Figures of Modern Dance: Alwin Nikolais and Murray Louis

Archives & Special Collections, Preservation & Digital Initiatives, Ohio University Libraries

Alwin Nikolais and Murray Louis couple shot sitting on rocks

Alwin Nikolais and Murray Louis are some of the most respected names in modern dance. Known for their collaborative projects, as well as Nikolais’ concept of “total theater”, the two worked together and independently to create unique and striking performances. Their creative and artistic achievements gained an international reputation, as well as allowing them to train a future generation of influential dancers, ensuring their legacy for years to come. 

Alwin Nikolais and Murray Louis

Alwin Nikolais

Born in 1910, Alwin Nikolais is largely regarded as one of the most innovative figures of modern dance. Considered the creator of “total theater”, Nikolais was first inspired to study dance after attending a performance of German dancer Mary Wigman. By 1937 he had founded his own dance company, and by 1940 had received his first choreography commission. Following his service in World War II, Nikolais relocated to New York City and eventually became director of the Henry Street Playhouse. From there his work continued to expand, including international performances, and choreography from ballet to opera to modern dance.

Murray Louis

Born in 1926, Murray Louis is often known for his collaboration with Alwin Nikolais, but was an incredibly talented dancer, choreographer, and teacher in his own right. Growing up in Brooklyn, Louis was exposed to the arts at an early age via movie theaters and the Metropolitan Museum of Art. After serving in World War II, he moved to San Francisco where he studied dance with Anna Halprin. Halprin suggested he study at Colorado College with Hanya Holm, where he would meet Alwin Nikolais. Louis returned to New York with Nikolais where they worked together at the Henry Street Playhouse. Louis served as a principal dancer in Nikolais’ productions, while also pursuing independent choreography work and eventually founding his own company. Louis went on to receive multiple prestigious awards, both in the United States and abroad, as well as create a body of work that continues to impact modern dance. 

Alwin Nikolais seated with Murray Louis looking over his shoulder as both smile at camera

A Pivotal Partnership

After Alwin Nikolais and Murray Louis met at Colorado College, the two began working together closely. Louis’ style of dancing impressed Nikolais and worked well with the “decentralization” theory he was attempting to develop. The idea of decentralization was to depersonalize dancers through costumes, set design, sound collage, projected images and lighting techniques; The performance became less about individual dancers and more about the overall cohesive effect of a performance. Louis used his collaboration with Nikolais to improve and expand on his dance technique, whereas Nikolais used the partnership to develop his choreography with a dancer perfectly suited to the task. Both maintained separate dance companies for the duration of their careers, but collaborated constantly, even trading dancers between companies. The two were partners outside of their professional work as well, lending even more meaning to their collaboration.

Murray Louis and other dancers on stage during Affirmation rehearsal

Modern Dance

Alwin Nikolais and Murray Louis’ influence on modern dance cannot be overstated. The pair received numerous awards, both for their collaborative work, as well as individual projects. Their productions toured internationally, and were featured at some of the most prestigious venues in the world. Beyond this, many of their students went on to become influential figures in modern dance in their own right, such as Ohio University's Gladys Bailin. Through their students, and international reputation, Alwin Nikolais and Murray Louis’ legacy continues to be seen in the field of modern dance even in the modern day. 

Red, white and black poster with image of three dancers in costume and wearing masks, advertising Nikolais Dance Theatre performance at Theatre de Caen, France

Connection to Ohio University

The primary connection between Nikolais, Louis and Ohio University was Gladys Bailin. Bailin was the Director of Ohio University’s School of Dance from 1983 to 1995, and was named the first female distinguished professor in 1986. However, before her time at Ohio University, she was one of the key dancers in Nikolais and Louis’ dance company. She performed with the company from 1955 to 1965, before moving on to a teaching position at Tisch School of the Arts in New York, and then on to Ohio University in 1972. Murray Louis also visited Ohio University to teach several classes in the 1970s, and received an honorary doctorate of performing arts.

