Human Touch
I was first introduced to the work of Margot Gelber when she submitted a film she choreographed and directed to Dare to Dance in Public Film Festival (D2D), the LA based, international Dance Film Festival that I founded.
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World-class review of ballet and dance.
I was first introduced to the work of Margot Gelber when she submitted a film she choreographed and directed to Dare to Dance in Public Film Festival (D2D), the LA based, international Dance Film Festival that I founded.
PlusMotherhood has often been idealized as the ultimate fulfillment of being a woman. In fact, in many cultures, motherhood is still understood as a woman's basic mission and an inseparable part of her nature.
PlusIt was perhaps on Instagram some five or six years ago when I first came across the dance films of Benjamin Seroussi.
PlusWhen I think of the desert, the first impression that comes to mind is of unrelenting heat, stark shadows, the solitude of vast space, occasional winds, and slowness.
FREE ARTICLEAround this time of year, we can all use a little cheer. The early darkness, the cold, the state of the world alone can send one into a spiral.
FREE ARTICLEArchitects often use scale, along with other design principles such as light, rhythm, and form, to subtly guide a person's eye and body through a space—to take the gaze at street level to the highest point of a building, or to the horizon and beyond.
PlusIn a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized platform—I sometimes find little gems that quietly rock my world.
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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