>> From the Library of
Congress in Washington, D.C.
[ Pause ]
>> Nicholas A. Brown: Hi, everyone.
My name is Nicholas Brown,
and I'm a music specialist
and concert producer here
at the Library of Congress.
It's my great pleasure to
present to you Pontus Lidberg,
who is an acclaimed Swedish
choreographer, and the Library
of Congress and Martha Graham Dance
Company have co-commissioned Pontus'
new creation "Woodland",
which is a dance
for the Martha Graham Dance Company,
and "Woodland" is set to music
by American composer Irving Fine.
So, Pontus, welcome.
Thank you so much for being here -
>> Pontus Lidberg: Thank you.
I'm very happy to be
here, thank you -
>> Nicholas A. Brown: Great.
And so can you tell us a little
bit about your background.
When did you start dancing,
and do you have any training
in music or other forms of -
>> Pontus Lidberg: Yes.
I came from a family that was very
interested in the arts in general.
My mother more so in the performing
arts, and my father more perhaps
in literature and architecture,
but I was exposed to everything.
And then one day my parents
took me, I was four years old,
to a ballet performance, and I said
that I wanted to do that, and the,
obviously, at four years
old, you don't know anything,
but I had some intuitive sense that
I wanted to dance, and so I did,
and I actually never stopped.
It just kind of fed
into my education
at the Royal Swedish Ballet School
that started at ten, and then I,
after nine years, I started working.
So, you know, it's been a continuous
journey from four years old,
but I also played the piano.
I have training in piano,
and around the age of ten,
I had to make a choice if I was
going to pursue music or dance,
and actually that was not so easy.
It was more chance that
made one, you know, that.
Let me say that again.
It was more by chance
that I chose dance.
It had to do with the
audition for the academy
of music was on a Sunday.
It was dark in the winter.
I was alone with teacher or
something in a room singing
and playing, and the audition for
the Royal Swedish Ballet School was
on a Thursday, and there was lots of
people and very dynamic and people
in the corridors, and seemed
like an exciting place.
Honestly, as I remembered
it, it was more because of
that that I chose dance -
>> Nicholas A. Brown: Really.
That's interesting.
And with your dance studies, did you
go beyond the Royal Swedish Ballet.
I know you've had some
training in Martha Graham.
Was that at the Royal
Swedish Ballet -
>> Pontus Lidberg: Yes.
So the first contemporary
dance training that I had
at the Royal Swedish Ballet School,
which was a classical
ballet training,
but to expose all the
students to contemporary dance,
there were various forms of
contemporary training as well,
and the first one was
Graham technique,
but that was a long time ago -
>> Nicholas A. Brown: Oh, yeah, no -
>> Pontus Lidberg: Yeah.
>> Nicholas A. Brown: And what other
contemporary techniques did you
study -
>> Pontus Lidberg: And then
I was exposed to many others,
and it's interesting because
in classical ballet, there are,
of course, styles of training,
but, I mean, in essence,
it's the same thing, but
in contemporary dance,
it's not really the case.
Martha was one of the few who
really codified a technique,
and then others have done it, too,
but it's kind of more following
the style and ideas of a person
as opposed to a technique
that is universally accepted.
And so we had release technique,
and we had other kinds of training,
but it's not really
comparable I think
to classical technique training.
>> Nicholas A. Brown: And is
there any specific production
or memory from, say, your teenage
years and your dance training
that really formed who you
are today as an artist?
Or any specific teacher
that you worked with?
>> Pontus Lidberg: What comes
to mind, and I guess intuition,
you know, what I, what comes
to mind is actually some
of the travels I did in the summer.
So at the age of 13
onwards, more or less,
every summer there would be some
training travel because, of course,
the layoff period in the school
year was more than two months,
and that's too long not to train.
So I started going to ballet
seminars or camps or guest studies
at different schools
internationally,
and some of those were eye openers
to me because when you're part
of a small context in Stockholm
at the Royal Swedish Ballet
School, it's very small.
You know, there's, you have your,
you know, seven co-students,
and you have your teachers,
and every day's the same,
and it's very formalized and
rigid, and that's what you do,
and then you go out into the world,
and there are different kinds
of styles and emphasis and
training and students and,
that was eye opening for me,
and there were many actually.
One in particular is I
spent one summer semester
at the National Ballet
School of Canada in Toronto,
and that was an eye opener because
I felt like I saw different aspects
of my dancing, and other people saw
that and reflected it back to me,
and that was very important.
