World-class review of ballet and dance.
In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his grandfather on Youtube.
Continue ReadingIt was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
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The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems: Alexei Ratmansky’s “Serenade after Plato’s Symposium” and George Balanchine’s “Theme and Variations.”
Continue ReadingMaking its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
Continue ReadingMiriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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Powerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
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In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his grandfather on Youtube.
Continue Reading
It was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
Continue Reading
Making its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
Continue Reading
The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems:...
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Miriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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In a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized platform—I sometimes find little gems that quietly rock my world.
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Back in October, New York City Ballet got a new cowboy. His arrival occurred in the final section of George Balanchine’s “Western Symphony.”
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When Richard Move enters from stage left, their presence is already monumental. In a long-sleeved gown, a wig swept in a dramatic topnot, and their eyes lined in striking swoops, the artist presents themself in the likeness of Martha Graham—though standing at 6’4, they have more than a foot on the late modern dance pioneer.
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Perhaps not since Mikhail Fokine’s 1905 iconic “The Dying Swan” has there been as haunting a solo dance depiction of avian death as Aakash Odedra Company’s “Songs of the Bulbul”...
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Dance, at its best, captures nuance particularly well, allowing us to feel deeply and purely. In its wordlessness, it places a primal reliance on movement and embodied knowledge as communication all its own. It can speak directly from the body to the heart, bypassing the brain’s drive to “make sense of.”
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“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
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“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed in love. Between these two realms opens a tragic dramatic fracture—the spectacular and disheartening death of Giselle.
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Michele Wiles’ Park City home is nestled in the back of a wooded neighborhood, hidden from the road by pines and deciduous trees that are currently in the midst of their autumn transformations.
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I joined choreographer and artistic director Cathy Marston over a video call at the end of another day of rehearsals.
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Times are hard for ballet. With national funding that favours the new and the bold, ticket prices rising, and accusations of elitism, only a fool would start a company focused on works of the past.
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It was a grand night of show and—well, show more—as eight members of L.A. Dance Project strutted their gorgeous, technically brilliant stuff in the US premiere of “Gems.”
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Before founding the Seoul International Dance Festival, Lee Jong-Ho began his career as a journalist.
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During the summer, two Chinese dance productions came to Koch Theater at New York’s Lincoln Center: “Lady White Snake” from Shanghai Grand Theater in July and “Butterfly Lovers” from Hong Kong Ballet in August.
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When Amy Watson took the reins at the Royal Danish Ballet one year ago, she entered stormy waters.
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