Images from left to right: Norton Owen; Skp Brown photo. Norton Owen; Rod Chu photo. Norton Owen and Jennine Willett; Jacob’s Pillow Archives photo.
Throughout his time at the Pillow, Director of Preservation Norton Owen has impacted the lives of many. A pillar of the dance world as an archivist, educator, ambassador, and above all else, friend, the 50th anniversary of his work at the Pillow provides a moment to reflect on Norton’s contributions to the industry, and how they have reverberated across generations. To celebrate, we‘ve collected 50 different moments from the last 50 years from some of the people who’ve crossed paths with Norton, from former Pillow interns to current artistic directors of the world’s foremost dance companies, leading up to the opening of this summer’s special exhibition in Blake’s Barn: “Connecting Through Time: 50 Seasons with Norton Owen,” curated by longtime colleague of Norton, Wendy Perron.
Norton Owen in Prophete, 1977; Beth Bergman photo
1. As scholarship students at the Pillow in 1976, Norton and I ran the light board. It was a two-scene, pre-set board, which meant that one had to manually move each dimmer on the top half of the board, and when the cue was called you would crossfade to the other half of the board. Norton would save me from the rather large insects that would flock to the warm lights of the board backstage. It was an incredible learning experience to work with all the companies performing that summer. We took dance classes all day and then went to the theater, where we communed with the bats, whom we affectionately named Ruth and Ted. It was a magical summer.
—Nancy Lushington, Associate Professor of Dance at Marymount Manhattan College
2. I spent the summer of 1996 with Norton as his first archives intern. Along with the theater crew and production interns, Norton and I hauled out countless boxes from their decades-long storage underneath the seating in Bakalar Studio. It was a dusty mess, covered in mouse feces. As we sorted through Ted Shawn’s papers, Norton and I discovered remarkable treasures. The old invoices and touring contracts enlightened me to the business of administration. By the end of the summer, we moved the archives into the new climate-controlled space in the basement of Blake’s Barn. Norton’s mentorship that summer was instrumental in leading me on my path as an arts administrator.
—Barbara Bryan, Executive Director of Movement Research
3. Norton’s myriad of accomplishments over his remarkable 50 years at the Pillow are clearly born out of an irrepressible desire to share his own curiosity, sense of discovery, and love of the dance. From the beginning of his time at the Pillow, he has found new ways to, as he says, “put the past in dialogue with the present.” His inspired invention of compelling points of access for audiences of all kinds has been so engaging—and so welcoming—that he has helped the entire field of American dance embrace and celebrate its past.
—Janet Eilber, Artistic Director of Martha Graham Dance Company
4. Norton Owen embodies Jacob’s Pillow. He has kept the Pillow’s rich history alive for five decades and made it his life’s work to organize the Pillow Archives. He remembers every face, name, and piece of music, and he can readily answer any dance question, always with a smile and an anecdote. I once asked Norton if any other choreographers had used a particular piece of music before. He quickly responded to my email with names of choreographers, dance companies and dates, with links to the works. Norton shares his love of dance with all who are fortunate enough to be in his presence.
—Joan Hunter, Trustee Emerita at Jacob’s Pillow
5. When I think of the wonderful times I spent working in the Jacob’s Pillow Archives, I not only remember the great assistance I always received from Norton Owen and his staff, but I also remember how amenable he was to let me share my weird sense of humor with him. A prime example was when I told him that I had been in the basement, and I knew about his secret preservation project down there. He had preserved Miss Ruth and Ted in a state of cryonic suspension, and someday, he would revive them so that they can perform at the Pillow again. Norton and I would have great laughs about my silliness, and we built a bond of friendship around our shared appreciation of weird humor. Thank you, Norton . . . . Director of Preservation, indeed!
— John O. Perpener III, Independent Scholar
6. I was obsessed with La Meri, who brought dances from Spain and India to the Pillow during the 1950 and 1960s. On my first day as a Scholar-in-Residence in 2010, Norton handed me a box of recently acquired items from the La Meri estate, saying, “You might be interested in this.” Over the years, Norton nurtured my fascination with this under-recognized Texas artist, which resulted in a Pillow Talk, an essay, and a podcast episode for Jacob’s Pillow Dance Interactive. I always smile when I hear Norton saying, “You might be interested in this,” to another curious person. I just marvel at how many people have had their dance passions nurtured by Norton!
—Nancy Wozny, Editor in Chief of Arts and Culture Texas
7. Norton dreamed up an annual montage of dance excerpts in 2002, and I’ve been working on it with him since 2007. This “Norton/Nel” film uses clips from the archives timed to fun music. Norton brilliantly finds the music every year, sifting and sifting until something catches his ear. I am always amazed that the music he chooses goes perfectly with the dance clips. Together, we have created this montage for almost every gala since then. I have learned so much from working with him about how to pair music and dance. I am forever grateful.
—Nel Shelby, Director of Media at Jacob’s Pillow
8. Norton! His classic signature in emails. I see a grounded vibrancy in that autograph. That same delightful energy is present whenever he greets me—or any of us. Yet this Norton! spirit leaps to an entirely new level the second he gleans how the archives can serve your particular interest. He snail-mailed materials to me in Washington, D.C., as I worked on my master’s thesis. He demonstrated to Katherine Dunham, on her first visit to the Pillow at the age of 93, how her teachings and artistry are shared with archive users. When artists and The School’s dancers enter the archives, he always delivers resources that connect to pathways they have yet to explore. Through Norton! my own relationship to the Pillow keeps dancing and evolving.
— “J.R.” Glover, Education Programs Specialist and former Carole and Dan Burack Director of The School at Jacob’s Pillow
9. I first met Norton at the Pillow in 1999. Since then, I’ve given talks and exhibited things in Blake’s Barn four different times. These all traced how a given advance in technology (from motion capture to AI to virtual reality) opened up unexpected possibilities for the art of dance. Since technology moves fast, older implementations show their age as they become outmoded. And so, the reality is that digital dance often proves as ephemeral as live performance. No ephemerality with Norton though! He still has the same warmth, eagerness, knowledge, and humor. Always a twinkle in that intelligent eye of his. Someday, I hope he’ll impart his secret to me so that I, in turn, can embed it in my collaborations.
—Paul Kaiser, Digital Artist at OpenEndedGroup
10. I had the privilege of working with Norton on last year’s exhibition “When Fantasy Meets Reality,” which detailed the Denishawn Far East tour, where he graciously allowed costume historian Caroline Hamilton and me to delve into the archives. He had an open mind and a supportive touch as we navigated sensitive issues around the performance of race and culture. With his gentle humility, no detail about Ruth St. Denis or Ted Shawn was too small to escape him. His vast memory and service to the dance field have helped chart the way forward for our industry.
—Phil Chan, Co-founder of Final Bow for Yellowface
11. I first met Norton in 2002 when I visited the Pillow as its guest photographer. He immediately embraced my work, and a few years later curated a major photographic exhibition based on my book, Masters of Movement. Over the years he’s continued to honor me and my work with exhibits, book launches, and PillowTalks. Working with Norton taught me about the value of photographic documentation, dance preservation and education and their ability to inspire future generations. Thank you, Norton, for enabling me to be a part of the history of Jacob’s Pillow.
—Rose Eichenbaum, Photographer and Author
12. When Norton invited me to co-curate the exhibition, “Welcoming the World,” with Hari Krishnan and him, I felt extremely honored. I recognized that having the privilege to work with him and Hari would be an invaluable learning experience for me. Not only was that the case, it was also sheer joy to be a part of. Norton’s encyclopedic knowledge of the history of Jacob’s Pillow enabled us to identify and review the diverse array of domestic and international dance artists that have been showcased at the Pillow since the 1940s. Norton’s sage guidance resulted in a meaningful collaborative effort.
