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"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."

Peter Boal
Artistic Director, Pacific Northwest Ballet

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Fjord Review #6

Fjord Review #6

Book reviews of Lola Lafon’s Reeling, interviews with authors Mindy Aloff on Why Dance Matters and Marina Harss on The Boy from Kyiv, etc...

240 pages. 7.25″ x 10″

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all articles

Futur(istic) Classic
INTERVIEWS | Victoria Looseleaf

Futur(istic) Classic

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.

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A Golden Gift
REVIEWS | Karen Greenspan

A Golden Gift

As Belgian choreographer and dancer Anne Teresa De Keersmaeker approached her sixtieth birthday in 2019, she decided to gift herself a solo to the music of one of her favorite partners—Johann Sebastian Bach.

FREE ARTICLE

Acts of Defiance

Acts of Defiance

One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie...

Performance

Laurie Sefton Creates: Mixed Bill, Choreography by Laurie Sefton

Place

L.A. Dance Project Studio, Los Angeles, California,February 22 – 24, 2024

Words

Victoria Looseleaf

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A Danced Legacy
REVIEWS | Cecilia Whalen

A Danced Legacy

A man stands on a dark box facing sideways. He gently shifts his weight from heels to toes, rocking forward and backward. His gaze remains front, but his body never lands anywhere. He is in constant motion: neither here nor there, caught somewhere in between. 

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Questions that Remain
REVIEWS | Phoebe Roberts

Questions that Remain

To begin her creative process, the legendary German choreographer Pina Bausch often asked her dancers questions. These questions—and further, the thoughts and deeper rumblings they provoked in the dancers—then formed the basis for many of her pieces. 

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Swans in Seattle
REVIEWS | Rachel Howard

Swans in Seattle

One way to get to know the history of a company is through the “liner notes” of its “Swan Lake” production, and for those of us continuing to build an admiring familiarity with Pacific Northwest Ballet via its digital season offerings, Kent Stowell and Francia Russell’s “Swan Lake” provides an interesting glimpse into PNB prior to Peter Boal’s leadership.

FREE ARTICLE

Fancy Footwork

Fancy Footwork

In the dimly lit theater at Irish Arts Center on the west side of Manhattan, James Greenan puts himself through his paces.

Performance

Jean Butler: “What We Hold”

Place

 Irish Arts Center, New York, NY, February 15, 2024

Words

Candice Thompson

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Old (Creative) Habits
REVIEWS | Faye Arthurs

Old (Creative) Habits

At 82, Twyla Tharp shows no signs of slowing down. She brought two world premieres and an all-star revival to the Joyce this week. The newest dances made it clear that although she’s still a dynamo, aging is very much on her mind. She is exploring wistful terrain these days, but she is doing it with her characteristic humor and high step count.  

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For the Dance Moms
INTERVIEWS | Sophie Bress

For the Dance Moms

Dance has always been a part of Tammy Greenwood’s life. Growing up, she studied ballet, tap, jazz, and acrobatics, and when her daughter took up the art form, she became involved through the unwavering—and sometimes self-sacrificing—support that is often asked of a dance mom.

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Strictly Ballroom 

Strictly Ballroom 

The New York City Ballet’s excellent 2023 Fall Season featured only the works of founding choreographer George Balanchine. This winter, eight choreographers are being showcased as the company’s 75th anniversary...

Performance

New York City Ballet: “The Four Temperaments” and “Liebeslieder Walzer” by George Balanchine

Place

David H. Koch Theater, Lincoln Center, New York, NY, February 6, 2024

Words

Faye Arthurs

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Enlightenment
REVIEWS | Karen Hildebrand

Enlightenment

June 16, 1989. Wearing only black leggings and a pixie haircut, Molissa Fenley performed her solo, “State of Darkness,” inspired by Nijinsky’s “Le Sacre du Printemps” at the Colorado Dance Festival in Boulder. 

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A Star is Reborn 
REVIEWS | Faye Arthurs

A Star is Reborn 

It is not unusual for a New York City Ballet program to consist of two Peck ballets and a Ratmansky. But until last night, there had not been two different Pecks represented in such a scenario.

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Timeless Expression
REVIEWS | Karen Greenspan

Timeless Expression

In these fast-paced times, where we are bombarded with spectacles that compete to be flashier, more action-packed, and more hi-tech than the next, it was a joy to experience an evening of charm and timeless simplicity. 

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Mere Mortals

Mere Mortals

The popular sentiment is clear: Matrix atmosphere meets ballet is a hit. “Mere Mortals,” Tamara Rojo’s first production as new artistic director at San Francisco Ballet, must be counted a...

Performance

San Francisco Ballet: “Mere Mortals” by Aszure Barton and Sam Shepherd

Place

War Memorial Opera House, San Francisco, CA, January 26 and 31, 2024

Words

Rachel Howard

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