Fighting Spirit
There’s a distinct warrior theme to the evening shared by Angie Pittman and Kyle Marshall, though the two choreographers are working in very different styles and tone.
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Masculinity is at the core of Gary Clarke's best work: from “Bagofti” which used masks to distort through Francis Bacon's violent triptychs, to the surreal, dreamlike “2 Men and A Michael” and “Horsemeat,” his is an iconoclastic approach to the representation of modern men. So it is with “Wasteland,” the follow-up to his award-winning “Coal.” “Wasteland” interrogates the effects of the closure of mines (in this instance, the Grimethorpe Colliery) on the local working-class male community, and the galvanising influence of rave culture on the younger lads. Using film footage, video work from Charles Webber and live vocals from local men with links to the local mining community, it's a real labour of love from Clarke, and stridently political.
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Gary Clarke's “Wasteland.” Photograph by Joe Armitage
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There’s a distinct warrior theme to the evening shared by Angie Pittman and Kyle Marshall, though the two choreographers are working in very different styles and tone.
Continue ReadingIt’s not often these days that aspiring dancers and smaller companies can enjoy the luxury of state-of-the-art facilities to develop their practice and put on a show, especially in a capital city.
Continue ReadingToday I have the privilege of speaking with the divine Juliet Doherty. Juliet was born in Albuquerque, New Mexico, which is slightly more Breaking Bad than “Swan Lake,” but Juliet's grandparents owned a ballet studio which passed to Juliet's mother, and so the artistic genes ran deep.
FREE ARTICLEOne of the gems of New York City’s dance landscape is the Graham Studio Series, a programming cycle that offers behind-the-scenes interaction with the work of the Graham Company in their studio space. In early January, the series presented a Graham Deconstructed event exploring Martha Graham’s modernist masterwork “Cave of the Heart.”
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