—Tanisha Jones, Independent Archivist and Project Manager
13. I had the honor of working with Norton while co-curating the “Welcoming the World” exhibition with Tanisha Jones. This passion project of Norton synthesized his vast knowledge of global artists who performed at the Pillow. Always willing to share generously and listen to differing perspectives, his vision enabled us to select a diversity of artists representative of geographical, aesthetic, and generational range. Norton’s perceptive eye towards documentation helped me discover how the curatorial process can be accessible and inclusive. I appreciated his sensitivity to the varied aesthetic tastes of the Pillow’s audiences, which enabled us to feature artists to not only honor Ted Shawn’s legacy but also uplift contemporary pathways of how this legacy has been propelled forward into the 21st century.
—Hari Krishnan, Artistic Director of inDANCE and Professor of Dance at Wesleyan University
14. Norton has a knack for seeing the possible. In 2017, he shared the outline for a project which would make the Pillow Archives more accessible. Norton invited me to dream with him. Together, we built Themes and page Essays on Jacob’s Pillow Dance Interactive. Then he asked, “What’s next?” “A dance history podcast(!),” I pitched. And we ventured toward PillowVoices. In the beginning, neither of us knew where this project was headed, but Norton’s sixth sense seemed to know we could build something meaningful together. What we’ve developed—over 70 podcast episodes and 130 multimedia essays—set me on a path to design and develop multiple documentary storytelling platforms around the country.
—Jennifer Edwards, Senior Director of Brand and Digital Strategy at WorkingAssumptions.org; Director of PillowVoices
15. I was a “lone arranger” while serving as the Artistic/Executive Director of Chicago Dance History Project, but I felt like I had a colleague in Norton Owen. Jacob’s Pillow’s Dance Interactive was a constant source of inspiration; it showed me how one could respond to the present moment with artifacts from the past. Unbeknownst to him, I enrolled myself in the Norton Owen School of Dance Archiving and learned how to use digital media to cut across analog boundaries, instigate unlikely conversations between artists, and create new audiences on new platforms. I’ll admit, I stole Norton’s playlist idea and continue to make my own. Like most things in dance curating and archiving, he did it first.
—Jenai Cutcher, Assistant Curator in the Jerome Robbins Dance Division, New York Public Library for the Performing Arts
16. Norton has a very special relationship with the Dance Division at the New York Public Library and was one of the first people to reach out and introduce themselves when I got the job as curator of the Division. It was a small gesture, but characteristic of his warmth and kindness. Our collections are, of course, linked through Denishawn, but the connection runs deeper than that. Norton is a fervent protector of dance history with no other agenda than keeping it safe, and although he is forever intertwined with Jacob’s Pillow, he will always have an honorary staff title with us.
—Linda Murray, Anne H. Bass Curator in the Jerome Robbins Dance Division, New York Public Library for the Performing Arts
17. Norton Owen’s thoughtfully curated playlists, featured on Jacob’s Pillow Dance Interactive, have become a staple of my Dance History course. His thematic selections are a source of reliable, trusted, and fascinating information that not only spark student discussions, but also inspire ideas for new lesson plans. The vibrant video excerpts and the concise, accompanying synopses enable students to make connections across a wide range of artists, time periods, and genres. I am thankful for and inspired by Norton’s dedicated work to preserve and expand the voices that are represented within dance history.
—Darrah Carr, Director, Conservatory of Dance at Purchase College, State University of New York
18. Norton and I opened the heavy door to the climate-controlled archives in the basement and started our tour at the silent film reels (cutting-edge technology in the 1930s). The archive shelves are a timeline of formats: Super 8 film reels, then Betamax tapes, then VHS, then DVDs, and then digital tapes and then no tapes—hard drives holding a whole season of performances. At the time, Norton and I were starting a new preservation project hosted in—of all unexpected places—something called ‘the cloud.’ The tour ended with a stretch of empty shelves with space for upcoming formats, whatever those might be. An early and lasting lesson in how archives are ever evolving.
