Teaching a Butterly to Swim

Abstract

Although choreographer Douglas Wright was initially wary of giving a photographer full access to the rehearsals of Black Milk, after meeting John Savage, he was satisfied that he wouldn’t distort the vulnerable process of making dance by his presence. Wright described how seeing the first group of photographs “taken”, he was surprised to find images that seemed to reveal aspects of that work previously only glimpsed. As John produced more images it became apparent that he has the gift of an imagination that could make, out of the choreographic act of making, a separate work: something more than a commentary. It is commonplace to refer to dance as fleeting, time-bound, even video and movin..