Mark Morris

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Mark William Morris (born August 29, 1956) is an American dancer, choreographer, and producer whose work is known for its uniqueness, ingenuity, humour, and, in some cases, eclectic musical accompaniments.

Morris is extremely popular among dance enthusiasts, the music industry, and general audiences.

Early years

Morris grew up in Seattle, Washington, with a family that loved music and dance, as well as nurtured his budding talents; his father Joe taught him to read music, and his mother Maxine introduced him to flamenco and ballet. Joe served as a high school coach, while Maxine cared for the children at home. Marianne and Maubeen were two older sisters at 15 Morris's older sister. 15 The members of his family were musicians, playing instruments, singing in chorus, and dancing. Morris's neighborhood population has shifted, with many black and Asian families moving in and some white families moving out, with some exceptions such as the Morrises. 18 This resulted in a flourishing art scene in many cultures, including a Japanese Bon Odori festival and a Samoan dance ensemble at Morris' high school, 18 of whom later influenced Morris's interest in dance traditions outside of Western dance. At the age of eight, he began Spanish dance lessons with Verla Flowers. Morris was also introduced to ballet, which was considered an ageless art form even then. 22 He was also active in the Koleda Folk Ensemble for several years of his youth, which is said to have had a major influence on his later choreography. 26 Throughout Morris' childhood, he was discriminated for being obnoxious, which led to a lot of his later choreography. 25 Koleda was born with a variety of sexual identities and orientations, which is why it was so important to him. 31 By age 14, he had choreographed his first modern work and his first ballet piece by 15. 33 years ago, Morris' father died when he was 16, but he died at the age of 16. 40 His father's death and their union inspired Morris's later piece, Dad's Charts. 40 Morris moved to Madrid to study flamenco with the intention of becoming a Spanish dancer, and toured with the Royal Chamber Ballet of Madrid briefly. 40 He returned to Seattle after five months of racial discrimination in Spain for being gay. 41 He later trained with Perry Brunson, formerly of the Joffrey Ballet, for a year and a half. 41 He then migrated to New York at 19 to begin his career as a choreographer. 41 He danced with choreographers Eliot Feld, Lar Lubovich, Laura Dean, and Hannah Kahn. He formed his company with ten dancers in 1980.

Personal life

Morris lives in Manhattan's Kips Bay neighborhood. He is gay.

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Career

Morris formed a group of his acquaintances and put on a performance of his own choreography on November 28, 1980, naming them the Mark Morris Dance Group. The company gave only two annual appearances, at On the Boards in Seattle, Washington, and the Dance Theatre Workshop in New York. He was invited to The American Dance Festival in 1984 as part of the young choreographers and composers program. On PBS, the company appeared on nationally syndicated Great Performances – Dance in America series.

Gérard Mortier, then the head of the Théâtre Royal de la Monnaye in Brussels, met Morris in 1988. When Maurice Béjart, who had been in charge of Dance for more than 20 years, resigned and took his company with him, Mortier needed a replacement. Mortier offered Morris the position after seeing the Mark Morris Dance Group perform one performance. Mark Morris, a resident company in La Monnaie, was given complete headquarters and studios; medical assistance for him, his workers, and dancers; an orchestra and chorus; and one of Europe's best stages to perform.

Morris and Mikhail Baryshnikov founded the White Oak Dance Project in 1990. He continued to work for this company until 1995.

Morris choreographed "World Power," a performance for 14 dancers created in 1995. Morris drew inspiration for this essay from a piece of text by Mark Twain in which Twain talks about the US occupation of the Philippines in 1899, 65 years ago, six years before the Gulf of Tonkin resolution heralded the United States' growing presence in Vietnam. In Honor of Mr. Handel and In Honor of Mark Twain, Lou Harrison's gamelan, trumpet, and chorus works are included in this exhibition. Harrison's book "Homage to the Pacifica" included the following passage: Twain wrote the following passage: "Domage to the Pacifica"

We have pacified thousands of the islanders, buried them, burned their fields, burned their towns, and turned their widows and orphans out-of-doors; dozens of the nation's most rebellious patriots have been sent home; and, of course, we have shot our security flag in honor of our Sultan's pious new name, Benevolent Assimilation. And so we are a World Power by these Providences of God (and the word is the government's, not mine).

Morris spent time in Indonesian dance, Indonesian puppet theater (wayang kulit), and traditional Javanese court dances, such as the bedhaya and serimpi, extensively borrowing movements, formation patterns, and hand gestures from the dances in lieu of traditional Indonesian gamelan music. The music is largely Asian, and it includes instruments such as the bamboo flute, metallophone, and bronze pot gongs.

"World Power" is one of Morris' most popular pieces due to its strong political message, clear lyrics and choreography depicting violence against/conquering indigenous peoples. The final contains images of definite fear: an impatient stamping motif and verses concluding with a reprieve backwards, dancers falling to the ground and arms shielding faces as if in terror. Morris appropriated Asian history by borrowing movements from the Indonesian and Javanese dances and using Asian-inspired songs without properly recognizing their roots.

