In the spring of 2013, I was invited to represent the modernist choreographer Ted Shawn at the Museum of Modern Art as part of the exhibition 20 Dancers of the XXth Century, curated by Boris Charmatz. The exhibit proposed the both radical and rudimentary notion that the main museal space for dance is the human body. In many ways, this is in keeping with how dance has historically been preserved—passing down from generation to generation as an oral and kinesthetic tradition without the benefit of a comprehensive or standardized notation system. With this tradition in mind, I endeavored to become a living archive of Shawn's work. In determining how to approach this task, particularly in the absence of any living company members or company apparatus, I had to ask both practical and theoretical questions about the archive and dance re-performance.

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