>> Nicholas A. Brown: At what
point did you start choreographing?
>> Pontus Lidberg: I started as soon
as I had an opportunity,
to be honest.
Even I was I suppose
11 or something.
Because there were school
concerts throughout the year,
and there was one in
particular before Christmas
where students were
given the opportunity
to create or to perform a solo.
It was a little bit more informal
maybe than the other concerts,
and I started creating for that.
So I would say as soon as there
was an opportunity to choreograph,
I would take it in school.
And then as a dancer, it
became clear pretty quickly
that actually creating
dance was more aligned
with what I wanted
from the art form.
I like performing, but what is
necessary is to be creative.
>> Nicholas A. Brown: And
with your choreography,
do you approach working
with ensembles differently
than with soloists or pairs -
>> Pontus Lidberg: Yes.
Ooh, it's so different.
A recent work, I had
45 dancers in it, and -
>> Nicholas A. Brown: Wow -
>> Pontus Lidberg: And
another, other pieces.
Actually, I prefer to do intimate
pieces because I think that my,
one of my strengths is to draw
out things from individuals,
and you can't do that
with huge groups.
You kind of have to step back
and look at the overall picture,
and it's almost more
like organizing, and.
So, I mean, I like doing both,
but I do prefer working intimately
with people because it's
just more rewarding.
Yeah -
>> Nicholas A. Brown: Yeah.
Do you find there's a difference
in the way you choreograph
when it's an independent project
that you're doing with your,
under the umbrella Pontus
Lidberg dance versus working
with an established company
that has a very set profile -
at least to the public -
>> Pontus Lidberg: Yeah.
I'm adaptable in that way,
and I like to meet contexts
that inform me because
it's a dialogue.
So I, I'm not the kind of
choreographer that arrives
and then posts something
regardless of where I am,
but rather I like to first have
a feel for what kind of dancers
and people am I working with, and
what does that reflect, you know,
in my work, and what
can we do together.
Basically, as a young
choreographer, I was more interested
in creating my own steps, my own
choreography, my own sequences
and so on, and I did that, but
after a while, I thought that,
I started to understand that,
in fact, there is more to find
when you start collaborating
with people,
and I like the conversational
aspect of creating.
So I prefer that now.
And, of course, some companies
do have a very strong identity,
like this one, for example,
and that's very nice for me
because it means that
I get information
that I wouldn't be
able to have otherwise.
It's, it enriches me, and then
from that information,
I give back, you know.
So I, it's really conversational.
I will give an impetus to something,
and then the dancers will reflect
back to me, and then I take
that and guide it onwards.
>> Nicholas A. Brown: I
mean, if we think about the
"Woodland" project
specifically, what was your process
of selecting the piece that
you wanted to work with,
and then also how has
the work evolved
from the very first
conceptual meetings or sessions
where you were thinking
through things
versus the first rehearsals to now?
>> Pontus Lidberg: Well, so
first, I started listening
to a music selection and just
getting familiar with this composer
and what, by the way, whose
music is rather varied.
But I, it took a little
bit of searching
because initially I was
considering working conceptually,
which is something I sometimes
do, meaning I will have an idea,
and then I will find the
elements that all work together
to make this idea visible or to
work together to create this work.
But I found that Irving Fine's
music, and especially the piece
that I ended up choosing, I
actually chose another piece first
of the first one that I chose
was "Serious Song" for strings,
and I was sure that that was going
to be there because I was, like,
this is wonderful, and this
needs to be choreographed,
but I found it very difficult
to pair something with it.
And it was, like, standalone
and too short a section, yeah.
So I changed my mind, but the
more I worked with the music,
the more I kind of understood that
actually superimposing a concept
on this is not going
to work out very well.
I have to change my point of
entry and work with the music
and just kind of listen
to what it's saying,
which is something
I also do sometimes.
It's not new for me at all,
but it's just a different kind
of entry to the piece.
So that's what I started doing.
I was just writing down little
things I heard in the music freely,
and, like, gathering
material that way.
At the same time, I started
rehearsing with dancers,
or started to created, and that
was the first time I had worked
with these dancers, and as I
mentioned, they are particular.
They have a style.
They have a kind of an
expression that is practiced.
So I started just throwing
material at them
to see what they would reflect back,
and we tried, then to rehearsing
that material with the music
and see how that work together.
