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IDENTIFICATION AND BIO: Richard Daniels is a choreographer and performer who frequently creates dances out of his experience living with HIV disease. He performs his own choreography and showcases the work of other choreographers as well, including Molissa Fenley, Peggy Baker, Barbara Mahler, Zvi Gotheiner, Eleanor King, and Christopher Gillis. While growing up in Kansas City, Missouri, Daniels studied the piano, giving recitals and accompanying choirs and musical productions. He concurrently studied painting and participated in most of his school plays, concerts, and musicals. Daniels began studying dance while attending Pratt Institute in Brooklyn, New York, but even then he was drawn to focus on other art forms. He received a Fine Arts degree in photography at Pratt while studying dance there with Valentina Litvinoff. In the 1980s, he worked as an arts manager and arts management consultant working with many dance companies across the U.S., including the Limon Dance Company, Joyce Trisler Danscompany, Ballet Concierto de Puerto Rico, Nancy Duncan's CoDanceCo, Charlie Moulton, and Molissa Fenley. In 1994, shortly before the death of Curtis Sykes, his lover of twenty years, from AIDS-related causes, Daniels began to study dance at the invitation of modern dance teacher and performer Janie Brendel. He has performed his own choreographic work since 1995, largely in New York.
KEY CONTACT PERSON(S)/EXECUTOR OF ESTATE:
HUMAN REPOSITORIES OF THE WORK
Michele Bloom
VIDEO DOCUMENTATION
PHOTOGRAPHIC DOCUMENTATION
MOVEMENT NOTATION
PRODUCTION MATERIALS
ORAL HISTORY:
PERSONAL PAPERS
IMMEDIATE NEEDS
OTHER RELEVANT INFORMATION:
LIST OR OVERVIEW OF WORKS
Ghazi (1997)—solo choreographed and performed by Richard Daniels; the title is Turkish for "leader, hero, survivor of war"; music by Beethoven (Quartet No. 16, Op. 135, Lento assai, e cantante tranquillo); premiered in August at Toronto's Fringe Festival of Independent Dance Artists. "A solo made to commemorate the passing of four friends. The work is a meditation on the passing from a material world to an ethereal one." Weskit, Hanky, Tinderbox (1997)—solo co-choreographed by Peggy Baker and Richard Daniels and performed by Daniels; music by Henry Cowell (Exultation [1919], Invention [1950], Aeolian Harp [1923], Advertisement [1914/1959]); premiered in August at Toronto's Fringe Festival of Independent Dance Artists. "The piece contains a display of dance technique while commenting on social habits and contrasting it to an internal existence." All The Time in The World (1997)—solo co-choreographed by Barbara Mahler and Richard Daniels; directed by Barbara Mahler; sound collage by Richard Daniels; premiered December at Hudson Guild Theater, New York. Bound Feet (1998)—duet co-choreographed with Michele Bloom; music by J.S. Bach (Well Tempered Clavier, Book 1: Prelude in d minor #6; Prelude in g minor #16; Prelude in b minor #22); duet originally performed by Richard Daniels and Michele Bloom, subsequently performed by Richard Daniels and Barbara Mahler; premiered October at Gowanus Arts Exchange, Brooklyn. "The duet concerns itself with the struggle between a human and a spirit sent to change his life." Glorified Handmade Gesture (1999)—solo choreographed by Richard Daniels for Michele Bloom; music by Arvo Part; premiered October at Context Studios. "The solo was meant to be a study for a quartet based on the theme of Apollo and the Muses. As a solo, it is comprised of three smaller solos meant for the Muses of Dance, Poetry and Music." Spill (1999)—solo choreographed by Richard Daniels for Rebecca Rigert; music by Astor Piazzolla; premiered October at Context Studios. "This solo contrasts a dream to reality." Detour (2000)—solo choreographed by Richard Daniels for Keith Sabado; music by Franz Schubert; not premiered as of 10/2000. "This solo meditates on the idea of physial decay and recovery." Thirteen Anniversaries (2000)—solo choreographed by Richard Daniels; music by Leonard Bernstein; premiered at Historic St. Peter's Church in Chelsea, New York, October. "This solo, lasting 20 minutes, is a collaboration with pianist Steven L. Cantor. The dance mirrors the intent of Bernstein's short piano works, Anniversaries. Each of Berstein's pieces was written to commemorate birthdays or memorials for teachers, friends, and family members. Daniels's solo rededicates each piece in dance to someone influential in Daniels's life."
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