—Lisa Niedermeyer, Creative Technologist
19. Over the years, Norton invited me to have three one-woman exhibits, four chats, video showings and more. There was also the fun part, when we went together to Long Island City, where my photographs were stored. We were transporting three big crates into and out of a small elevator right before closing time—pushing, rushing, and laughing—and we made it by the skin of our teeth!
—Lois Greenfield, Photographer
20. Recipe for the Norton Owen Cocktail: 2 parts knowing every single person in the dance world, 2 parts introducing any two people who happen to be in the same space but don’t already know one another, and 1 generous dash of Norton’s secret kindness sauce (so that everyone from the humblest behind-the-scenes figure to the brightest “star” feels special in that moment). Thank you, Norton, (the MOST special, human, brightest star in the dance world), for embracing all of us, whoever we are.
– Janine Parker, Artist-in-Residence in Dance at Williams College
21. To me, Norton is something of the physical embodiment of Jacob’s Pillow — always moving, always energetic, bursting with dance knowledge. And he’s one of its great ambassadors. He was the first to invite me into the Pillow family, the first to greet me when I return each summer, the last to see me off until next time. My “memory” of Norton is more a composite of memories over a decade that comprise my personal portrait of Jacob’s Pillow. Norton is in nearly every frame. The two are inextricable, and that’s a big part of why I love being a part of the Pillow.
– Brian Schaefer, Pillow Scholar-in-Residence
22. Norton has always struck me as the Pillow’s genius loci—the protective “spirit of the place.” He’s always appearing to scatter wisdom and then seems to vanish. From my days as a student at the Pillow to my recent work as a Scholar-in-Residence, Norton was always able to intuit archival materials I might benefit from seeing, and I know he does this for probably every single person he meets, and for all I know even every animal.
– Seth Williams, Pillow Scholar
23. Is there one moment of being in the orbit of Norton Owen’s artistry, brilliance and generosity that stands out? Was it when I was a student and later a performer at the Pillow? Was it while being introduced to artists from around the world, researching the Pillow Archives and benefiting from Norton’s wise counsel, or our being on stage together? No. It is every moment that is treasured, and continues to be. Thank you, Norton, for this and so much more.
– Marjorie Folkman, Jacob’s Pillow alumna, Mark Morris Dance Group longtime company member, Associate Professor of Professional Practice in the Barnard College Department of Dance
24. I have at least 40 years of memories of Norton but I offer the most recent: October 2024. Arriving with Emily Coates to begin a creative residency, Norton and Patsy invited us to the archive where a surprise awaited us. Methodically, they had combed the Pillow archives to find every smidgen of video that included either of us over multiple decades. There were our earlier incarnations playing on (I think 6 monitors) including video I didn’t know existed. It was the personal, inside the institutional, as carefully shepherded by a man who has devoted his career to noticing, cherishing, and preserving with such unstinting generosity coupled with a remarkable disinclination to turn the spotlight on himself (in a field often necessarily devoted to the spotlight). I felt “seen” in a contextual way I rarely experience. I hope these tributes, in turn, offer that to Norton.
– Ain Gordon, Playwright, Theatrical Director and Actor
25. I want to take this moment to thank Norton for inviting me to become a Jacob’s Pillow Scholar. It was a singular training ground for me—as a news archivist and curator, as a scholar, and as a public speaker.
Every time I pass the plaque for the Norton Owen Reading Room, I’m reminded of the power of one person’s passion and vision. It truly is the embodiment of “if you build it, they will come.
– Theresa Ruth Howard, Pillow Scholar
26. As a scholar, there is no better feeling than concluding a preshow talk and having Norton compliment you with that grin. You know you’re onto something when he remarks on a specific point—or better yet, when it’s something he’s never thought of (because there’s little he doesn’t know).
It’s the best feeling in the world when your ideas spark a conversation with him afterward—that’s the real test.
As a scholar, no matter how many people are on the porch, it’s Norton you want to impress.
