Grant Recipients Grants to Artists Dance 2000

Wendy Rogers

A close up portrait of Wendy Rogers smiling in front of a blurred burgundy background. She wears tan cat eye glasses and a green and purple patterned blouse. Her grey hair is pulled into an updo.
  • 2000 Grants to Artists
  • Dance
  • Choreographer
  • Born Oakland, CA, 1948
  • Lives in Riverside, CA
  • Additional Information

The [Grants to Artists award] transformed my life from the moment I heard the news in fall 2000. I was visiting New York to work on new choreography for a March 2001 performance at Joyce SoHo, already stressing over the debt I was racking up on my credit cards… Immediately the financial worry I had been carrying fell off me and all my energy went into work.

- Wendy Rogers, June 18, 2002

Artist Statement

Throughout MAKESHIFT dancing (1991-2000) I explored the perceptual, physical, and poetic relationships we form with our surroundings. Seeking refuge from commodification, I replaced the Wendy Rogers Dance Company, repertory, and fiscal year with long-term independent relationships, an evolving body of work, and a decade of time. Framing my work as a ten-year project freed me to discover the way I want to work. An ongoing, open-ended approach to choreography invites influence, convergence, exchange, transitory performance, flexibility, and alertness to circumstance. In essence, the project continues.

In recent dances I have been honing “the discipline of fragments," a choreographic method arising from a preoccupation with finding continuity out of discrete and disparate materials. 2 Trees from Brazil (2000) incorporates the non-linear and disjunctive geography of the electronic 'space' we so frequently inhabit. In the solo prelude (2001), Terry Rosenberg's spontaneous drawing, Peter Terezakis's video projection, and my practice of kinetic mapping converge. In the duet riprap (2001), Jennifer Twilley and I scramble through chunks of movement akin to the “broken concrete" of the title. I am endlessly interested in the way movement and ideas leap out of each other.

- 2001


Wendy Rogers is a dancer and choreographer whose work has been shown for over 40 years. Her mutli-year projects involve dances that are focused by singular concepts that evolve into performances allied to occasion and place.

From 2001 to 2010 Rogers created WENDY ROGERS dancing, the first production of which premiered at Joyce SoHo in March 2001. This FCPA-supported, evening-length work included two repertory pieces and four premieres. Rogers' opening solo prelude was accompanied by live drawing by Terry Rosenberg, which was projected on the back of the theater. Microphones attached to the sketchpad projected the sound of Rosenberg's etchings, creating the score. Her ten-year projects MAKESHIFT dancing (1991-2000) and WENDY ROGERS dancing (2001-2010) toured nationally and internationally at venues including East Bay Center for the Performing Arts in Berkeley, Laney Theater in Oakland, San Diego State University, Danspace Project, Joyce SoHo, Transito Festival in Tijuana, the Gardens at Yerba Buena Center for the Arts, Culver Center for the Arts at University of California Riverside, and University of California, Los Angeles.

Rogers began working on the in-progress See What Happens in 2011. In this piece her choreography continues explorations of dance as architecture of action, investigating the ways people shape place, and the ways place shapes human movement and interaction. This project marks a shift to Repo, her name for the process of returning to dancing from prior decades of work as a way to move forward. This approach has led Rogers to focus on creative research, choreography and performance, new and revisited collaborations, archiving, exhibitions, and a website project. She has worked on projects produced by choreographers Margaret Jenkins, Carolyn Brown and Sara Rudner; composers John Luther Adams and Paul Dresher; and filmmaker George Lucas.

A performer dances in front of a projection of a hand drawing lines on paper. They wears a dark outfit and rest on one foot. One of their arms extends in front of them and the other is above them.
FCPA-supported production of WENDY ROGERS dancing at Joyce SoHo, 2001.
A performer sits in the middle of a dark stage with one leg bent in front of them and the other bent behind them. They look serenely in front of them at something beyond the frame of the camera.They wears a dark outfit and a braid.
FCPA-supported production of WENDY ROGERS dancing at Joyce SoHo, 2001.
Two performers dance in a dark space. One wears a dark outfit and a braid and stands in the center, resting on one leg and looking downwards. The other performer is visible only from the waist up. They bend forward dramatically, throwing their long hair upwards in the process.
FCPA-supported production of WENDY ROGERS dancing at Joyce SoHo, 2001.
Several performers dance in a dark space. On the far left, a performer leans over one foot, throwing their arms up in the process. On the far right, a perfomer jumps aways from the camera while holding the arms of two other performers (one on each side).
FCPA-supported production of WENDY ROGERS dancing at Joyce SoHo, 2001.
A performer in the foreground bends their body in a table top position over the stage. In the background, a different performer lunges and reaches their left arm outwards all while looking directly towards the camera.
FCPA-supported production of WENDY ROGERS dancing at Joyce SoHo, 2001.
A performer in front of a shadowy screen steps forwards and bends their back backwards. In the right foreground, two other people watch from directors folding chairs.
FCPA-supported production of WENDY ROGERS dancing at Joyce SoHo, 2001.