ABSTRACT
Paul Taylor has described himself as an ‘American mongrel’. It is an apt assessment, given the range of ideas and influences that permeate his choreography, and it is also indicative of his resistance to being pigeon-holed. Critics have referred to the ‘dark’ and ‘light’ sides of Taylor’s choreography; his dance vocabulary is an ingenious mix of pedestrian movements alongside the most rhythmic and sweeping of steps (sometimes within the same work); his musical choices are wide-ranging and his collaborations with visual artists have been equally eclectic.
