Along with Nureyev, we have lost Jorge Donn, Ian Horvath, Michael Bennett, Edward Stierle, Burton Taylor, Clark Tippet, Tim Wengerd, Choo-San Goh, Arnie Zane, and Gregory Ismailoff, to mention only a few. The dance world is dependent upon creating an illusion of effortless grace, and this fact is at the heart of the community's reluctance to acknowledge the impact of AIDS on an art form of athleticism and style. In addition, we will see that other internal difficulties, mostly involving image, have put the dance community at a disadvantage until the present.
"Dance is paralyzed by indecision, while a whole generation and its progeny are quietly disappearing, taking with them an irretrievable part of dance knowledge, artistry, and culture" (Adams 52). How many dancers are quietly leaving the stage? Numbers and hard facts about its impact remain elusive. For its publication on dance and AIDS in the spring of 1992, Dance/USA, a Washington-based service organization for nonprofit professional dance, did an informal survey of twenty-eight dance companies, and found that HIV hits roughly 3.5 percent of dance personnel compared with about 0.6 percent of the U.S. population (Adams 52).
LaSalle quotes Time magazine theater critic William A. Henry for a perspective on the epidemic:
No one is untouched. On the one hand--the human hand, you have the loss of people who were in mid career and already established. You als