Cunningham-Based Technique Learning Materials (CBLM).Course Sway — welcome video, class structure, codified and variational exercises with video documentation. sway.cloud.microsoft
Chatterjea, Ananya.Butting Out: Reading Resistive Choreographies through Works by Jawole Willa Jo Zollar and Chandralekha. Wesleyan University Press, 2004.
Daniel, Yvonne.Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé. University of Illinois Press, 2005.
Das, Joanna Dee.Katherine Dunham: Dance and the African Diaspora. Oxford University Press, 2017.
DeFrantz, Thomas F. “The Black Beat Made Visible: Hip Hop Dance and Body Power.” In Of the Presence of the Body, ed. André Lepecki. Wesleyan University Press, 2004.
Foster, Susan Leigh. “Dancing Bodies.” In Incorporations, ed. Jonathan Crary and Sanford Kwinter. Zone Books, 1992.
Goldman, Danielle.I Want to Be Ready: Improvised Dance as a Practice of Freedom. University of Michigan Press, 2010.
Gottschild, Brenda Dixon.Digging the Africanist Presence in American Performance: Dance and Other Contexts. Praeger, 1996.
Cunningham, Merce. “The Function of a Technique for Dance.” In The Dance Has Many Faces, ed. Walter Sorell. World Publishing Co., 1951. Cunningham’s own account of discipline, limitation and freedom, used in §00 and §04.
Foyer, Maggie. “Rambert meets Cunningham in Rambert Event.” SeeingDance, 10 November 2019. Review of Jeannie Steele’s staging at Sadler’s Wells, cited in §05 on repertory transmission.
Merce Cunningham Trust.Cunningham Technique Guide (2024). Source text for the case studies in §03.
Merce Cunningham Trust.Cunningham-Based Technique: Learning Materials (CBLM). Supplementary training pack used across teacher-training cohorts.
Merce Cunningham Trust.Cunningham Dance Principles. Companion document to the Technique Guide, elaborating the five basic principles.
Merce Cunningham Trust.Cunningham Movement Values. Reference sheet on the aesthetic and technical values named as core to the work.
McMillan, C-R. “Unauthorised: Making and Teaching in / through Diasporic Cunningham Technique — Authority, Subalternity and the Living Archive.” Working paper / chapter draft, 2024. Source for the contextual-fidelity rubric threaded through this companion.
Bartosik, Kimberly (interviewed by Christopher-Rasheem McMillan). Conversation on teaching Cunningham technique after the company — repertory, rigor, and who may transmit — recorded 27 August 2026. Bartosik danced with the Merce Cunningham Dance Company (1987–1993) and is the choreographer of I hunger for you; archived excerpt in §04.
Daniels, Brenda (interviewed by Christopher-Rasheem McMillan). Conversation on teaching Cunningham technique, authority, and transmission outside the Trust, recorded 26 August 2026. Daniels is Dean of the School of Dance at UNCSA and a former faculty member of the Merce Cunningham Dance Studio, where she taught company class without having danced in the company; archived excerpt in §04.
Jonas, Monique (interviewed by Christopher-Rasheem McMillan). Conversation on Cunningham technique in the British line, groove, and Black embodiment, recorded 27 August 2026. Jonas danced with Richard Alston Dance Company until its closure in 2020 and is Artistic Director of JONA DANCE; archived excerpt in §05.
Fireside chat. A deep dive into the Cunningham technique — two-voice audio conversation on the technique’s origins, codification, diasporic aesthetics and teaching, archived in the companion media library with a full transcript, 7 September 2026. Presented in §05.
Roberts, Daniel (interviewed by Edith Boxberger). “Living Inside the Instrument.” In Tanztechniken 2010. IDA — Institute of Dance Arts, Anton Bruckner Privatuniversität Linz, 2010. A former Cunningham company dancer on discipline, repertory and pedagogy; used as the counterpoint voice in §01, §03 and §04.
Thompson, Robert Farris.African Art in Motion: Icon and Act. University of California Press, 1974.