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.
From the moment Darrell Jones steps onto the platform erected as a stage in an empty gallery space of MoMa PS1, he’s constantly in motion. Barefoot, in t-shirt and workout pants, he moves to a beat only he can hear, AirPods sticking out from his ears. Both fluid and awkward, his energy is frenetic. He staggers and skitters, rolling his head, turning around himself, shaking it out or off. He could be warming up or he could be cooling down. He doesn’t stop for nearly the full duration of the 30-minute “Low,” performed in collaboration with choreographer Ralph Lemon.
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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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