance Exchange is an internationally acclaimed, multi-generational modern dance company lauded by the New York Times for creating “visionary work of extraordinary eloquence.” Founded in 1976 by choreographer Liz Lerman (subsequently designated a 2002 MacArthur Fellow), the company is long-established as an innovator in contemporary dance and a leader in community arts practice.
		Liz Lerman Dance Exchange seeks a dynamic proven development professional to work with the Founding Artistic Director, executive staff, artistic leadership, and trustees in raising the organization to its next fundraising level.
		Liz Lerman Dance Exchange is at an exciting turning point, poised for the next level of success with its upcoming 30th Anniversary and a newly renovated office/studio complex opening in 2006.
	foundationcenter.org /pnd/jobs/job_item.jhtml?id=129200047 (466 words)

	Dance \| (Site not responding. Last check: 2007-10-24)
		Lerman’s Dance Exchange comprises upward of eight " multi-generational " professional dancer-performers — a once-separate company of seniors has gradually been assimilated into the original troupe of modern dancers.
		Lerman’s most creative work has arisen from long residencies, where a lot of time can be spent in eliciting physical and verbal material from the community that then becomes the content of the piece.
		What Lerman is good at is making it all right for us to see people with dignity and difference.
	www.bostonphoenix.com /boston/arts/dance/documents/02194417.htm (751 words)

	C-Ville Weekly - Charlottesville's Best Weekly Newspaper
		Liz Lerman Dance Exchange is coming to town this weekend for their second visit to the Paramount, and—since Lerman is regarded throughout the world of performing arts as a true pioneer in “community art”—it seems like the exact right moment to try to restore some dignity and purpose to the phrase.
		When she heard that Lerman’s company was seeking local performers to join them in certain pieces slated for the Paramount show, she didn’t hesitate to get involved again (about three dozen locals will take the stage during the Dance Exchange’s performance here on May 20).
		Liz Lerman: Initially the idea of exchange was simply that there would be different artistic voices within the organization exchanging views.
	www.c-ville.com /index.php?cat=121304062461064&ShowArticle_ID=1331505061284775 (2328 words)

	Liz Lerman Dance Exchange (Site not responding. Last check: 2007-10-24)
		Liz Lerman, a choreographer and dancer in her 40s, emphatically dissents.
		On the basis of this program, Lerman seems to have two sides, one interested in large "elevated" themes and the other content to work in the vernacular; to my taste, the latter was decidedly more successful.
		But when the democratic choreography made it clear that everyone was going to do everything, that Lerman was not asking the audience to make allowances for these "special" dancers, we all relaxed as it became clear that she had given the company tough, challenging steps to do and expected the dancing to carry the day.
	www.citypaper.net /articles/031298/reviews2.shtml (456 words)

	DANCE REVIEW; Digging Up The Perfect Potato, and Other Joys - New York Times
		Her latest project is the three-year ''Hallelujah'' series, in which she and her Maryland-based company, Liz Lerman Dance Exchange, settle into areas around the nation to discover and make theater of the ''small hallelujahs'' of daily lives there.
		Lerman and her performers burrowed into the festival's rich 68-year history and into the lore of local gardeners.
		Lerman gets to pure anecdote, the better she is. ''In Praise of Animals and Their People'' is a wonder, particularly in the way Ms.
	query.nytimes.com /gst/fullpage.html?res=9402E5DF1E3EF931A1575BC0A9669C8B63 (656 words)

	FORWARD : Arts & Letters (Site not responding. Last check: 2007-10-24)
		Standing alone center stage, dancer-choreographer Liz Lerman asks her audience to imagine that her body is a map of Israel.
		Lerman works with community groups, asking participants to tell personal stories and encouraging them to come up with gestures — some literal, some abstract — that reflect the stories' emotional content.
		Lerman decided to reverse the process, bringing dance and her method of dance-making into the context of formal worship.
	www.forward.com /issues/2002/02.01.18/arts3.html (926 words)

