Celebrating 25 years of Lydia Johnson Dance

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As LJD celebrates its 25th anniversary, this season promises to reflect Lydia Johnson’s unique choreographic journey, one deeply rooted in emotional gesture, musicality and the human experience.

Over the years, her vision has evolved and Johnson has built a distinctive repertoire known for its emotional depth, fluid movement and profound connection to music. “I’m incredibly grateful to have had the opportunity to create my work,” says Johnson. “I started choreographing in lofts and downtown studio spaces, before I became a mother. It’s fascinating now to look at how my choreography has evolved, how my vocabulary and structural designs have developed. I’m deeply thankful for the dancers who have joined me along the way, who have believed in the beauty of dance and its importance to the human spirit.”

Johnson acknowledges that the pursuit of creative art is always challenging, particularly for women who balance motherhood with a career in the arts. She reflects on the struggles she has faced, including the constant search for funding and the lack of sustainable financial support. Despite these obstacles, she remains unwavering in her commitment to her artistic vision.

Lydia Johnson with LJD’s Maia Culbreath and student dancer Elise Boikess. Photo by Steven Pisano.

For the upcoming performances, Johnson is especially excited about the world premiere of a new work, Legacy (2024), which brings children back into her work. “Children have been an integral part of my dances at various times over the years. and in this new piece, they perform as children within the community of dancers,” she explains. “The girls I’ve chosen are naturally lovely movers, but it’s about the beauty of them being themselves.” This new work reflects a personal fusion of Johnson’s life as both an artist and a mother. The first two children in one of her works were her own daughter and one of her sons. “Each time I include children, they bring back memories of my own children – and in the dance, they are everyone’s children.”

The season will also feature a revival of Summer House (2011), a deeply personal work that explores subtle emotional dynamics between three women and one man. “There is no clear narrative, but the gestures between the dancers convey inner sorrow, disquiet and unresolved emotions,” Johnson explains. The work’s quiet, inner quality makes it a stand-out in her choreographic repertoire, one that relies on the dancers’ ability to convey deep emotion through movement.

Michael Miles and Willy Laury in Lydia Johnson’s ‘Time…and again.’ Photo by Julie Lemberger.

Returning to the historic Graham Studio Theater is especially meaningful for Johnson. “It’s where I performed many of my early works, and it holds such a personal, historic significance for me. It’s always special to return to a space where so much of my artistic journey began,” she shares.

Craig Hall, a former soloist with NYCB and current repertory director, will perform in excerpts from Time…and again (2022) during this season. His collaboration with Johnson has enriched her blending of ballet and modern dance.

Sharing the same sentiment, Hall shares, “I love that music is the common language Lydia and I speak even as we come from the different worlds of ballet and modern. Music has always been the foundation for me, the driving force, and this is true of Lydia as well. I’m excited to return to the company and dance with one of my all-time favorite partners, Laura Di Orio, and make some more magic together.”

Craig Hall and Laura Di Orio in Lydia Johnson’s ‘Time…and again.’ Photo by Julie Lemberger.

Johnson’s increasing use of classical ballet lines was influenced by her early exposure to NYCB. Writer Philip Gardner introduced her to Balanchine répétiteur and master teacher Deborah Wingert, who has coached many of Johnson’s duets since 2012. Johnson comments, “Deb has brought a wonderful sense of clarity, emotional tone and nuance to my pieces.”

For Johnson, music is always the starting point for her choreography. “I choose music intuitively,” she says. “I listen to music constantly, and it’s a matter of where I feel my choreography is heading and finding music that supports and expands that direction.” Music has always been the unifying force in Johnson’s choreography, guiding the dancers and informing the movement.

Her ability to blend ballet’s classical purity with modern dance’s grounded fluidity creates a unique and cohesive style. “Music is the driving force for me,” Johnson says. “It’s what ties everything together, whether we’re working with minimalist composers like Terry Riley or exploring jazz with Oscar Peterson.”

LJD’s Justin Lynch and Sky Pasqual in rehearsal. Photo by Steven Pisano.

LJD has always been more than just a dance company; it’s a community. “Dance doesn’t have to be a competitive sport,” Johnson reflects. “It’s about connection, community, and the emotional journey we go on together as artists and audience members.” The company’s modest size and structure have allowed it to maintain a close-knit, collaborative atmosphere, where the dancers balance other roles, such as teaching and pursuing personal projects. “We rehearse consistently on Tuesdays, Fridays and Sundays,” Johnson explains. “This predictable schedule allows everyone to pursue necessary income producing jobs such as teaching while still being fully involved in the company. Like my dancers, my income is entirely based on teaching and directing our small school.”

In addition to its performances, LJD also fosters a strong connection with the local community. The company offers free performances and workshops for young people, giving them the chance to see professional dancers in action and even create their own choreography. Her school also runs a scholarship program, which provides over $20,000 in financial aid each year, ensuring that dance is accessible to all.

Cara McManus and MaliQ Williams in Lydia Johnson’s ‘Chapters.’ Photo by Steven Pisano.

Johnson also emphasizes the importance of mentorship, with older students helping younger ones as they develop their craft. “Through this process, we create a sense of belonging,” she says. “It’s a full circle where everyone — dancers, students and families — can contribute to and benefit from the community.”

Reflecting on her 25-year journey, Johnson notes that her work continues to evolve. “I don’t feel done,” she says. “My work continues to evolve, and I’m excited about the next few years. The joy of composing in a studio with expressive dancers never fades. And as an older woman, it’s important to me that we recognize the depth of women’s work — including the work that comes from the complex pathways of a longer life.”

Willy Laury and Laura Di Orio in Lydia Johnson’s ‘Glide Path.’ Photo by Julie Lemberger.

As LJD celebrates its anniversary, the company’s commitment to artistic exploration, community and the power of shared experience remains stronger than ever. For Johnson, each new piece represents both a personal and professional evolution, as she continues to blend the personal with the artistic to create works that resonate deeply with audiences.