So in the beginning I was very open,
like, to just see what my material,
these dancers, and this music,
what would that, what is that.
And then I started to kind of,
like, more specifically tease
out what the piece would be.
But I stayed with the, with a basic,
the fundamental idea for the pieces
that I have created
something to the music.
It's really the music
that inform the piece.
>> Nicholas A. Brown: Great.
What specifically about Fine's
music, like whether rhythm
or harmonies really lends
itself to being set to dance?
>> Pontus Lidberg: Well, one of
the challenges that I've found,
and which I hope that
have delivered,
we'll see I suppose tonight, is
that I, as I heard the request was
to work with the music of Irving
Fine, who is no longer alive,
but to create a contemporary
work with his music.
So that's, meaning taking
mid-century music essentially
and creating a contemporary work.
And I, that is not super easy -
>> Nicholas A. Brown: Yeah, I bet -
>> Pontus Lidberg: Yeah.
Because his music is particular.
I've, in my ears, especially
in the, at first, you know,
the first time you hear
it, I'm, I was, like,
this is American mid-century music -
>> Nicholas A. Brown: Yeah.
>> Pontus Lidberg: So that's what,
it's very specific, and so for,
I also considered visually, I was,
like, should I maybe go there.
Should I create something
in century?
But, which I did not end up doing.
But I think his music
is very sophisticated.
It has a lot of detail.
It has a lot of interesting
kind of turns.
It's not, like a lot of music
nowadays that choreographers
like to us, me included sometimes,
not always, is more, like,
a landscape that continues
for a long time.
I would say, like, Philip
Glass is a good example
that a lot of people know.
I mean, it continues
similarly for long time.
Changes a little bit,
but it's more, like, a,
you know, highway or something -
>> Nicholas A. Brown: Yeah.
>> Pontus Lidberg: Whereas
Irving Fine's music is not that.
There is an idea that
lasts for seven seconds,
and then it goes somewhere
else, you know.
It's very rich in that way.
So that's something I
had to also adapt to.
There's, like, split second
moments that then dissolve
into the next thing,
but that's also fun
and interesting to
do choreographically.
So I've, I kind of, I've
created in that way.
It's not very long sequences of
things that go on for a long time,
but rather they change quickly.
It's very beautiful.
It's, I mean, it's very, it
has very beautiful melody
and very beautiful harmony.
Yeah, so, I mean, that's
always wonderful for dance.
I, as I see, dance is a, dance is
really a synergy of many art forms
because it's the visual aspects,
it's the movement aspect,
it's the what you hear.
It's also can be theater,
what you're narrating
if that's happening.
There's a lot of things going on.
So, of course, the music
being beautiful is very nice -
>> Nicholas A. Brown: Yes.
How did you arrive the
title of "Woodland"?
Is there some kind of
narrative that you come
to associate with the piece?
>> Pontus Lidberg: Yeah.
It, it's a title that shouldn't be
taken too literally because it's not
about anything, really, but, again,
as I was creating this, and I,
as I was watching my own rehearsals,
one of the things that I see
in the piece is that it's a little
bit like watching nature or being
in the forest and watching,
just sitting down, still,
and watching what's unfolding
around you, and, for example,
and this is not literal, but,
for example, there is a fox walks
through the woods, or a bird
arrives, it sits on a branch
for a little while and then flies
away, and it doesn't mean anything,
yet, it can be very
meaningful actually just
to watch these things unfold.
So the idea of a forest was, like,
one of the first words that I came
up with, but then woodland is
also an adjective of the woods.
So I, that's how I chose the title.
The other connotation is
being lost in the woods.
There's kind of an air of
young adults or children,
not literally children,
but being lost
in the woods and finding their way.
>> Nicholas A. Brown: Neat.
Very cool, and how would you
say the process was like working
with the designers to realize
the costumes and to sort
of bring the vision of the, you
know, multiple aspects together -
>> Pontus Lidberg: So they
came in later in the process,
which when there was already
quite a lot of material,
and these ideas were already there.
So they designed things that
are inspired by both children
and animals and young adult,
all of it together, and.
Yeah. So that happens
later in the process.
>> Nicholas A. Brown: And what is
it like to be paired with Copland
and the Barber and the
Chávez on this program -
>> Pontus Lidberg:
Well, it's a tall order.
I mean, obviously, I-- one
always tries to make the best
and most thoughtful work possible
in any given circumstance, and.
