NEIL GREENBERG, recipient of a Guggenheim Fellowship and a “Bessie” Award, has been creating dances since 1979. He has created over twenty works for his company, as well as commissions for Mikhail Baryshnikov’s White Oak Dance Project and Ricochet Dance Company of London.

Greenberg came to New York from Minnesota in 1976 and danced with the Merce Cunningham Dance Company from 1979-1986. He formed Dance By Neil Greenberg in 1986, and his choreography has since been presented in seventeen New York City productions and on tour. He is known especially for his groundbreaking work Not-About-AIDS-Dance, for which he received his “Bessie,” which employs his signature use of projected words as an alternative text to the onstage dance action and a door into potential meanings in the dance.

He is the recipient of fellowships from the John Simon Guggenheim Foundation (1992), the National Endowment for the Arts (1988,1990,1991-92,1995-96), the New York Foundation for the Arts (1990, 1996) and the Foundation for Contemporary Performance Arts (1997), as well as repeated support from the New York State Council on the Arts and the Harkness Foundation for Dance. Most recently, he was awarded a National Dance Project Production Grant from the New England Foundation for the Arts for the creation of Partial View, a multimedia collaboration with John Jesurun (video designer) and longtime collaborators Zeena Parkins (composer) and Michael Stiller (lighting designer).

His two commissioned works for Mikhail Baryshnikov’s White Oak Dance Project include Tchaikovsky Dance (1998) and a solo for Baryshnikov, MacGuffin or How Meanings Get Lost (Revisited) (1999). His works for Ricochet Dance Company (London) include Verbatim (1999) and P.O.V. [point of view] (2002), his first work including video as an integral element in the choreography.

He has also created choreography for John Jesurun’s serial play, Chang In A Void Moon, in which his company appears under the nom-de-danse “Baby Hokaido and Bunzel Dance Group.”

Greenberg is an internationally sought after teacher, currently on the faculty of the Conservatory of Dance at Purchase College. He facilitates classes in technique, improvisation, and composition. He has served as artist-in-residence at Sarah Lawrence College, the University of Minnesota, George Washington University, Teatro alla Scala in Milan, Greenwich Dance Agency in London and in Budapest and Taiwan under the auspices of DTW’s Suitcase Fund, and has conducted composition workshops through Movement Research and DTW in New York and the International Summer School of Dance in Tokyo.

He served as dance curator at The Kitchen from 1995-1999, and has
also served as a NYSCA panelist and on the ”Bessies” committee.