World-class review of ballet and dance.
The Spanish term for a heightened state of emotion and authenticity, duende, roughly translates to a single word, “soul.”
Continue ReadingMidway through the new book Nonstop Bodies: How Dance Shaped New York City, author Rennie McDougall pivots away from a chapter on the modernism of George Balanchine and the slum-clearing process of creating his “temple at Lincoln Center” to flesh out another diasporic music and dance culture emanating out of...
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The Biennale offered an intimate view of artistic creation, with pioneering choreographer Molissa Fenley among the artists featured in this year’s programme.
Continue ReadingI have seen Megan Fairchild dance three times. The first was semi-unintentional—soon after moving to New York in the fall of 2024, I got one of those $30 for 30+ Under tickets and sat in the orchestra level on stage right.
Continue ReadingFor the sixth year now, the BAAND has gotten back together at Lincoln Center. That is, the BAAND Dance Festival, the annual Chanel-sponsored program that unites five New York City dance companies: Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of...
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For the final event of Lincoln Center’s Summer for the City outdoor Dance Encounters series, Butoh artist Vangeline performed the newly commissioned work “Naiad Metal” in the Paul Milstein Reflecting Pool at Hearst Plaza.
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The Spanish term for a heightened state of emotion and authenticity, duende, roughly translates to a single word, “soul.”
Continue Reading
Midway through the new book Nonstop Bodies: How Dance Shaped New York City, author Rennie McDougall pivots away from a chapter on the modernism of George Balanchine and the slum-clearing process of creating his “temple at Lincoln Center” to flesh out another diasporic music and dance culture emanating out of Harlem during a similar time in history: mambo.
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The Biennale offered an intimate view of artistic creation, with pioneering choreographer Molissa Fenley among the artists featured in this year’s programme.
Continue Reading
I have seen Megan Fairchild dance three times. The first was semi-unintentional—soon after moving to New York in the fall of 2024, I got one of those $30 for 30+...
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For the sixth year now, the BAAND has gotten back together at Lincoln Center. That is, the BAAND Dance Festival, the annual Chanel-sponsored program that unites five New York City dance companies: Ballet Hispánico, Alvin Ailey American Dance Theater, American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem.
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There’s just something about the outdoor dance performances that summer brings. Movements take on additional urgency when rain threatens.
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With the exception of the central pas de deux from “Le Corsaire,” this bill, held to celebrate Marianela Nuñez’s remarkable 28-year run at the Royal Ballet, pulls solely from the twentieth century.
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The 2026 edition of the festival SpringForward unfolded in Guimarães, Portugal, the European Green Capital of the year, a city whose commitment to sustainability offered a fitting backdrop for a festival dedicated to emerging choreographic futures.
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The first edition of the Tanztriennale in Hamburg, back in June, unfolded like an emotional topography: a landscape shaped by care rather than by theme; under the co‑direction of Monica...
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In a context such as the Venice Biennale, where you can easily run into ballet stars across the Arsenale and dance alongside them in workshops, it felt especially apt to pay tribute to a filmmaker who, with extraordinary care, intelligence and unsentimental clarity, brought us so close to the hidden mechanics of dance: Frederick Wiseman.
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Launched in 2020 after the hashtag #maleballerina went viral, Ballet22 is driven by a mission all the more urgent since the current presidential administration resumed its attacks on the LGBTQ community.
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The way Margaret Jenkins tells it, Dianne came to her dance company’s studios in 1973, asking to take class. Dianne was then living in a one-bedroom apartment near San Francisco’s Mission District with her scientist husband and three young kids.
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Waiting in the theater, the first unhurried trickle of French composer Erik Satie’s piano variation barely registers amidst the house chatter. Sparse and minimalistic, swelling with silences, the striking keys eventually conjure up a dancer.
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“When you visit Kati Thanda–Lake Eyre, you realise that this is a place where time does not exist,” writes choreographer Frances Rings in her notes for Terrain, and the resonance...
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It starts out light and coquettish. George Balanchine’s “Sonatine,” set to the composition by Maurice Ravel of the same name, is undeniably lighthearted, as the dancers—here, Léonore Baulac and Germain Louvet—find themselves animated by the music, as they share the stage with a grand piano (and pianist Elena Bonnay at its helm).
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When I say this work from Hofesh Shechter set my thoughts adrift, I don’t mean that the performance failed to capture my attention.
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Goodbyes are often tearful. As Kun-Yang Lin’s Philly-based dance company, KYL/D, gave its final performance at the Mandell Theater this spring, I found myself sobbing uncontrollably. This was it.
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Shen Wei is a master mover between worlds—between East and West, between choreography and painting, between process and product, between the physical and the spiritual, and I could go on.
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Rudolf Nureyev’s “Don Quixote” is a long-running ballet in La Scala’s repertoire, periodically revived and performed on tour.
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