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.
Four distinct works, their creation initiated by a shared prompt. Four choreographers, plus time, space, and the ten dedicated contemporary ballet artists of Amy Seiwert’s company, Imagery. An environment that prizes risk-taking over accomplishment. This is the formula taken up by Seiwert for her annual incubator project, Sketch, initiated in 2011 to foster innovation in ballet-based choreography. “We come here with permission to fail,” she has stated in interviews. That said, the four dance makers/risk takers for Sketch 13: Lucky, created a compelling and entertaining exploration that happens to also look quite accomplished. It’s a terrific send off for the project that Seiwert, recently named incoming artistic director for Smuin Ballet, has announced will be her last.
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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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