Dianne McPherson, Choreographer: Synopsis, Vitae, & Gallery

Between 1975 and 1985, Dunya McPherson (then going as Dianne McPherson) had a significant career as a choreographer in New York City. Graduating from Juilliard at the height of a dynamic era for dance, she emerged into a thriving artistic community built on in-person collaboration—long before the internet transformed creative connectivity.

During the Cold War, the U.S. heavily invested in the arts and sciences to compete with Russia, channeling federal funding into these fields and leveraging private support. New York City became a magnet for artists, and without digital networks, creatives had to be physically present to collaborate. At the same time, changes in New York’s tax laws made former industrial lofts available, offering artists affordable spaces to choreograph, paint, compose, and rehearse.

In the midst of this electrifying scene, McPherson danced in several companies while leading their own. Like many dancers of the time, her company members performed with multiple ensembles, fostering a cross-pollination of artistic ideas. McPherson choreographed and produced concerts, with her work featured in dance series across the City. Making a living through choreography, performance, and university teaching positions, she thrived in an environment where cheap rent and robust arts funding provided ideal conditions for creativity and productivity.

The 1980s brought change. Reagan’s presidency marked the beginning of cuts to arts funding, though the effects were not immediate. For a time, the momentum continued.

Before the iPhone era, documenting performances was both complex and costly, requiring professional photographers and videographers to capture ephemeral moments of live performance. Unlike today, where content is often created with digital documentation in mind, performances then were made for the stage, not the camera. Unfortunately, no video recordings of McPherson’s choreography survive from that period—once stored on analog magnetic tape, they have since deteriorated beyond recovery.

The following galleries showcase the work of photographers with whom she had long-standing artistic collaborations. These images remain as the only surviving record of an era of extraordinary dancing and critically acclaimed choreography, work that garnered New York Times reviews and significant recognition. They stand as a testament to a vibrant and irreplaceable chapter in the history of dance.

“Shafi”, collaborative film ‘wallpaper’ for dervish whirling; Drama-Rama, New Orleans, LA funded by NEA, LA State Arts Council, City of New Orleans (2007) 

Works funded by NEA, Texas State Arts Council & City of Austin Arts Council: “Turkish Songs” (1995-98)
“Palimpsest” (1997)
“Intimate/ Dances from Inside a Marriage” (1997)
“Engaged: Dance Between Friends” (1998) 

Works Commissioned by Lincoln Center Outdoors:
“Secret/Bangalore” (1996) 

Works commissioned by Montclair State College, NJ:
“The Visitation” (1986)
“Rosedust and Wind” (1984)
“Her Heart Riding an Ocean Wave” (1983)
“Divorce” (1981) 

Work commissioned by High School of Performing Arts, NYC:
“The Journey of Jamila and the Seer” (1985) 

Work presented by Barnard Dance Ensemble:
“Nocturne” (1985)
“Nocturne with a Fan” (1985)
“Danse Orientale” (1985)
“Winter’s End” (1985) Premiered on Dance Uptown
“Remembrance” (1984)
“Mideastern Descent” (1984)
“Phantom” (1983) – solo works to the music of David Feinberg. “Phantom”, “Remembrance” and “Mideastern Descent” 

Works commissioned by Grand Valley State Colleges, MI:
“Rapid Valley Dance” (1982)
”Cross America” (1982)

Works presented by Dianne McPherson & Dancers:
“Sanctus, Benedictus” (1985, premiered on Dance Uptown, NYC)
“Journal: August, September, October, November” (1981)
“I was troubled with no correspondence” (1981)
“Leaf” (1979)
“Drift and Pierce” (1979, premiered on Dance Uptown);
“Clan” (1979, presented on Dance Uptown)
“Haunt” (1978, premiered on Dance Uptown. presented at Dance Theatre Workshop’s Choreographer’s Showcase)
“The Vagabond” (1977)
“Twone Verse” (1976, premiered on Dance Uptown. restaged for Dance Gallery, Northampton, MA)
“Street Scene” (1975, restaged for Rondo Dance Theatre)
“Sea Songs” (1975, premiered by the Kazuko Hirabayashi Dance Theatre restaged for the Juilliard Dance Ensemble Workshop, and for the Barnard Dance Ensemble) 

Works commissioned by the Victorian College of the Arts, Melbourne, Australia: “Flotsam” (1980)
“Blues” (1980)
“Summer House” (1980) 

Works commissioned by the Barnard Dance Ensemble and premiered on Dance Uptown:
“Night Sail” (1980)
“Miniatures” (1979) 

Work commissioned by Rondo Dance Theatre, presented by Barnard Dance Ensemble:
“Bach Suite #1 for Solo Viola” (1978) 

Work commissioned by Colgate University, NY:
“Reticences” (1978)

Renaissance Institute of Colgate University, Hamilton, NY (1978) – Choreographer for “La Pelligrina”, a 15th century celebration of the Medici wedding. 

Oberlin Music Theatre, Oberlin, Ohio (1973-74) – Choreographer for “Four Saints in Three Acts” and “The Gondaliers” 

Equity Library Theatre, New York, NY (1972) – Choreographic staging for Equity showcase production of “Oedipus at Colonus” 

College Light Opera Company, Cape Cod, MA (1971) – Resident Choreographer: “The Merry Widow”, “Guys and Dolls”, “Finian’s Rainbow”, “Carousel”, “Babes in Arms”, “The Pajama Game”, “Can- Can”, ”Desert Song”, “Weiner Blutt”, “The Pirates of Penzance”, “Iolanthe” and “HMS Pinafore”