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 curtain for “Vollmond,” one of the final works from the late Pina Bausch, created in 2006, opens on a colossal boulder that calls to mind a craggy sea stone, or maybe a hunk of spacerock. It could be either—the title translates to both ‘high tide’ and ‘full moon,’ and its concerns are as earthly as they are cosmic: love, ire, power, the stratospheric stuff of life. The duality is in step with Bausch’s wider repertoire, posing oblique questions about the human condition, especially the relationships between men and women, although there’s more room for warmth here than in earlier works, more silliness amid the meditation.
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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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