Gus Solomons Jr., a prominent figure in the realms of modern and postmodern dance as a dancer, choreographer, educator, and critic, passed away on August 11th at the age of 84 in Manhattan. He had been in declining health for several months, and his death was confirmed by his friend and health proxy, Robert Gerber, who cited sudden heart failure as the cause.
Throughout his extensive career, Solomons danced with numerous companies and choreographers, including legendary figures like Martha Graham and Merce Cunningham. He made history by becoming the first Black dancer to join the Cunningham company, a feat that only four men have achieved in the company’s history.
Despite his admiration for Cunningham’s work, Solomons never envisioned himself as part of the company due to his appearance, which not only included his race but also his striking height of 6 feet 3 inches. However, Cunningham personally invited Solomons to join the company over dinner, an experience that left him feeling elated.
During his time with the Cunningham company from 1965 to 1968, Solomons originated roles in several significant works, leaving a lasting impact. Unfortunately, a back injury forced him to leave the company after three years, hindering his ability to jump. After a period of rest and recovery, Solomons returned to dancing and shifted his focus to choreography. He notably created the dual-screen video-dance “City/Motion/Space/Game” for Boston’s public television station WGBH. In 1972, he established his own group, the Solomons Company/Dance.
Solomons continued to experiment and push boundaries throughout the following decades. His former company member, Douglas Nielsen, described his choreography as a “crossword puzzle of steps,” often accompanied by unconventional sound scores or silence. Solomons was known for his technical prowess and never abandoned his commitment to developing his dance skills.
As a prolific choreographer, Solomons produced over 150 dances for his group, characterized by their game-like structures that created unexpected juxtapositions and unpredictable imagery.
Those who worked with Solomons spoke highly of their experiences. Choreographer Donald Byrd, who joined Solomons’s company in 1972, highlighted the transformative nature of their collaborations. Carmen de Lavallade, another dance artist who worked with Solomons, praised him for his imagination and described him as a cool person to be around.
Beyond his impact as a performer and choreographer, Solomons served as an educator and dance critic. He held a position as a professor in New York University’s Tisch School of the Arts from 1994 to 2013. As a Black artist in the downtown experimental dance scene, Solomons played a crucial role in diversifying and inspiring others to explore unconventional approaches to choreography.
Details about Solomons’s surviving family members are not currently available. His archives are preserved in the Jerome Robbins Dance Division at the New York Public Library for the Performing Arts.
Throughout his life, Solomons never ceased his passion for movement, regardless of the state of his body. Even at the age of 79, he continued to defy expectations, illustrating the power of his will. Audiences responded to his performances in his later years because he poured his heart and soul into every movement, acknowledging the relationship between his body as both a friend and an adversary.
Denial of responsibility! VigourTimes is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
