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.
Continua a leggereWorld-class review of ballet and dance.
I descend the stairs of the State Theatre, for that is where the emeralds are, beneath the Earth’s surface. Follow the sounds of Gabriel Fauré’s “Pelléas et Mélisande” and “Shylock,” for when entwined these musical elements chime the properties of emeralds as they refract the light. This is the Romantic era, they herald. A nineteenth-century reverie, in long green tunics. A memory of France. This is the opening night of the Melbourne season of The Australian Ballet’s performance of George Balanchine’s “Jewels.”[1]
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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.
Continua a leggere“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.
Continua a leggere“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.
Continua a leggereThe 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.
Continua a leggere
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