– Theresa Ruth Howard, Pillow Scholar
27. In March of 2016, I opened an email with the subject line “Pillow Talk.” It was an invitation from Norton to sit on the hallowed porch of Blake’s Barn and speak about the fledgling work of my digital archive, Memoirs of Blacks in Ballet (MoBBallet)—which at the time was less than a year old.
To be invited, and to have Norton himself moderate the “Dancing Data” talk, was, in many ways, a welcome into the sacred circle of archivists—the preservers of memory.
Norton, now it is ours to hold yours.
– Theresa Ruth Howard, Pillow Scholar
28. Norton was and is an incredible source and resource. During my time as a dancer with Liz Lerman Dance Exchange, researching in the then smaller archives, and working on “In Praise of Fertile Fields”, Norton broke out in movement for the Labor Symphony (1934), with accompanied description of the work. I was floored and inspired. I learned some of the movement phrase with a deeper reference and meaning. This is Norton’s mode of operation…he is a rolodex of facts, fantasies, fiction and non fiction, and fantastical gems of dance.
As a Research Fellow, excavating materials on Ted Shawn’s Men Dancers and other males in the field, Norton and I had beautiful conversations about males in dance and masculinity. I am so grateful for the push, nudge, and discoveries.
– Vincent Thomas, Founder of VT Dance, Alum of the Research Fellowship Program at Jacob’s Pillow
29. In my senior year of college, following my internship at the Pillow the previous summer, I was in charge of organizing a group of dance scholars for the Ivy Ballet Exchange, a gathering of ballet groups from Ivy League universities, as a member of the Columbia Ballet Collaborative. I invited Norton to be a panelist, thinking to myself, there’s no way he would come all the way to New York City for a random event put on by a bunch of college students. But—lo and behold—Norton joined the panel, and came all the way to the city to talk about archivism and dance scholarship! It really meant a lot, and it goes to show that no matter the scope, he is a person who will always be there for dance.
– Lucy Kudlinski, Public Relations Intern in Summer 2023 and current Digital Marketing Coordinator at Jacob’s Pillow
30. I first met Norton Owen in the summer of 2004 when I was enrolled in the Jacob’s Pillow Contemporary Traditions Program. During our orientation to the Pillow grounds, I was struck by Norton’s dedication to the Pillow Archives. Each weekend I would take time to visit the archives and view footage of material. Every trip to the Pillow I would make sure to greet Norton. During one recent research trip to the archives with The Choreodaemonic Collective, Norton greeted us in the Archives with footage of me dancing at the Pillow and I so appreciated the gesture! My best to Norton always and I cannot wait to see him again soon!
– André Zachery, Artistic Director of Renegade Performance Group, Assistant Arts Professor at Tisch Department of Dance, New York University
31. Norton and I both participated in the “From the Horse’s Mouth” performance in March 2019 dedicated to Deborah Jowitt. I think this photo makes clear why we all love Norton so much! He and I are standing with Stuart Hodes, age 95, on my right, and my great-aunt Mary Mimms, age 104, on my left. Individuals who were vast embodied archives of lived experience. The image feels fitting to celebrate Norton. When I was a Pillow Lab artist this past fall, to create a work that sourced from their archives, Norton and Patsy displayed on their monitors my previous Pillow performances—with Mikhail Baryshnikov and Twyla Tharp, and a duet I created with Lacina Coulibaly. I almost cried, the affirmation of “you are here” was a gift, as a practice they do for visiting artists. Norton understands the intertwining of the present and the past, that in moving we bear the marks of our many histories, and that an archive at its best is a pooling, a community, a resource, and a reminder–viva la danse.
– Emily Coates, Founding director of dance studies at Yale University, Pillow Lab artist (October 2024), dancer who has performed at the Pillow with Baryshnikov’s White Oak Dance Project and Twyla Tharp Dance, archive lover and friend and fan of Norton
32. Dance is creativity. Norton, you have demonstrated that adage in so many ways throughout your career at Jacob’s Pillow, most notably in the rough-hewn Blake’s Barn you have enlivened for decades. But, beyond dance, I also want to acknowledge the beautiful life you have made for yourself in and around the Pillow—living close by; wandering over, by bicycle or on foot, through the trees; gathering frequently with dance friends for al fresco meals; all while nurturing your precious solitude. Dance is creativity, to be sure, but life is creativity too. Congratulations on building a unique and wonderful dance life at the Pillow.