	HADASSAH MAGAZINE
		A few years ago, lerman noted that she was “beginning to explore the impact of belonging to multiple communities and to understand that each of us has multiple histories.
		Lerman became part of the core group of Synagogue 2000, a coalition of artists, rabbis, educators, cantors and professionals meeting regularly to plan programs that would stretch the boundaries and, in some cases, the very definition of synagogue life.
		Liz is helping us recapture the natural sense in which one reaches up to heaven in moments of joy and she ties that to the verbal culture with which we are so familiar.”
	www.hadassah.org /news/content/per_hadassah/archive/2001/December01/arts.htm (1932 words)

	HHMI News: Dancing Science
		Lerman was spending the year as an artist-in-residence at Wesleyan, while she choreographed Ferocious Beauty: Genome, a dance about the human genome.
		Lerman, known for her choreography of political and social issues and her intergenerational troupe of dancers, mentioned her desire to do a dance based on the human genome.
		While Lerman and her dancers worked with Wesleyan students and faculty, they also assembled a stellar cast of supporting scientists across the nation, including HHMI investigator Bonnie Bassler from Princeton University, Claire Fraser from The Institute for Genomic Research, and Nancy Wexler of Columbia University.
	www.hhmi.org /news/genomedance20060614.html (1249 words)

	Weekend: Drawing the observer into the dance
		Always relying on audience response, the Liz Lerman Dance Exchange seeks to elicit and express the joyful and the sweetly human.
		Liz Lerman, creator of Dance Exchange, takes a unusual tack on the simple idea, the profound gesture, the goofy juxtapositions life throws our way.
		And her 1996 Shipyard Project drew on the feelings and everyday movements of longshoremen whom Lerman had coaxed into participating in a performance on the docks of Portsmouth, N.H. Lerman, whose 30-year-old company is finishing a three-week residency at the University of Michigan, says her passion for often-overlooked points of view comes naturally.
	www.sptimes.com /News/101101/Weekend/Drawing_the_observer_.shtml (498 words)

	Laughing and Crying in An Age of Anxiety: An Interview with Liz Lerman
		This interview with Liz Lerman, artistic director of the Liz Lerman Dance Exchange, took place in Asheville, North Carolina, on April 14, 2002, during the last few residencies in the company’s nationwide "Hallelujah" community performance initiative.
		The program included a new piece by the Lerman company, "Anatomies and Epidemics." It was expanded from a portion of the Michigan "Hallelujah," created soon after the attacks of September 11, 2001, on New York and Washington.
		Liz Lerman: When you go through something like "Hallelujah" — I’ve never been a soldier, but it feels like– …I did a piece about [Gen. William Tecumseh] Sherman, and you read all these things between him and his men and it feels like he’s been forged by so much experience.
	www.communityarts.net /readingroom/archivefiles/2003/01/laughing_and_cr.php (4248 words)

	NEA Touring Program: Stories
		Lerman, the idea for her company grew out of her mother’s death and the profound need to express her grief through dance.
		Michelle Pearson, a former dancer with Liz Lerman Dance Exchange who had relocated to the Raleigh/Durham area, coordinated the four North Carolina residencies and helped partners communicate with Lerman and members of her company.
		The Liz Lerman Dance Exchange Hallelujah project brought together a dedicated, intergenerational group of dancers to help North Carolina communities express their stories and celebrate what is important to them.
	www.nea.gov /partner/touring/stories/9-02-animals.html (1537 words)

	Tucson Weekly: Prophet Sharing (March 2 - March 8, 2000)
		Liz Lerman, a leading modern dance choreographer based in Washington, D.C., has marshaled some 100 local residents for the performance, her first in Tucson in three years.
		Lerman, at the end of a long day of rehearsals, sat on the gym floor, flexing her dancer's feet and stretching out her legs.
		Lerman and her dancers have been traveling around the country, talking with people, listening to their life stories and concerns, to determine "what people want to be in praise of," Lerman explained.
	www.tucsonweekly.com /tw/2000-03-02/review.html (1207 words)