My, what I appreciate most from
this creation has been working
with the dancers because they have
been very generous, and, like,
they have contributed a lot to this.
So that's something I
very much appreciate.
Obviously, I think part of
the, part of the challenge
for me being given a composer to
work with who I can't talk to means
that I have, I'm actually given,
like, a set work, you know.
I could choose to work,
but, nevertheless,
it's a work that already
exists, and that those,
that framework is already there,
which is different to coming
up with the concept or a story or a
theme or a, like, from the beginning
and then have the music
and the dance kind
of be created towards the same goal.
So, basically, I, yeah, it's
a different kind of piece than
"Appalachian Spring " for example -
>> Nicholas A. Brown: I'm sure -
>> Pontus Lidberg: You
know, it can't be compared.
It's a different, it, the way of
it coming about is very different.
It's, you know.
>> Nicholas A. Brown: Do you know
the story of how the title came
to be for "Appalachian Spring" -
>> Pontus Lidberg: No -
>> Nicholas A. Brown:
So Copland just wrote it
as a ballet for Martha.
He didn't have the
associations with all of the sort
of American folk culture
that we have -
>> Pontus Lidberg: Right -
>> Nicholas A. Brown: Now -
>> Pontus Lidberg: Right -
>> Nicholas A. Brown: And Martha
at a certain point associated
with the music with
this poem by Hart Crane,
and where it says Appalachian
Spring in there as one of the lines.
And she hadn't even titled
it until very, very late,
and the chief of the music division
at the time had been writing to her
through Erick Hawkins,
which she wasn't responding
to letters saying we need a title
more than "Ballet for Martha"
for the press release
for the performance -
>> Pontus Lidberg: Right -
>> Nicholas A. Brown:
Which was within three,
four weeks already at that -
>> Pontus Lidberg: Wow -
>> Nicholas A. Brown: And
it became this thing that is
so nationalistic and populist -
>> Pontus Lidberg: Yes -
>> Nicholas A. Brown: When that
was not the intention at all.
Which -
>> Pontus Lidberg: Right -
>> Nicholas A. Brown:
Is kind of interesting -
>> Pontus Lidberg: Yeah.
Well, that says something about
Martha, I suppose, also, because,
I mean, one never knows, you know.
Like, looking back, you can see
what things meant, you know, in the.
But, I mean, she was
creating history for a while,
but at some point, I'm
sure that nobody knew
that that was happening -
>> Nicholas A. Brown: Yeah.
And it almost didn't happen -
>> Pontus Lidberg: Yeah -
>> Nicholas A. Brown: They
had delays from 1942 is
when they first started
talking about the project.
Martha was late to get the
original scenario to Copland,
and Copland was doing a film score.
So he couldn't work
on it, and then -
>> Pontus Lidberg: Right -
>> Nicholas A. Brown: They had
to decide the second composer,
who was eventually Chávez -
>> Pontus Lidberg: Right -
>> Nicholas A. Brown: And Chávez
was incommunicado most of the time,
wouldn't send anything back,
didn't meet his deadlines.
It was supposed to originally be in
1943 to premiere, then it got pushed
to the fall of '43, spring of '44,
and then finally to
fall of '44, which -
>> Pontus Lidberg: Wow -
>> Nicholas A. Brown:
Really interesting.
I'm glad we didn't have those
delays with [multiple speakers] -
>> Pontus Lidberg:
Yeah, definitely -
>> Nicholas A. Brown: Do foresee
"Woodland" having more
performances beyond this initial run
with the Graham Company?
Will you ever mount it in Sweden,
for example, or in Europe -
>> Pontus Lidberg: Well, sure.
I mean, I hope that the company
will continue to perform it.
I mean, they will already in New
York coming up in a few weeks.
I don't know.
You know, part of creating is that
you become rather myopic close
to the premiere, and sometimes only,
like, a year later can you watch it
and actually be objective about it -
>> Nicholas A. Brown: Yeah -
>> Pontus Lidberg: And, of course,
you try very hard to be objective,
and you are working
with it all the time,
but sometimes you can't
really because it's too close.
So I have reconsidered some of my
works in both directions later,
meaning sometimes I will
appreciated them more later,
and other times I've felt, like, oh,
actually, this needs to be adjusted.
But that needs to take a while
before I can kind of look
at it objectively, I think.
Yeah.