– David Gere, Faculty at UCLA Department of World Arts and Cultures/Dance
33. It’s hard for me to think about my time (my many times) at the Pillow without thinking about Norton’s bright, joyful and generous presence. A presence that seems to care for everyone and everything happening in that surround, every single year, for 50 years. An astonishing feat (of love). He has become a fundamental part of the beautiful nature of the place.
– Ralph Lemon, Multidisciplinary Artist and Founder of the Ralph Lemon Dance Company (1985-1995)
34. Norton’s visionary work and dedication to preserving the history of dance has inspired me more than he knows. His passion and integrity have left a lasting impression on my own journey — and I’m deeply grateful for that. Designing the exhibit honoring his 50 years at Jacob’s Pillow is truly an honor — thank you, Norton, for your trust and for paving the way!
– Laura DiRado, Exhibit and Graphic Designer
35. Norton Owen is a keeper of dance treasures, who has become a treasure of the dance world himself!
– Sylvia Waters, Ailey II Artistic Director Emerita
36. In addition to being a preeminent expert in the field, Norton is a wonderful collaborator! He generously shared his wealth of knowledge when the Ailey organization established an archive in our beautiful permanent home – The Joan Weill Center for Dance. We are grateful that he played a key role in preserving our history and elevated the collection as a resource for years to come. Congratulations Norton!
– Pamela Robinson, Chief Financial Officer at Alvin Ailey American Dance Theater
37. Norton and I had a special love of animals. He had a cat that travelled with him back and forth to New York. I will never forget when he had to put his cat down. I found out and dropped everything- ran to his house just in time to be there to hold his hand as the vet put him to sleep. We both cried together and then buried him in Norton’s back yard.
– Charlotte Tiencken, General Manager at Jacob’s Pillow from 2000-2003
38. Interning with Norton in the Pillow Archives in 2007 was the first time I had ever been to a dance archives—what a magical and life-changing summer that was! I remember one night when I was working late in the Reading Room, Norton brought by his pal Paul Taylor to sign a poster or something during the Ted Shawn Theatre intermission. I was so shocked to meet the dance legend Paul Taylor in person. And I was equally shocked to realize that Norton wasn’t just a distant steward of dance history, but rather he WAS dance history itself!
– Patsy Gay, Current Archivist at Jacob’s Pillow and former Archives/Audience Engagement intern
39. I will never forget the excitement of watching Norton work his magic at Blake’s Barn the summer I had the pleasure of being a Jacob’s Pillow Archive intern. By some impossible feat, Norton would be with alumni in the Reading Room, hosting a PillowTalk, and giving an exhibit tour seemingly all at the same time! Norton created resources and an inviting atmosphere fostering a dance between the past and the present — epitomized by students of the School at Jacob’s Pillow gathering to watch performance footage of Festivals decades ago. The future of dance appreciating the history of dance. From Norton, I learned the many facets, responsibilities, and joys of stewarding a collection. Norton’s passion for Jacob’s Pillow was how I’ve always felt for New York City Ballet, and I am eternally grateful for his support and mentorship over the years. Thank you Norton and congratulations on 50 years at Jacob’s Pillow! We applaud you!
– Ailina Fisk, Archivist at New York City Ballet and former Archives/Audience Engagement intern at Jacob’s Pillow
40. Where to start!? Norton was the very first person I met when I stepped out of my 2006 Prius and walked onto campus to start my internship. I will never forget watching him precariously lean from ladders, climb in the rafters, and lift heavy artwork and scenery above his head to mount our Blake’s Barn exhibition that year. He was way braver than myself or Sumi Matsumoto (current Digital Archivist at the Pillow and at that time my fellow Archives intern) even though we were supposed to be the young spry people on site.
