William Crowley

As an alumni of the University of Michigan’s dance department, William Crowley returned to 1310 North University Court for the first time in twenty years this February to set a piece on the Freshman Touring Company (FTC).

Crowley’s choreography was deeply inspired by his experiences in the American Southwest. He was enamored by the vast open land and seemingly endless horizon, which translated clearly into the physicality and overall essence of his work. The, “overwhelming feeling of being so small in an open space, and the question of what was it like for the first pioneers to arrive in the great American Southwest” fueled the dancers sense of urgency throughout the piece. Moreover, a sense of curiosity, fear, and wonderment of what, “lies beyond the precipice” motivated the dancers’ every step.

Due to Crowley’s background, and the time spent studying at the Martha Graham School of Contemporary Dance, it is no surprise that the Graham technique is also a driving force behind this particular work of his. The training Crowley received at the Graham School was an experience he claims, “Without exaggeration, changed his life.” Crowley was immersed in an extremely professional and passionate environment at the Graham School, which prompted him to appreciate the massive significance of the history he was taking part in, and caused him to realize the importance of preserving the traditions of the coveted technique and indefinite spirit of Martha Graham. In short, Crowley’s training at the Graham School, “made him feel part of something bigger.”

Crowley successfully pays homage to Graham without simply imitating the qualities of the specific technique. The narrative and storytelling quality of the piece he set on FTC captivates and transports audience members into a daring world in which the dancers use the stretch of their body, grounded-ness, and suspension to convey Crowley’s vision.

Despite Crowley’s early tendencies to make his choreography shape oriented, he took the FTC piece into the three dimensional realm and beyond with the storytelling qualities and movement vocabulary he utilized. Crowley was able to come into U of M’s dance department with existing material and morph the set choreography to find a natural fit for bodies and personalities of the FTC dancers. This resulted in a more cohesive, expressive, and fulfilling dance work.

FTC is incredibly grateful for the opportunity to have worked with such an acclaimed and important member of the modern dance community. Crowley worked relentlessly to pull out the best movement in all of the FTC members and the resulting experience was a mutually satisfying and pleasing experience.