People, Places, and Things
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
PlusWorld-class review of ballet and dance.
In Sankai Juku's “Kōsa,” bodies don't just speak, they echo. Movement is generated on dancers then released into the air. It spirals and grows as clouds of white powder radiate off each dancer's painted skin. In butoh custom, the powder is part of the dance, a distinguishing characteristic which acts as an expressionist tool as well as an allusion to the horrific atomic bombings of Hiroshima and Nagasaki at the end of World War II. (Japanese butoh or “dance of darkness” emerged in response to the Second World War and the atomic bombs, in particular).
Performance
Place
Words
Bill T. Jones wriggles upstage on his back in a rectangle of light, reciting an unsent letter to the New York Times dance critic Jack Anderson.
PlusThe annual Dancing the Gods Festival of Indian Dance celebrated its fourteenth and final year with a generous finale May 16-18. This final event extended for three evenings instead of the usual two.
PlusSomething old, something new, something borrowed, and something “Blue.” The premise of Australasian Dance Collective’s fortieth anniversary celebration stems from the traditional divisions of time.
PlusShadows, dark matter and the enigmas of consciousness—the ideas behind Crystal Pite’s “Frontier” are timely and timeless at once.
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