I will also never forget watching the endless stream of people, many of them world renowned artists, esteemed arts leaders, or dance-world celebrities walk into the reading room (The Norton Owen Reading Room, mind you) and immediately turn their head to the right looking for Norton at his iconic standing desk. If they happened to come during the fractional amount of time every day when he couldn’t be found there, their confusion and disappointment was always obvious. They often chose to settle for the poor interns at our measly seated desks, ready to try to entertain them, but ultimately just babysitters until Norton returned to kibbitz with them.
– Hallie Chametzky, Archives/Audience Engagement Intern in Summer 2019 at Jacob’s Pillow
41. What’s so interesting to me about my relationship with Norton is that it’s not anchored by a particular story but rather a thousand images in my mind of his incredible “bedside” manner. The way he talked to me and took me under his gentle tutelage when I was so young, and when he showed up again by my side when I arrived again at our beloved Pillow and both of our stations had changed. He was there again offering commentary, sometimes nourishment (a more recent evening when in the middle of writing my new book I had dinner with him in his beautiful house and spoke lovingly of history, of people, of objects). And there again with the library set up so that all the computers showed my work over decades.
This is beyond friendship and beyond colleagueship. It has a more angelic quality; ageless even though I know we are both now so much older.
And then there he is again, in my inbox, regularly sharing such incredible footage of the greats and the lesser known.…literally arriving just for me.
– Liz Lerman LLC; Faculty at Arizona State University
42. It was intermission at Lincoln Center, and I tried to squeeze through the crowd to see the NYCB merchandise for sale. When I jumped up to peer over heads, the person next to me did the same. We hit each other’s head, mid-air, really hard. What are the chances that it would be Norton Owen!
– Sharon MacDonald, Longtime Pillow Fan
43. While in the Reading Room, a company artist visited the archives to see anything the Pillow held surrounding Guatemalan dancers or heritage. Norton recommended I help the artist search as I have Guatemalan family members. Through my initial search I wasn’t able to find anything for the artist, but after a few minutes Norton brought out a box containing photos of a Guatemalan artist who had visited the Pillow some time ago. This moment was so special, not just for the visiting artist but also for myself, because it spoke to the care Norton has for every individual who walks into Blake’s Barn and the joy he shares when connecting people to what they’re looking for.
– Isa Frick, Archives/Audience Engagement Intern in Summer 2023 at Jacob’s Pillow
44. Years ago I attended Norton’s presentation in a small dance studio in Queens. Organized by Miki Orihara, he spoke passionately about how in the early 20th century, dance artists crossed borders. It was exciting for me to learn how Japan’s modern dance pioneers performed in Europe and the U.S. Baku Ishii, who is said to be the first dance artist in Japan to choreograph and perform a Western-style work, spent his early years (1922–1925) performing in many countries. I was also surprised to learn that all of the Denishawn dancers stayed in Japan for nearly a year (1925–1926) and performed in many cities. While acknowledging the criticism on cultural appropriation, Norton nevertheless passionately described how from early on, dance artists have been a curious bunch who dared to go far away places, shared their work to very different audiences, and marveled at very different dances. His warmth made me think I too am not an isolated stranger.
– Eiko Otake, Performer and Pillow Lab artist at Jacob’s Pillow as a part Eiko & Koma
45. In 2011, as an intern at Jacob’s Pillow, I showed up to the archive viewing space seeking video footage of Rhythm In Shoes, an Ohio-based music and dance company I had been a part of in the early 2000s. My request barely out of my mouth and Norton had his hand on the VHS tapes, ready to set me up for my evening viewing. Moments later, as I sat staring at the screen watching familiar choreography performed by my old friends, Norton tapped me on the shoulder and handed me the actual paper program from that 1992 Pillow engagement. I remember feeling astonished by his attentiveness and his ability to provide me resources that I didn’t even know I wanted.