>> Nicholas A. Brown:
What is the experience
of having the dance performed with
live orchestra versus a recording,
and are there are differences
most pronounced in a music
like art music, or would it
matter with live electronic music
versus having it, you
know, [multiple speakers] -
>> Pontus Lidberg: Right.
Well, yeah, of course, it makes
huge difference, and I mean,
I made a piece to the music of, to
an original score by Max Richter
in Dresden, which was
part electronics.
So there was an electronic
backtrack.
There was also strings and piano,
and they had, you know, like,
they had kind of a click track
I think to be able to match it
with electronics, and which
was not so easy actually.
But I think it, this is a really
good question because, you know,
recorded music is, can be, it can
work against you because you start
to listen for and choreograph
to the recording, not the music.
Like, all sorts of personal
choices that were made during
that recording you start
taking for granted.
Like, as if that is what
it is, but, you know, when,
as you know when you're playing
something yourself, like,
you can play something
very differently.
Your interpretation doesn't
mean it's right or wrong.
It's just, like, the way that
you hear it is very different.
The way I play piano is, like,
and certain pieces is
different, you know.
Like, the way I hear
it-what I want to bring out.
So it's always interesting when
you meet the orchestra, and you,
for the first time because
sometimes it's, like, oh,
I missed that [multiple
speakers], like, yeah.
Because maybe you choreograph
something to something
that was actually just an
artistic choice in the -
>> Nicholas A. Brown: Yeah -
>> Pontus Lidberg: Recording,
but [inaudible] the
opposite is also true.
Sometimes you're, like, oh,
you know, this is much better,
you know, or, like, yeah.
So it, both can happen, but I
have a friend who's a conductor.
He likes to say that, oh, like, he
doesn't like to conduct for dance
because he says there
are only tempos
in dance - too fast or too slow -
>> Nicholas A. Brown: Got you.
>> Pontus Lidberg: I mean, and he's
being funny about it, but it's true.
It's sensitive because -
>> Nicholas A. Brown: Yeah -
>> Pontus Lidberg: You know,
what you, what a musician does
with their fingers or,
you know, small movements
to create sound can
sometimes be huge movements
that are precisely timed for a
dancer with their whole body,
and if you change the
tempo one way or the other,
it can just make or break.
So it is very sensitive actually.
But, of course, having said that,
I much prefer having live
music to recorded music.
Much.
>> Nicholas A. Brown: Great.
Do you prefer working with
a certain genre of music,
or do you enjoy working
with jazz, classical,
electronics, all equally -
>> Pontus Lidberg: Equally -
>> Nicholas A. Brown: Yeah -
>> Pontus Lidberg: I would say.
Having said that, I think I just,
you know, I have my own universe
that I'm drawn to and that I like,
and even within different genres,
there's a certain kind of music
that I, that speaks to me.
And there are definitely
gaps in music
that I don't really know
much about, like hip hop or.
There are genres of music that
I don't really know much about,
but I do like working
with living composers
because you can create
something together from scratch.
That, that's very rewarding.
Sometimes it, you know,
it also means you don't
know what it's going to be.
So it's a gamble.
>> Nicholas A. Brown: Can
you tell me a little bit
about how you got involved
in your filmmaking career?
>> Pontus Lidberg: I, as I grew up
as a teenager, I was very interested
in photography, and I
had an analog camera.
I was, you know, kind of dedicated
in, to taking photographs,
and I also, I did dark
room myself as well.
And what that really meant was that
I trained myself to look at things
through the eyes of a, through
the lens really of the camera,
and composition and
imagery sense, and, like,
telling stories through images.
So it made sense when I
started choreographing
that I would also work with
film because that's kind
of a combination of the two really.
I also think that for me
because I'm interested
in so many different aspects
of creating, not just movement
or theater or music, but, or images,
but all of them, film is a medium
that really gives you
the opportunity to work
with a lot of different layers.
So it's very satisfying, I think.
Having said that, it's very
time consuming, expensive,
at least the kind of
productions that I push to do.
And so they're, I get to do many
more stage works per year than film.
Yeah. My film work tends
to take a few years.
Each project takes
four, five years -
>> Nicholas A. Brown: Wow.
>> Pontus Lidberg: Yeah -
>> Nicholas A. Brown: Cool.
When you choreograph, do
you choreograph differently
for film versus for the stage -
>> Pontus Lidberg: Yes.
