MULTIPLE UNDO: Multiple Undo, like Douglas Dunn’s work in general, maintains and extends an important lineage of modern dance, the found idiom with its roots in Dada and Duchamp, exemplified in the last century by the works of John Cage, Robert Rauschenberg and Merce Cunningham. Its essence is the proposition that dance is everywhere and can be made from anything. In this tradition, meaning is not imposed on the dance from some vantage point outside of it, but radiates from the body itself, from the step itself and the myriad details of transiting from one movement to another.

Douglas Dunn & Dancers exists to make new dance in this lineage, dance that that makes its investigations with wit and humor, dance that eschews persuasion and promotion, dance that is as charged with desire and immediate vitality as life itself. This June, Douglas Dunn launches Homestretch, a three-year project celebrating 35 years of downtown dancing and choreography. For Homestretch, the company will create new work, reprise repertory and extend its outreach and education capacity, presenting Salon performances in the studio and developing an after-school dance and visual arts program for fourth graders in Lower Manhattan. For more on Homestretch and upcoming events, check the company’s website: DouglasDunnDance.com.

Performers: Douglas Dunn, Liz Filbrun, Jessica Therese Martineau, Sari Nordman, Matt Sweeney, Jessica Weiss, Kindra Windish.

Costume Design: Mimi Gross

OTHER DISTORTIONS : The piece was shaped by my initial impression of the many differently oriented angles, lines and slants of the site and its surroundings�vast, and sometimes slightly dizzying and disorienting. While the architectural setting influenced the movement�s twists, torques, and overextended limbs, the actual performance will add the element of �co-existing�. Dunn�s group of seven dancers, our trio, and the audience members will become part of each others site and create an ever-changing dynamic.

Rindfleisch had its inaugural season in 1999, at Joyce SoHo, followed by annual seasons at The Construction Company, Joyce SoHo, Danspace Project/St. Mark�s Church, and Wallabout Studio in Brooklyn. The evening-length piece Enamoured (2004) was nominated for the TimeOut/New York Dance Audience Award. last June, and September, the company presented Overhead, a full-length production at Wallabout Studio in Brooklyn. The piece was inspired by and partly performed on the rooftops of the industrial buildings that surround the studio. This May the company premiered the work Damage at Wallabout Studio. The six dancers moved, as if pushed and dragged by internal forces in their ribcages, through the guttural vocals of the three singers of the Collective Opera Company and Chris Woltmann�s music for electric guitar, bass, and drums. Damage was called �disturbing, ....sexy, and fun� by the New York Times and will be brought back for a second run in September. Other New York City performance venues include Dixon Place, Movement Research at Judson Church, Dancenow Downtown NYC, Cunningham Studio, BRIC Studio. International appearances include the Dance Festival Rotterdam, Netherlands (1993), the Toronto Fringe Festival (2000) and the Dance/Music Under Construction tour of Belgium in 1998.

Performers: Jean Freebury, Matthew Dailey, Elke Rindfleisch

Choreography and costumes design: Elke Rindfleisch

Sitelines Curator and Producer: Nolini Barretto Sitelines
Intern: Cornelia McPherson

LMCC gratefully acknowledges the assistance and support provided by Harry Bridgewood, Yana Zhirova, & New Water Street Corporation. This work was made possible, in part, by Franklin Furnace Fund for Performance Art, supported by Jerome Foundation. Sitelines is made possible with lead support from Altria Group, Inc. and the New York Mercantile Exchange. Additional support provided by New York State Council on the Arts, Morgan Stanley, and Harkness Foundation for Dance. Sitelines is presented by Lower Manhattan Cultural Council and in association with the River to River Festival.