Pin It Jean Freebury is reconstructing Inlets 2, a 1983 work
based on a Cunningham residency in Seattle in 1977.  A
reconstruction of a 1977 piece by the late, great Merce
Cunningham   In my first experiences with modern dance, 30 years
ago, there was everyone else—and then there was Merce
Cunningham. Though no shortage of dance experiments abounded in
the '80s, inevitably the other choreographers I recall
encountering would use dance as narrative—to achieve theater by
other means.  But not Merce. Or so, at least, I thought at the
time. By then, Cunningham's theatrical experiments of the '40s
and '50s had ceded to works considerably more abstract, but no
less intellectual. Theater by other means? No. Think
architecture, instead. Or Abstract Expressionism, for that
matter, with more than an occasional diversion into the world of
nature—seemingly, at times, on a molecular level.  Jean
Freebury, who danced with Merce's company from 1992 to 2003, and
has taught his technique at the company's studios since 1996, i