John Giffin, "Birth, Love, Death: a Diary of Pina Bausch's Wind von West in Germany and America," Library News from the Dance Notation Bureau, vol VIII, no 3, Summer 2014


Suggested by Christy Sanford

We rehearsed at Juilliard for four weeks with twenty-four Senior and three Junior dancers. Mira Kim was designated as notator of this project. This was very happy news for me because I have known Mira since her years as a graduat student in Labanotation at The Ohio State University. I remembered her to be very intelligent with thorough understanding of notation and an eagle eye in describing movement. She was present at every rehearsal and won our respect and affection with her quiet, gracious demeanor and professionalism. She even won over those who were skeptical to notation in general and especially the idea that Pina's movement could be transcribed in symbols. During breaks and after rehearsals, Mira and I would often talk about notation issues. Because we taught the piece out of order, questions regarding sequence were frequent. We both had copies of the music score—Stravinsky's Cantata—so I was easily able to help Mira find her way through the choreographic structure.