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Now that his company has done in Britain for the last time, it seems that the spirit of the late choreographer finally dispersed. However, it is far from lost

On Saturday night, a packed Barbican Theatre in London rose to applaud the dancers of the Merce Cunningham Dance Company. As the applause continued, and subsequently, it was clear that most of us have tried to delay the moment when the curtain fell on the company forever.

was an emotional farewell to the dancers and the public (after this season in London, which have only a few dates before they were disbanded in December). However, Cunningham was what was desired. He had little interest in your company to continue as a "market-museum" after his death, and their works that are well documented for archiving Cunningham Foundation knew it would be possible for students to maintain access to their choreography, and for other companies to follow its application. Yet it is difficult to accept that the extraordinary project - which began in 1953 with some dancers, a minibus and engineering combined Cunningham and his musical collaborator John Cage -. Is coming to an end

The first company arrived in the UK in 1964, although it was not until 1980 that he began to perform regularly. When I saw that year, he had never seen dancing like her, so strange, so indescribably complicated, but radiant with luminous clarity of the object. I could not put a name to most of the movements could not explain the logic of the choreography that seemed to expand and contract according to the mysterious laws of your account. I've never seen such fabulous dancers, but at the same time so expressionless. And Cunningham himself - laughing, and expertise for them - seems inexpressible

I remember being surprised to discover that I was crying. And if I can say that it was the performance that made me want to write about dance, I'm sure every show I went to see the company was critical to my development as a critic.

Cunningham has continued to explore the possibilities of his art. In 1999, he was the first to play with digital projection, the creation of the master Biped live where the dancers moved in a consortium with blinking, walking, light powered by the avatars. In 2003, he directed one of its events (a collage of fragments of different dance pieces) in the Turbine Hall of Tate Modern in London, with the background-apocalyptic sublime, if installation by Olafur Eliasson The Weather Project. The public is free to walk among the dancers, as practiced, and if that was surprising in itself, even more poignant was seeing Cunningham himself, sitting on the deck of the Turbine Hall - a benign figure, with a focus vigilant, his face wreathed with a bright white wolf hair wax.

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