Morris has worked with the San Francisco Ballet, most notably for which he has created eight ballets. He has also been paid commissions from American Ballet Theatre, Boston Ballet, and the Paris Opera Ballet. Among other things, he has worked extensively in opera, directing and choreographing opera performances for the Metropolitan Opera, the New York City Opera, English National Opera, and the Royal Opera House in Covent Garden. He directed and choreographed King Arthur for the English National Opera in June 2006, and Orfeo ed Euridice for the Metropolitan Opera in May 2007.

He is the recipient of 11 honorary doctorates.

Gloria (1981), set to Vivaldi (1985), based on an essay by Roland Barthes; L'Allegro, il Moderato (1989); The Nutcracker set in the 1970s; and The Nutcracker quartet (2001); and All Four Saints (2004). He premiered his Mozart Dances in 2006, commissioned by the New Crowned Hope Festival [2] and Mostly Mozart Festival in conjunction with Mozart's 250th anniversary of birth; and On Motifs of Shakespeare, Prokofiev's recently discovered, original scenario and score, premiered. During sold-out performances at his dance center in Brooklyn in 2011, he premiered the 150th work of his professional career, Festival Dance, to critical acclaim.

In Falling Down Stairs, a film by Barbara Willis Sweete that appears in Ma's Emmy-winning Inspired by Bach collection, Morris and his Dance Group collaborated with cellist Yo-Yo Ma. Morris choreographed a ballet based on Bach's Third Suite for Unaccompanied Cello, which Ma performs. Sweete's film portrays the role as well as the dance's evolution. Morris has also worked with visual artists including Isaac Mizrahi, Howard Hodgkin, Charles Burns, and Stephen Hendee.

In 2001, his business reopened the Mark Morris Dance Center in Brooklyn, which is located on Lafayette Avenue in the Fort Greene neighborhood. The Mark Morris Dance Center's establishment in 2001 marked the school's establishment. In addition, the Mark Morris Dance Group, the center's downtown dance group, provides rehearsal space for local children and people with Parkinson's disease, and a school that offers dance lessons to students of all ages.

Mark Morris (1993), by dance critic Joan Acocella, is the subject of a biography. He published L'Allegro, il Penseroso ed Moderato, a collection of photographs, and critical essays in 2001.

Morris was the first choreographer and dancer to serve as the music director of the Ojai Music Festival in 2013.

Morris, who has since been barred from performing, has long been known for his dancing's virtuosity and tenacity, as well as his remarkable delicacy of movement. His body was heavier than the average dancer's, more like that of an average person, but his technical and expressive abilities far outstripped those of most of his contemporaries.

Morris wrote Out Loud: A Memoir, written by Wesley Stace in 2019.

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Honors and awards

• 11 Honorary Doctorates (Cornish School of the Arts, 2011; Roehampton University, 2010; Centenary College, 2009; Bard College, 2006; Bates College, 2006; George Mason University, 2005; Bowdoin College, 2003; Pratt Institute, 2003; Long Island University, 2002; Juilliard School, 2001; Boston Conservatory of Music, 1994)
• Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, 2010
• American Philosophical Society, Member, 2008
• The Independent Award, Brown University Club of New York, 2007
• Samuel H. Scripps American Dance Festival Lifetime Achievement Award, 2007
• WQXR Gramophone Special Recognition Award, 2006
• New York City Mayor's Award for Arts & Culture, 2006
• American Academy of Arts & Sciences, Fellow, 2005
• Laurence Olivier Award (UK), Outstanding Achievement in Dance, 2002
• Critics' Circle National Dance Award (UK), Best Modern Choreography, 2002
• Critics' Circle National Dance Award (UK), Best Foreign Dance Company, 2002
• Time Out Live Awards (UK), Outstanding Production (V), 2002
• County of Los Angeles Distinguished Artist Award, 2001
• New York State Governor's Arts Award, 2001
• Best of Boston, Mark Morris & Yo-Yo Ma, Best Duet, 1999
• Laurence Olivier Award (UK), Best New Dance Production (L'Allegro, il Penseroso ed il Moderato), 1998
• Evening Standard Award (UK), 1997
• Capezio Achievement Award, 1997
• Scotsman/Hamada Trust Festival Prize, Edinburgh Festival, 1995
• Edinburgh International Critics Award, 1994
• Edinburgh International Critics Award, 1992
• John D. and Catherine T. MacArthur Fellowship, 1991
• Dance Magazine Award, 1991
• John Simon Guggenheim Memorial Foundation Fellowship, 1986
• New York Dance and Performance Award ("Bessie"), 1984, 1990, 2007
• Numerous honors include Choreographic Fellowships from the New York and New Jersey State Councils on the Arts and the National Endowment for the Arts.