A Tale of Woe
There is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
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The United States is surreal at this moment. Dancers in black have been circling the Kennedy Center in Washington D.C., performing Pina Bausch’s “Nelken Line” choreography to protest the self-proclaimed dictator making himself chair of the Center’s board. Choreographers are giving up hopes of National Endowment for the Arts funding now that guidelines demand “patriotic” art. In the War Memorial Opera House lobby, I ran into the founder and director of a major San Francisco company who lamented that layoffs will soon follow at her organization as more dominoes fall; she worried her company will not be able to finish its new dance studios and offices due to the chaos the executive branch is sowing with tariffs. Meanwhile, international dancers are fearing for their visa status, and transgender and queer artists are facing orders that threaten their very existence. Clearly, the year ahead will be full of maddening consequences for our country and for the arts.
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There is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”
Continue ReadingIn 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”
Continue ReadingOn one of the first spring-like days this year in NYC, I arrive at Barnard College to observe rehearsal for John Jasperse’s new piece, “Tides,” which will open the LaMama Moves! Dance Festival on April 10.
Continue ReadingBooks are banned, DEI scuttled, and Africanist studies scaled back. Yet, the irrepressible spirit of African American artists is not extinguished.
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