In a 1979 article titled Who’s Who at the Zoo? published in the US magazine The Advocate, writer George Mazzei described larger, hairy gay men as bears.
The term is believed to have been in use within gay communities before its appearance in print, but Mazzei’s article is widely regarded as containing one of the earliest documented references to bears in LGBTQIA+ media. In the article, Mazzei wrote that bears were “usually hunky, chunky types reminiscent of railroad engineers and former football greats”.
Even in the late 1970s, it was recognised that being a bear was about more than physical appearance. Attitude, identity and community connection were also important aspects of bear culture.
Following publication of the article, the term grew in popularity and helped contribute to the development of a distinctive bear community and culture within the broader LGBTQIA+ community.
For over 50 years Merce Cunningham was at the forefront of modern dance
Innovative choreographer Merce Cunningham died on this day in 2009. He was 90 when he died, having forged a remarkable career in the world of dance.
Cunningham frequently collaborated with artists from a range of disciplines, helping forge connections between dance, music, visual art and fashion. Many dancers who worked with him later went on to establish their own companies.
Among his collaborators were musicians John Cage, David Tudor and Brian Eno. He also worked with visual artists including Andy Warhol, Roy Lichtenstein and Jasper Johns.
Born Mercier Philip Cunningham in Washington State in 1919, he entered the world of dance as a child. His first love was tap dancing. After studying acting at college, he moved to New York in 1939 and joined Martha Graham’s dance company.
In 1944, he presented his first solo work, a collaboration with composer John Cage. Cage would become both his principal artistic collaborator and long-term partner, and the pair continued working together until Cage’s death in 1992.
Cunningham continued creating new works until just a few months before his death, leaving a lasting influence on contemporary dance and performance.
