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.
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This October, the Canada National Ballet returned to London for the first time since 2013 with a series of performances at Sadler’s Wells Theatre. The programme, which included three short works—James Kudelka’s “Passion,” Emma Portner’s “Islands,” and Crystal Pite’s “Angels’ Atlas”—afforded Londoners the opportunity to view a world-class company and celebrate a cast of all-Canadian choreographers. However, the highlight of the company’s visit was the chance to catch sight of a famed prima ballerina at the height of both her artistic and technical powers: Heather Ogden.
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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.
Continue Reading“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.
Continue Reading“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.
Continue ReadingThe 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.
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