Modern Dance Hold’em
Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
Continue ReadingWorld-class review of ballet and dance.
Past the Gallery Kitchen, which for tonight has become an open mic Poets Café, I swim through the swirling 100-metre-long, multi-panelled Mun-Dirra (Maningrida Fish Fence), woven by 13 Burarra women weavers, which hovers above the floor and makes the gallery a waterway. I arrive to find Rosalind Crisp in the moment before the first of her two ten-minute performances, behind artist Hugh Hayden’s salvaged wood classroom ecosystem. Map still in my hand, for the locating of events communicating not just with the voice, but with the body, through dance, I am at the National Gallery of Victoria (NGV), after hours, for the Night of Ideas (La Nuit des Idées), an initiative of the French Embassy in partnership with the NGV and the Institut Français, taking place in various locations on the ground level of the NGV’s Triennial. Crisp’s legs and feet are instantly recognisable behind the blackboard of Hayden’s The End. Hidden in plain sight from both the extinct dodos in the installation and the wandering audience, a water bottle and a Guest Artist gallery lanyard by her feet, the gallery as a dance venue presents a distinct challenge. She pads the space, and I think about how hard it must be when the backstage is improvised.
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Lassoing is a surprising through-line for a Martha Graham Dance Company performance. The theme steps generally tend towards the child-birthing variety: contractions and deep squats.
Continue ReadingAs a dance viewer, it’s easy to get swept up in the grand movements in a piece, glossing over the finer details.
Continue ReadingHubbard Street Dance Chicago was in New York for a two-week run March 12–24 at the Joyce Theater, a venue that consistently programs excellent smaller dance companies in its 472-seat theater.
Continue ReadingThe legendary Cuban dancer Carlos Acosta trained relentlessly to come out of retirement last year for a performance of classical works in celebration of his 50th birthday at the Royal Ballet, where he spent most of his professional career.
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