Dancing in Circular Time
Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
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This year’s Biennale Danza Venezia Silver Lion award went to Zurich-based choreographer Trajal Harrell. A house director at the Schauspielhaus Zurich, and the founding director of the Schauspielhaus Zurich Dance Ensemble, he brought the Ensemble to FringeArts Festival for the Philadelphia premiere of his 2022 “The Köln Concert” last month.
Harrell’s prodigious body of work reaches back two decades. I first encountered it with his “Antigone Sr./Twenty Looks or Paris is Burning at the Judson Church (L)” and again with “Caen Amour,” which premiered at Festival Avignon 2016. They headlined the Philadelphia Fringe Festivals in 2014 and 2018, as was “The Köln Concert” this year.
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Amrita Hepi, a choreographer with Bunjalung and Ngāpuhi roots, has come a long way from her home in the Pacific.
Continue ReadingSir Kenneth MacMillan began his choreography for “Manon” with the pas de deux, and from this shining, central point spun outward. Building the story from its heart, almost as if from the inside out, the pas de deux reveals not only the emotional connection between the two dancers, but their place in the world.
Continue ReadingIf the ballet world now seems inundated with Dracula productions, Frankenstein adaptations are a rarer sight.
Continue ReadingIt’s amusing to read in Pacific Northwest Ballet’s generally exceptional program notes that George Balanchine choreographed the triptych we now know as “Jewels” because he visited Van Cleef & Arpels and was struck by inspiration. I mean, perhaps visiting the jeweler did further tickle his imagination, but—PR stunt, anyone?
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