In the years since, Norton has continued to amaze me with his incredible knowledge of the contents of the Pillow’s archive, directing me to items he thinks I’ll appreciate and thoughtfully supporting my work as a Research Fellow and Scholar-in-Residence.
– Janet Schroeder, Jacob’s Pillow Scholar-in-Residence
46. Whenever I tell someone I work in the Jacob’s Pillow Archives, I see their face light up as they exclaim “you get to work with Norton!” I love this moment; it shows that people recognize and are excited about the Archives thanks to Norton’s infectious enthusiasm and passion. Most archives don’t have the visibility and support that Norton has fostered for the Jacob’s Pillow Archives, and it is a privilege to have a hand in continuing his work.
– Sumi Matsumoto, Digital Archivist at Jacob’s Pillow
47. As one of the 2024 Archives / Audience Engagement interns, I was ecstatic to be invited to work alongside the team at Jacob’s Pillow and, quite honestly, anxious to do my best and soak in as much as possible. I had recently completed my MLIS and couldn’t believe that I was interning in THE Jacob’s Pillow archive with THE Norton Owen. As the weeks flew by, I watched Norton in his interactions with patrons, friends and strangers alike. The most important work I witnessed Norton do every single day was making each interaction and connection personal with kindness and dedication. No matter who you are, Norton will find a connection with you. No matter who you are, Norton will introduce you to the person next to him. No matter who you are, Norton will greet you with a smile and invite you in. What a treasure!
– Katelyn Sanchez, Archives/Audience Engagement Intern in Summer 2024, current Project Archivist at Jacob’s Pillow
48. I think of Norton as a decades-long trailblazer who advocates for the professional dance community to prioritize its artistic legacy. Not an easy thing to do with a field that must fight just to continue making work in the present. In the winter of 2022, at the time of David Gordon’s death, I got a card from Norton he had made, a stunning image of David & Valda Setterfield that I did not have. Context is everything here, Norton knew I had spent 6 years archiving David’s legacy. While grieving, Norton’s card meant so much to me.
– Alyce Dissette, Pick Up Performance Co. & LGBTQ+ Artists Archive Project
49. My earliest memory of visiting Norton in the Archives was when it was still a small space in a basement. What stands out most in that memory, and in all my subsequent memories of Norton, is his generous welcoming spirit and infectious passion for all that is Jacob’s Pillow and dance. As my career evolved, I began to notice that Norton was everywhere—at numerous performances in New York, at conferences across the country, and advising artists and arts workers everywhere. We are all connected to dance and to the Pillow in small and large ways through Norton.
– Kim Chan, Associate Artistic Director at Jacob’s Pillow
50. In 1988, Norton Owen landed in my life with incredible speed. At the time, we were both fully immersed in the José Limón Dance Company and Foundation, I as a teacher and reconstructor, and Norton as the director of the Limón Institute. I was captivated and fascinated by him from the moment we met. I was struck by how he walks as fast as I do, talks with the quickness of his swift thoughts, and can drive from the Berkshires to Manhattan in record time. But what stands out the most is his heart—it’s as vast as life itself.
Norton’s passion for dance, dance history, and all things theater is a guiding force in everything he does. As a child, I had an entire set of the Encyclopedia Britannica, but when I met Norton, I realized I no longer needed them. In a way, I had found my living, breathing encyclopedia.
Over the years, we’ve shared countless joys and faced many challenges. I’m proud to say that our bond is so deep that we can argue, cry, laugh, debate, agree, and disagree—yet every moment, whether lighthearted or intense, reinforces how invaluable his friendship is to me. Norton, you are known and loved by so many, and I am one of the countless people whose life is richer because of you and who you are.
You’re not only a pillar in my world, but also a pillar in the Dance World.
– Risa Steinberg, Co-director of the Ann and Weston Hicks Choreography Fellowship at Jacob’s Pillow, Faculty at The Juilliard School
"Connecting Through Time"
On view in Blake's Barn for Festival 2025, this exhibit, curated by Wendy Perron, celebrates the 50th anniversary of Director of Preservation Norton Owen.
