World-class review of ballet and dance.
Growing up in British Columbia’s Okanagan region with two mothers, the Canadian choreographer Cameron Fraser-Monroe learned about the European side of his heritage, participating in Ukrainian folk dance from age six.
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“We are in a shambles.” This is the headline statement for Catherine Young’s touring work “Ciseach | An Embodied Manifesto” which will make its way through Ireland at a time when it is perhaps needed most.
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Perhaps best known for touring with New York City Ballet associate artistic director Wendy Whelan in her show “Restless Creature,” Joshua Beamish grew up dancing in his Canadian hometown of Kelowna, British Columbia, founding his own company when he was just 17.
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Meryl Tankard is somewhat of an Aussie dance legend. A choreographer of international renown, her works have been mounted and premiered on prestigious companies ranging from Royal Ballet of Flanders and NDT III in Europe, to the Australian Ballet and Sydney Dance Company in her homeland.
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Once referred to as the “Rolls-Royce of American dance,” Alvin Ailey American Dance Theater, founded in 1958 by Alvin Ailey, continues to live up to that plaudit.
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Ranjini Nair wears a few hats. Trained as a classical dancer in her native New Delhi by gurus Seetha Nagajothy, Jayarama Rao, and Vanashree Rao, she later found herself deep within the world of academia.
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Only three years after its premiere at Cork’s Midsummer Festival, Philip Connaughton finds his work of epic proportions, “Trojans,” in the hands of Luail.
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Possibly one of Los Angeles’ best kept terpsichorean secrets, artistic director, choreographer, and teacher Josie Walsh has decidedly forged a path unlike any other.
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British choreographer Jaivant Patel has intersectionality at his core. He trained at the Northern School for Contemporary Dance and then went on to learn from Nahid Siddiqui, a global exponent of Kathak.
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With their inimitable blend of contemporary movement and the no-holds barred athleticism of hip-hop and the meticulousness of martial arts, Compagnie Hervé Koubi creates a visual language unlike any other.
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From its first steps in 1986 as Dundee Rep Dance Company with at the helm, to the present day, Scottish Dance Theatre has sealed it's reputation as a forward-thinking company who pushes the limits of what dance can do.
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Dance artists and scholars have long asked the same question: how do we document an art form that, by nature, exists in one moment and is gone the next?
PlusThe title of this dance interpretation of The Tempest highlights a notable departure from canon. In “We Caliban,” Shobana Jeyasingh imagines Shakespeare’s titular native in the collective sense—a tribe, a spirit and a place at once.
PlusLong before the dancers take the stage, Dance Theatre of Harlem’s season at New York City Center feels like one of the most energizing cultural events of the spring.
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It is rare for George Balanchine’s grand, bedazzled “Symphony in C” to open a program. Its champagne-popping finale for 52 dancers tends to be a nightcap.
PlusWhen we think of countries that have shaped the world of dance our mind will often drift to the United States, Russia, or Germany. But what of Luxembourg?
PlusIn times of rapid change, predicting the road ahead can seem to be a fool’s errand. But on a spring afternoon at Lincoln Center, I feel confident in this assertion: the future of dance is very bright.
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