Jeanine Durning is an Alpert Award winning choreographer, performer and teacher, whose work has been described by The New Yorker as having both “the potential for philosophical revelation and theatrical disaster.” Her research is often motivated by fundamental questions around how our basic desire for connection and communication aligns, and often misaligns, with how our thinking and feeling come to form and action.
Since 1998, Durning has created both solo and group works that have been presented nationally and internationally. Her most recent projects are centered around a procedural practice she calls nonstopping. In 2010, Durning premiered her critically acclaimed solo inging (based on nonstop speaking) in Amsterdam, and has since then been performed over 45 times in studios, theaters, galleries, rooms and festivals across Europe (Stockholm, Berlin, Zagreb, Kristiansand/Norway and Leuven/Belgium), the US (NYC, Los Angeles, San Francisco, Milwaukee, Williams College, UMBC), in Toronto, Canada. The arts journalist, Camille LeFevre of Minneapolis wrote: “Jeanine Durning’s inging is the cri de coeur of a dancer, choreographer and actor struggling, with every cell of her being, to smash any distinctions between those three identities while, more importantly, refuting any notions that body and mind, spirit and sensation, voice and physicality, emotion and intellect are separate.”
Durning’s work has been supported and awarded by two New York Foundation for the Arts Fellowships in Choreography (2016, 2006), the Alpert Award for Choreography (2007), the Movement Research Artist in Residence (2013-2015), Gibney Dance Center’s Dance in Process Residency (2015), Brooklyn Arts Exchange Space Grant (2013), Viola Farber Residency through Sarah Lawrence College (2007), Lower Manhattan Cultural Council Space Grant (2005), Dance Theater Workshop Choreographic Lab (2005), Dance Space Center Residency (2004), The Yard Choreographic Residency (2002), The Bossak Heilbron Charitable Foundation grant (2002), and a Meet The Composer grant (2002).
In support of her new project dark matter, selfish portrait, Durning has received residencies at Seoul Dance Center, Korea through Movement Research Exchange and Asian Cultural Council (September 2017) and the Rauschenberg Foundation Residency (November/December 2017).
Durning is a sought-out performer, having collaborated with many choreographers, including David Dorfman (with whom she worked from 1995-2003), Susan Rethorst, Bebe Miller, Martha Clarke, Chris Yon and Richard Siegal. Since 2005, Durning has worked on and off with post-modern dance pioneer and choreographer Deborah Hay in the capacities of performer, choreographic assistant and most recently, from 2011-2013, as consultant to the Motion Bank (Frankfurt) on Ms. Hay’s choreographic and scoring practices.
Durning has had an ongoing teaching practice since 2000, facilitating classes/workshops/ateliers in movement and choreographic practices. She is dedicated to the transfer, transmission and translation of embodied knowledge to a future generation of performers and makers. She sees her teaching practice as a natural extension of her research of dance, focusing on how action, affect, content and context are in shared dialogue with choreographer, performer and audience alike. Durning has taught at numerous institutions across the US, including most recently at UCLA/WAC, and in Europe, including The School for New Dance Development (SNDO) in Amsterdam and with The Inter-University Centre for Dance (HZT) in Berlin.
Durning is often invited to advise the work of other choreographers as mentor and/or dramaturge. She has worked in this capacity with many choreographers including Ame Henderson (Toronto), Lito Walkey (Berlin), Tian Rooteveel (Berlin), Christina Ciupke (Berlin), Alma Soderberg (Brussels), Simon Tanguy (Rennes), Sam Kim (NYC), Julian Barnett (NYC), Quim Bassart (Stockholm), Meg Foley (Philadelphia), and Michelle Boule (NYC).