	The Wesleyan Argus - Liz Lerman Exchange connects science and dance
		Most recently, Lerman's presence on campus was felt in classrooms in the science and dance department, lectures, and the Middletown Dances events of last fall.
		Though the promotion of Lerman's work may have reached the point of over-saturation by its premiere date, the ubiquitous buzz worked in favor of the Exchange, who drew a full house for each performance in the CFA Theater.
		Lerman's incorporation of contemporary issues and ideas begets expectations not common for most dance performances — provocation, education, and ultramodern twists on dance.
	www.wesleyanargus.com /article.php?article_id=2637 (1047 words)

	Liz Lerman dancers visiting in October (10-14-93) (Site not responding. Last check: 2007-10-24)
		Lerman is well known for her work in dance with the senior citizen population and will include local people in the May performance.
		The Liz Lerman Dance Exchange is a cross-generational, multicultural company with members from age 22 to 70.
		By involving senior citizens, Lerman seeks to break down the concept that old age is synonymous with inactivity and dysfunction.
	www.udel.edu /PR/UpDate/94/7/19.html (318 words)

	Hallelujah/USA Program
		Liz Lerman would like to acknowledge that the dances on this program are possible because of the artistic contributions of former and current company members.
		Liz Lerman Dance Exchange recently embarked on its national "Hallelujah" project with "First Light" in Eastport, Maine, which greeted the dawn of the millennium from the dock of the easternmost city in the United States.
		Lerman is a frequent keynote speaker and panelist for arts and community organizations both nationally and internationally.
	www.communityarts.net /readingroom/hall/hallusaprog.php (4821 words)

	Massachusetts Museum of Contemporary Art \| Press Releases
		For Lerman's work, 40 members of the community will join her professional troupe performing in the vast space amidst the gently dropping paper.
		Liz Lerman has been addressing audiences for decades about the nature of dance, its history and its future.
		In 1975 Liz Lerman created Woman of the Clear Vision, a dance about her mother's death featuring professional dancers and residents of a Washington, D.C. senior center.
	www.massmoca.org /press_releases/05_2004/05_20_04.html (692 words)

	SHOW BUSINESS WEEKLY: REVIEWS: Hallelujah: In Praise of Fertile Fields (Site not responding. Last check: 2007-10-24)
		Commissioned in 2000 by Jacob’s Pillow and incorporated by Lerman into the Dance Exchange’s yearly Hallelujah project, In Praise of Fertile Fields meditates both on the legacy of one of the cradles of American modern dance, and on the cultivation of living things–plants, potatoes, ideas, dancers.
		Her heart is Jerusalem, and the blood circulating through the different chambers of her heart is the beat of the city itself, running through the veins of the geography of Israel.
		Lerman admits that "my friend Rachel said, ‘Liz, don’t make your heart a metaphor for Jerusalem’," since it would inevitably lead to a broken heart.
	www.showbusinessweekly.com /archive/160/dance-hallelujah.html (571 words)

	Liz Lerman Shipyard \| The Wallace Foundation (Site not responding. Last check: 2007-10-24)
		In choreographer Liz Lerman's view, no one is too old or too young to dance; no profession or calling is excluded.
		Lerman observes, "Once you've followed the process of hearing and telling stories, and then turning those stories into a series of movements, you've changed your ability to be an audience."
		Liz says, 'Come play,' and you are participating...I never would have done anything like this if I hadn't gotten involved in the project.
	www.wallacefoundation.org /WF/KnowledgeCenter/LizLermanShipyard.htm (783 words)

	Saguaro Seminar: Civic Engagement in America, at JFK School of Government, Harvard University
		From classes at the age of five through a Masters Degree in dance from George Washington University, Liz Lerman received a thorough grounding in classical ballet and modern technique from such leaders in the field of dance as Ethel Butler, Meriem Rosen, Viola Farber, Peter Saul, Jan Van Dyke, Maida Withers, and Twyla Tharp.
		Over the last 20 years Liz Lerman has established herself as a leader in both the modern dance and community arts fields.
		She has earned international recognition for her work with Liz Lerman Dance Exchange, as a solo performer, and as choreographer of over 50 works.
	www.ksg.harvard.edu /saguaro/lerman.html (212 words)

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