Most gays and lesbians probably once wished they had a gay uncle or aunt, someone who understood the complexities of queer youth because they had lived it. In queer culture, acknowledging our elders is not commonplace, much less honoring them. In the Bay Area, Remy Charlip has long been considered by many dance artists to be their gay uncle. Choreographer Keith Hennessy said, "I see him as both family and mentor, someone I want to be around, who teaches me a lot." It was Hennessy's close relationship that inspired him to help coordinate Every Little Movement, a fundraiser to be held at Project Artaud Theater for Charlip, who had a stroke last year.
Charlip's accomplishments are many and varied, not just as a renowned dance artist but as a visual artist and a writer of children's literature. In the 1950s, Charlip was an original member of Merce Cunningham's company and a close friend to the choreographer. In New York City, Charlip won two Obies for directing Off-Broadway theatre. He eventually moved to the West Coast, where his career flourished creatively. Locally, he developed relationships with many well-known Bay Area dance artists, such as Hennessy, Anne Bluethenthal and Joanna Haigood (Zaccho Dance Theatre). Hennessy said, "Remy had a big influence on Bay Area dancers long before he moved here. Many of us were heavily influenced by the companies he was a member in. Many of us had studied with him. Since he moved here, he's had a huge influence, probably choreographing for or collaborating with more local companies than any other choreographer, including Axis, Oakland Ballet and Margaret Jenkins."
A large part of Charlip's eclectic career has focused on writing and illustrating children's books, where he has had great success. It was at Cooper Union, a well-known art school in New York, that Charlip began designing textiles, subsidizing his early dance career. Many of Charlip's 44 books are still in print, and he has had an influence on a whole generation of young readers. Adults who began reading his books as early as 1956 frequently cite his books, including Arm in Arm and Sleepytime Rhyme.
Multi tasking
Hennessy thinks that Charlip's career illustrates that creativity doesn't have just one outlet. "Remy shows that you can have multiple careers, simultaneously and in succession," he said. "He is a multi-talent who has had success and fulfillment in writing, performing, choreographing, directing, teaching, healing and growing orchids."
His dances have had a strong postmodern core, including Air Mail Dances, which was designed on postcards and originally mailed to the dancers. In Every Little Movement, Joanna Haigood will be interpreting Air Mail Dances, creating an improvisation based on arranging the postcards. Each postcard designates a choreographic direction that Haigood will use to create the performance. Although the choreographic intent never changes, every performance is different. The postcards are considered art in their own right, and have been exhibited at the Lincoln Center in New York and at the Museum of Contemporary Art in Los Angeles. Renowned dance critic Deborah Jowitt has said Charlip's drawings show "a true artist with a lively and humane eye."
Charlip will also be performing, with fellow choreographer Anne Bluethenthal. The new work was inspired by the Alexander technique, a method of mind/body integration sometimes used for physical rehabilitation that both artists are trained in. This will be a fascinating opportunity to see two intelligent movers on stage, incorporating a technique that many use to increase mobility. Other performers in the evening will be Hennessy (with Norman Rutherford), June Watanabe, Scott Wells & Dancers, Dance Brigade and Kathleen Hermesdorf (with Albert Mathias), as well as two children's troupes, the SF Arts Ed Players and the SF Creative Arts Charter School.
Every Little Movement, A Benefit for Remy Charlip, on June 17 at 7:30 p.m. Project Artaud Theater, 450 Florida St., SF. (415) 626-4370. Tickets $20 (no-one turned away for lack of funds) at the door.