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.
In the world premiere of Miguel Gutierrez’s “Super Nothing,” the quartet of performers fly through the vast, empty black box theater at New York Live Arts, small forms cast out like particles of light. In these diffuse intervals, Jay Carlon traces a speedy circle around the stage, sprinting while also somehow managing to get his hands down for a bear crawl in between strides. Evelyn Lilian Sanchez Narvaez ascends the house stairs, jingling her bracelets as if in communication with unseen spirits. Wendell Gray II and Justin Faircloth leap over one another in virtuosic play. Gravity, and any pull toward center stage, ceases to exist.
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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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Loved this incredibly thoughtful review so much.