ANDES — The spacious galleries of Leo Koenig Gallery in Andes became a stage where dance, music, sculpture and video converged during two evenings of performances by internationally acclaimed choreographer Gloria McLean. Convergence brought together dancers, musicians and visual artists for a program that celebrated one of America's most influential artistic contributions, modern dance.
Unlike ballet, which developed in the royal courts of Europe, modern dance is an American born art form. Emerging during the early twentieth century, pioneers including Martha Graham, Doris Humphrey and later Eric Hawkins challenged the rigid traditions of classical ballet by emphasizing natural movement, gravity, breath and emotional expression. McLean's work continues that distinctly American tradition while incorporating contemporary collaborations across artistic disciplines.
A former principal soloist and artistic director of the Eric Hawkins Dance Company from 1982 through 1993, McLean has spent decades refining a style that values precision, exploration and humanity over spectacle. That philosophy was evident throughout the evening as six works unfolded with live accompaniment by violinist Marshall Coid, percussionists Takao Heist and Michael Suchorsky, along with projected video by Mace Fleeger and Alan Powell.
The opening work featured dancer Fina Herschberger in a solo performance accompanied by Heist's improvised percussion. Wearing a costume made by sculptor Ken Hiratsuka's carved stone motifs, Herschberger responded to every shift in rhythm with deliberate, expressive movement. Rather than dancing to music, the performer and musician appeared to be engaged in an ongoing conversation, each influencing the other through movement and sound.
A second ensemble work drew inspiration from Leonardo da Vinci's observations of the human body. Six dancers formed constantly changing groupings while Marshall Coid recited translated passages from Da Vinci's writings. Familiar poses from the Renaissance master's notebooks briefly appeared before dissolving into new arrangements, creating the impression that centuries old sketches had stepped off the page and into motion.
McLean then took the stage herself in a striking solo that demonstrated why she remains one of the most respected figures in contemporary modern dance. Dressed in flowing white, her movements were graceful yet purposeful, revealing decades of disciplined training through subtle shifts of balance, gesture and timing. The performance reflected the expressive freedom that has defined American modern dance since its beginnings.
Guest artist Bert Gstettner of Vienna presented the evening's most theatrical work. Combining spoken word, electronic music and sculptural objects, his performance explored ideas of artistic freedom and remembrance. Angular movement, changing costumes and assembled geometric forms gave the work a distinctive visual identity while complementing the broader themes of the evening.
Suchorsky, whose distinguished career has included performing with Lou Reed and internationally acclaimed jazz trumpeter Don Cherry, continues his experimental musical explorations from his home in the northern Catskills. Using found metal objects, water containers and unconventional percussion instruments, he created an evolving score that shifted from delicate textures to rhythmic intensity. His improvisational approach responded directly to McLean's choreography while Powell's projections continuously reshaped the visual environment. Together, the four artists demonstrated how dance, sculpture, music and moving image can become equal partners in a single work of art.
The evening concluded with Tree Dance, inspired by a workshop held around a fallen tree on McLean's property. Video imagery of bark, branches and dancers moving through the landscape blended seamlessly with the live performers, who appeared dressed in white against the projected forest. As the dancers slowly raised their arms, their silhouettes merged with the images behind them, creating the illusion of a living woodland inside the gallery. The final moments left the audience quietly absorbed before sustained applause filled the room.
The photographs from the performances reflected the evening's remarkable range. Dancers stood together beneath projected landscapes, their white costumes becoming moving canvases for light and imagery. Other images captured intimate duets, powerful solo performances and gallery visitors gathered among large scale contemporary paintings before and after the performance, reinforcing the event's blend of visual art and live performance.
Convergence demonstrated that modern dance continues to evolve more than a century after its American beginnings. Gloria McLean and her collaborators honored that tradition while embracing contemporary technology through Alan Powell's immersive video projections and Michael Suchorsky's adventurous experimental score. The result was an evening that respected the legacy of American modern dance while showing how the art form continues to find new ways to communicate with modern audiences.
