BAM 1968: Merce Cunningham’s First Major New York Season

This summer, in the Natman Room off of BAM's main lobby, a moment in BAM's history is celebrated—the first major New York run of Merce Cunningham Dance Company in May 1968. Stop by and check out the photos and artifacts that document the first run of many to follow by this renowned company.

In May 1968, as the Vietnam War raged on and the civil rights movement gained momentum, the cultural scene was undergoing a revolution of its own in Brooklyn. That month, choreographer Merce Cunningham and his company performed 12 dances in eight performances at BAM in his troupe’s first major New York season. It was part of the first full season of programming curated by Harvey Lichtenstein, the impresario who would go on to lead BAM for 32 years. That inaugural season emphasized dance and included runs by the companies of Alvin Ailey, Paul Taylor, and José Limón, as well as poetry and symphonic and jazz music programs. (The following year, BAM presented the Festival of Dance, comprising Martha Graham, Anna Sokolow, Erick Hawkins, Twyla Tharp, Meredith Monk, and Yvonne Rainer, as well as the above.)

Working with a Visionary—Harvey Lichtenstein

Harvey Lichtenstein, who was president and executive producer at BAM from 1967 to 1999, recently passed away. Here are some memories from colleagues of the man who stoutly believed in Brooklyn, and whose actions would immeasurably transform and enrich both the borough's vibrancy and the world's cultural landscape.

Harvey feeling the dancing with his heart, 1985 Photo (crop): J. Ross Baughman

Frederick Douglass at BAM

By 1860, Brooklyn had become the third largest city in America. As a thriving port city with significant trades in sugar, tobacco, and cotton, but also the location of Weeksville, one of the earliest settlements established by free slaves, Brooklyn’s relationship to slavery is as complicated as the nation’s as a whole. Throughout this period, the abolitionist Frederick Douglass came to speak against racial injustice. A new book, Frederick Douglass in Brooklyn by historian Theodore Hamm, recounts his traverse in the “City of Churches” with many original source materials, including excerpts of his speeches. Many of Douglass’ messages resonate as much today as 150 years ago. And as part of this year’s Brooklyn Tribute to Dr. Martin Luther King, Jr., BAM has invited the multi-talented performer Carl Hancock Rux (The Exalted, Next Wave 2015) to read excerpts from the book, with Hamm providing commentary. Here, Hamm highlights Douglass’ four visits to BAM, which has served as the nexus for public gatherings in Brooklyn.

Frederick Douglass made four notable visits to BAM during the 1860s, its first decade of existence. Academy’s first location, on Montague Street near what was then City Hall (and is now Borough Hall).

Douglass’ first appearance—on Friday evening, May 15, 1863—was widely promoted, and also featured a performance by the Hutchinson Family Singers, a popular musical act of the era. Douglass delivered his speech “What Shall Be Done with the Negro?” to a packed house of 3000 people. As reported by Sydney Howard Gay (a key figure in the Underground Railroad) in the New York Tribune, “the beauty and fashion of the City of Churches were largely represented in the audience, with here and there a colored lady or a colored gentleman sitting in the audience,” thus illustrating Douglass’ call for racial equality.

“Can the white and colored people of this country,” Douglass asked, “be blended into a common nationality, and enjoy together, in the same country, under the same flag, the inestimable blessings of life, liberty and the pursuit of happiness? I answer most unhesitatingly, I believe they can.” (Read the full transcript of Douglass' speech here.) After his well-received speech, the Hutchinson Family closed the performance by leading the audience in a chorus of “John Brown’s Body.”

BAM and Thomas Edison Light Up the Stage

by Bree Midavaine

Excelsior poster, from the Prints & Photographs Division of the Library of Congress.

On the fourth anniversary of Thomas Alva Edison’s first public demonstration of the incandescent light bulb, the amazing spectacle Excelsior came to BAM. Audiences were able to see the show from December 31, 1883 to January 5, 1884, after its successful run at Niblo’s Garden. The summer before the New York City premiere of the production, Imre and Bolossy Kiralfy consulted with Edison to find a way to incorporate the electric lightbulb into the production's finale; a celebration of the past century’s technological advances culminating in the victory of the heroine, Light (the embodiment of scientific progress), over the villain, Darkness.

Designed by Edison and the Kiralfy brothers, the ballet “was brilliantly illuminated by more than five hundred light bulbs, which were attached to the costumes of dozens of dancers and to the scenery, a representation of the new Brooklyn Bridge. Each chorus girl was also given an electric wand with a small bulb at the tip.” Batteries sewn into the dancer’s corsets powered both the wands and costumes. The Kiralfys' daring partnership with Edison changed the future of stage lighting, costuming, and set design. The Brooklyn Daily Eagle “believed that in Excelsior the limits of ballet spectacle have been reached. It is certain that no grander production has ever been attempted, and it may be added, carried to a successful conclusion, in this country.”

Brooklyn Daily Eagle Advertisement for Excelsior, 1883.