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Sankai Juku
REVIEWS | Di Victoria Looseleaf

Hourglass Figures

A kind of transcendent, spiritual healing took place over the weekend when Paris-based Sankai Juku, an eight-member troupe founded by Ushio Amagatsu in 1975—the master is still dancing at 66—wove a spell over those audience members who allowed themselves to be enveloped by a work about time, memory, the body and ritual. Visceral as well as highly cerebral, the 80-minute intermissionless “Umusuna” (it premiered in 2012 in Lyon, France), is a testament to humankind in all of its iterations.

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Liebeslieder Walzer
REVIEWS | Di Oksana Khadarina

Love and the Waltz

Throughout his life George Balanchine had a special affinity for the waltz. In his early works such as “Valse Fantaisie” and “Serenade,” and later in his mature pieces, especially in “La Valse” and “Vienna Waltzes,” and finally in “Davidsbündlertänze,” he imbued the waltz with dramatic meaning, bringing this popular social dance form to new emotional highs.

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Bill T. Jones
REVIEWS | Di Victoria Looseleaf

Keeping Time

An ubiquitous presence on the cultural scene for many decades, Bill T. Jones, at 63, has conquered Broadway, winning Tonys for “Fela!” and “Spring Awakenings,” as well as the world’s most elite concert halls. Snagging boatloads of awards along the way, including last year’s Doris Duke Performing Artist Award, several Bessies, and a 2010 Kennedy Center Honor, he has also been the artistic director of New York Live Arts since 2011.

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Diana Vishneva
REVIEWS | Di Victoria Looseleaf

Vish Fulfilment

Is there anything prima ballerina Diana Vishneva cannot do? Having recently turned 39, this reigning Goddess of the dance world (one who also commissions works made expressly for her), seems to be at the height of her powers—physically, emotionally and, possibly even spiritually—as she infuses every step, every swoop of her arms, indeed, her entire being, with breathtaking beauty, grace and a generous humanity.

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The Cult of Fragility
FEATURES | Di Sara Veale

The Cult of Fragility

One of the greatest challenges—and for me, joys—of being a dance critic is navigating the not infrequent clash between contemporary values and those embraced in classical ballet, a centuries-old institution that venerates ‘tradition’ in all its old-world, patriarchal glory. How should a world increasingly concerned with racial diversity respond to an establishment that in 2015 remains overwhelmingly white? How can an art form that worships prescriptive gender roles address the growing call for LGBT inclusivity? What messages of value can women divine from stories that glorify female fragility and are primarily written and directed by men?

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Fjord Review
FEATURES | Di Apollinaire Scherr

Between the Dancer and the Dance

I want to find dance’s “fundamental feature” [note]Camera Lucida: Reflections on Photography (abbreviated CL). Translated from the French by Richard Howard. (New York: Farrar, Straus and Giroux, 2010 paperback edition), 9[/note] as Roland Barthes, in his 1980 Camera Lucida, did for photography. [note]Please see essay #1 of “Between the Dancer and the Dance” for what the French critic Roland Barthes has to do with anything. [/note] I’ll begin, like him, with the peculiar mechanism by which the idiom (photography for him, dance for me) transmutes its raw material into art. The machinery, if not the alchemy, of sign-making, as the...

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Twylight
REVIEWS | Di Victoria Looseleaf

Twylight

She’s twitchy, she’s testy, she’s Twyla! In this, her fiftieth year of dancemaking, Twyla Tharp barely needs a last name. And instead of going gently into that good night at age 74 and presenting a greatest hits concert for 12 dancers (plus one understudy), the choreographer has opted to make two new lengthy works, “Preludes and Fugues,” and “Yowzie,” each introduced by a John Zorn-composed fanfare as part of a 10-week, 15-city anniversary tour.

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Seeing Red
REVIEWS | Di Madison Mainwaring

Seeing Red

In mid-July the grove on Amsterdam Avenue in front of the David H. Koch Theater was littered with cigarette butts. This wasn't anything out of the ordinary; the trees are adjacent to the stage entrance, and it's always where the dancers and musicians go for smoking breaks. The cigarette butts on this particular occasion, however, were a flaming red, making it look like a burst of confetti had just settled to the ground. No party had been thrown. It was just that the cigarettes, instead of the usual Parliaments or Marlboros, were Chinese, and the smokers were members of the...

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The Sleeping Beauty
REVIEWS | Di Gracia Haby

The Belle of the Ball

In his own cabinet of natural curiosities, the Amsterdam-based pharmacist, Albertus Seba (1665–1736), placed exotic plants and corals, birds and butterflies, and slithering snakes alongside shells in fantastical fanned formations to delight the eye. In the Australian Ballet’s Artistic Director, David McAllister’s first full-length production and choreographic debut with a staging of Petipa and Tchaikovsky’s “The Sleeping Beauty,” it is not hard to surmise that as a long-term former dancer with the company and now at the helm as director for his fifteenth year, McAllister himself has constructed something of his own golden ‘wunderkammer’ with this work. A production replete...

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Tree of Codes
REVIEWS | Di Erica Getto

Colour Code

In 2010, author Jonathan Safran Foer took Bruno Schulz’s The Street of Crocodiles and sculpted it into a new story: Tree of Codes. By die-cutting each page, Foer removed most of Schulz's words, but he left behind “a thousand kaleidoscopic possibilities” on a single page. He tracked down “a small quick heartbeat, delicate and impatient.”[note]Jonathan Safran Foer, Tree of Codes, (London: Visual Editions, 2010)64[/note] And he carved out—literally—“an awkward undecided direction, a shaky and uncertain line of indefinite basic sadness.”

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Danielle Agami
INTERVIEWS | Di Victoria Looseleaf

Gaga for Danielle Agami

In today’s high-tech world, where trends blow up the Twittersphere and Facebook like a Tesla on Insane Mode—going from 0 to 60 in under three seconds—the current dance scene also has its share of fast moving choreographic innovators: Think Christopher Wheeldon, Justin Peck or Crystal Pite of Vancouver’s Kidd Pivot.

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Perpetual Motion
REVIEWS | Di Gracia Haby

Perpetual Motion

Perpetual motion, states the first and second laws of thermodynamics, is believed impossible to produce, yet I unwittingly found it nesting within “20:21,” the Australian Ballet’s recent triple bill. The continuous motion within George Balanchine’s “Symphony in Three Movements” (1972), Tim Harbour’s new work “Filigree and Shadow” (2015) and Twyla Tharp’s “In the Upper Room” (1986) circumvents such laws. Physicists, I’ll hear no more about it; you’ve been looking in the wrong places. There is a device that can make motion unstoppable and it can be found at the core of these three ballets.

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Featured Reads

REVIEWS | Rachel Howard
Starry Nights

Beneath blue California skies, manicured trees, and the occasional hum of an overhead airplane, Tamara Rojo took the Frost Amphitheater stage at Stanford University to introduce herself as the new artistic director of San Francisco Ballet.

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