The Creative Process

Though Alwin Nikolais and Murray Louis were best known for their modern dance, they were pioneers in multiple artistic fields. Their technique of “total theater”, pioneered chiefly by Nikolais, incorporated the dancers, as well as elaborate costumes, lighting techniques, and experimental music. In 1964, Alwin Nikolais was the first customer for the newly developed Moog Synthesizer, which was the first commercial synthesizer and pioneered the concept of the analog synthesizer. Nikolais and Louis were incredibly innovative in the area of multimedia performance art, creating productions that more closely resembled what we would consider installation art than modern dance.

Dancers onstage in masks and costumes during a performance of "Gallery", created by Alwin Nikolais

The conceptual process often included  sketches  on paper, which can be seen in archival materials found in the Alwin Nikolais and Murray Louis Dance Collection. Though it’s difficult to tell exactly which sketches resulted in which dance composition, they give an impression of the creative process behind designing costumes, sets, and lighting. 

Story board pencil sketch for "Gallery"

After conceptual sketches, 3D  costume models  were sometimes created. These models featured versions of the costumes that would later be worn by dancers in the live performances. Examples of these can be seen in the Alwin Nikolais and Murray Louis Dance Collection, and typically consist of poseable drawing models wearing hand sewn costumes made by the costume designer.

9-inch tall wooden mannequin wearing dance costume constructed and designed by Frank Garcia for "Gallery" by Alwin Nikolais.

Concept sketches developing the dance elements of each performance were also an important part of the process. By comparing the sketches for dances with the sketches for set and costume design, more of their “total theater” concept can be understood. The sketches for both aspects of the performance closely mimic each other. Though this can largely be attributed to the fact that they came from the same artist, it also shows how dancers were conceptualized similarly to set pieces in terms of creating a cohesive performance. This attitude toward the dancers began early in the design process, and carried through to the final performances.

After all these initial brainstorming processes are complete, a final product eventually emerges. The final result is best conveyed in a mixture of formats, both photo and video.

Where photographs more clearly show the details of costumes and set pieces, video shows the dance and lighting movements, as well as the accompanying music.

The future of the Murray Louis and Alwin Nikolais Dance Collection

Included in the Collection are thousands of video and audio tapes and reels. These pieces of media cannot easily be played or digitized by library staff. To assess the condition of the tapes and reels and prepare them for digitization the Libraries applied for a National Endowment of the Humanities $50,000 grant. This grant was awarded to the Libraries in 2022.

In 2022 and 2023 the Libraries employed the vendor Scene Savers to inventory and assess the condition of the audio-visual part of the Alwin Nikolais and Murray Louis Dance Collection. At the end of 2023 the Libraries received a lengthy report from Scene Savers detailing condition and subject information about different types of media and providing a guide to digitization prioritization.

In addition to assessing the physical media in the collection, the grant also allowed staff to begin a formal collaboration with past members of the Nikolais/Louis Dance Companies. The Libraries is looking to these subject experts to identify people and performances from already digitized images. Utilizing remote meetings and the transcription program FromThePage, Library staff can integrate feedback and suggestions to enhance image descriptions.

Although this critical work has begun, it is still long from finished. The Libraries is hopeful it will be able to continue this project by digitizing this fragile media to preserve it and the Nikolais/Louis legacy for future generations.

To read more about the NEH grant award see  this announcement  from the University Libraries.

Sources used

Credits

This project was created and written by Maddie James, BS and BA '24, History and Visual Communications - Publication Design, Digital Initiatives Assistant, Ohio University Libraries.

All content courtesy of the Mahn Center for Archives & Special Collections, Preservation & Digital Initiatives Dept., Ohio University Libraries via its Digital Archives at   https://media.library.ohio.edu   

Greta Suiter, Manuscripts Archivist at Ohio University, also contributed to this project.

Special thanks to Erin Wilson, Digital Imaging Specialist and Lab Manager. Janet Carleton, Digital Initiatives Coordinator, and lorraine Wochna, Performing Arts Librarian, all from Ohio University Libraries, for their assistance on this project.