“Cunningham’s performances provided a special place, a “manipulation-free zone” in which you could begin to reclaim control over your own sensorium. Consider the relationship between movement and sound in a Cunningham dance. In order for the movement to remain independent of the sound, it was necessary for Cunningham’s dancers to perform a remarkable feat of selective concentration. (…) If some of Cunningham’s works were exercises in sensory overload, others were studies in silence. The sound scores for a number of dances were set at the very lowest threshold of auditory perception. Cage, for example, claimed he could never hear any of Gordon Mumma’s contribution to “Landrover” (1972).
Sensory overload and silence; bone crushing energy and perceptual clarity: the two complimentary poles of Cunningham performance in the late 1960s and early 1970s...”