2022’s abundant, and at times, overwhelming, calendar of dance was a weekly reminder of New York’s place as ‘a’ if not ‘the’ major dance capital of the world. Though the pandemic caused an exodus of artists from the city in search of affordability and space, I was thrilled again and again, by how many have stayed and continued to make powerful work centering their fellow dancers and uplifting their communities. And while there were many singular performances of note—like Jacquelin Harris’s brilliant conjuring of Winnie Mandela in “Survivors” during Alvin Ailey American Dance Theater’s winter season last week—what has stayed with me is the spirit of care for one another that permeated both the creative processes and the performances of a large swath of shows I experienced.
Sasha Waltz / Bang on a Can All-Stars perform Terry Riley’s “In C” at Brooklyn Academy of Music. Photograph by Stephanie Berger
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading