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.
The American Ballet Theater’s Fall Season opened at the Koch Theater with a program called “Innovation Past and Present,” which featured two world premieres and a company staple. The first debut was by former ABT dancer Gemma Bond, the second was by in-demand choreographer Kyle Abraham, founder and artistic director of A.I.M by Kyle Abraham. Bond’s geometric updating of a Ballets Russes narrative classic was worlds away from Abraham’s cold electronica. And the closer was Harald Lander’s classroom behemoth “Études,” which added yet more styles of ballet to the night. This wasn’t my favorite trio of works, but it was an impressively varied bill. Unusually, the whole was more satisfying than the parts.
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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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