Why it’s called American Street Dancer
Books are banned, DEI scuttled, and Africanist studies scaled back. Yet, the irrepressible spirit of African American artists is not extinguished.
PlusWorld-class review of ballet and dance.
The boulevard of London plane trees has been wrapped in Yayoi Kusama’s white-on-pink dots, the only southern hemisphere biodiversity capable of flourishing in these particular northern hemisphere trees. Together with Julien Opie’s Australian Birds animated on 20 screens planted in the earth beneath, this futuristic and adorned natural world sets the tone for Melanie Lane’s “Pulau (Island),” commissioned especially for Asia TOPA and the National Gallery of Victoria’s Kusama exhibition.
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Books are banned, DEI scuttled, and Africanist studies scaled back. Yet, the irrepressible spirit of African American artists is not extinguished.
Plus“Lists of Promise,” a new work currently in a two-week run from March 13- 30 at the East Village cultural landmark, Theater for the New City, promised more than it delivered, at least for now.
Plus“State of Heads” opens with a blaze of white light and loud clanking onto a white-suited Levi Gonzalez, part Elvis, part televangelist addressing his congregation. A pair of women sidle in—Rebecca Cyr and Donna Uchizono—dressed in ankle-length white dresses and cowered posture.
PlusThe late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
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