Swell, the biggest difference
is that with a camera,
I direct the eye of the audience.
I can zoom in on some
button here, you know,
if that's what I want the
audience to see in a film,
and that is all they will
see because I decided.
So, but on a stage, you kind
of put everything out there,
and it's up to each
individual, audience member
to choose what they see
or be drawn to something.
I mean, you can't control that.
So it's very different actually.
>> Nicholas A. Brown: What
do you think of this notion
that the United States Congress
promotes dance and new music
and new commissions
and choreography?
Because it, I think, working for
them, I know they get a lot of flak,
but sometimes there are
good things that happen -
>> Pontus Lidberg: Yeah -
>> Nicholas A. Brown: Around here
that are unexpected I think -
>> Pontus Lidberg: Yes.
Well, I am honored, and, I mean,
it's very exciting for me to be here
and to also know that these
seminal works were created
in this place by the same -
>> Nicholas A. Brown: Yeah -
>> Pontus Lidberg:
Organizations, and, I mean,
it's humbling, I have
to say, and yeah.
Really humbling because it's feel,
I feel it's difficult for me to live
up to certain things that
have been commissioned here.
But it's very exciting.
>> Nicholas A. Brown: Great.
Well, we're so happy to
have you here, for sure.
I think as we're starting to wrap up
now, I'd love to know what you think
about the Graham Company's
reputation or,
not necessarily their reputation,
but how they are perceived
in the dance community
outside of the United States
versus within the United
States, or is there a difference?
>> Pontus Lidberg: I can
only speak to what I know,
and it's been also interesting and
important for me actually to work
with the Graham Company
because Martha Graham really
changed the landscape of dance,
especially in America,
but all over the world.
And all of a sudden I started
to see things that I didn't know
where they were from, and in
choreographers like Pina Bausch,
for example, I was, like,
oh, that came from Martha.
And in Sweden, you
can see the lineage
of Birgit Cullberg and [Inaudible].
You can also see, oh, that came
from Martha, and so I think
that her company, this company is
perhaps not as alive, you know,
it's not on people's minds
immediately in Europe as much
as it is here, through the name,
obviously, is instantly recognizable
and people know exactly what it is.
But I have started to
appreciate that, in fact,
she's very much alive
in many people -
>> Nicholas A. Brown: Yeah -
>> Pontus Lidberg: Who
might not even know it.
>> Nicholas A. Brown: Fascinating.
What is next for you
after this project -
>> Pontus Lidberg: I have a premiere
at Sadler's Wells Theatre in London
on April 20th for a company
in London called Balletboyz -
>> Nicholas A. Brown: Oh,
yes, they're wonderful, yeah -
>> Pontus Lidberg:
Contemporary dance company -
>> Nicholas A. Brown: Great.
And do you foresee working with the
Graham Company again in the future -
>> Pontus Lidberg:
I certainly wish -
>> Nicholas A. Brown: Great.
Yeah -
>> Pontus Lidberg: That
that will happen, yes -
>> Nicholas A. Brown: I mean, what
has it been like to work with Janet
because she's, you know, in terms
of her vision for the Company
and her supporting
other choreographers?
>> Pontus Lidberg: Well,
I think she's doing
exactly what is necessary.
Martha Graham, the Martha
Graham lineage and the heritage,
they already have, and that's
there, and needs to be maintained
and cultivated and it's very
important, but for a company
to be alive, it also needs new work.
I think you cannot only, I
mean, it's the difference
between being exclusively a
museum or an, living company -
>> Nicholas A. Brown: Sure -
>> Pontus Lidberg: So I
think, I mean, she's spot on -
>> Nicholas A. Brown: Great.
Well, thank you so much
for taking the time
to answer some questions, and -
>> Pontus Lidberg: Thank you -
>> Nicholas A. Brown: We'll look
forward to seeing the premiere
of "Woodland" this evening,
and encourage you to come back
and visit us anytime, and -
>> Pontus Lidberg: Thank you -
>> Nicholas A. Brown: Encourage
our viewers to visit loc dot gov,
and if you search for Pontus'
name, Pontus Lidberg or "Woodland"
or Irving Fine or Martha Graham,
you will find a load of resources
through which you can
learn more about the legacy
of the Martha Graham Dance
Company at the Library of Congress.
Thanks for joining us.
>> Pontus Lidberg: Thank you.
>> This has been a presentation
of the Library of Congress.
Visit us at loc dot gov.