Hidden Worlds
“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
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The Dance Theatre of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past. This year marks company’s 55th anniversary as well as what would be the 90th birthday of founder Arthur Mitchell, who passed away in 2018. Mitchell, the first Black principal in a major American dance company (the New York City Ballet), sought to “take young people off the streets and get them involved in the arts”—as Zita Allen quotes in a terrific program article. For his artistic directorial debut, Garland brought a well-curated quartet of works that made for a balanced and uplifting evening—the kind of show that leaves you smiling when you exit. Though his own choreographic entry was the slightest in the lineup, it’s clear that Garland understands Mitchell’s lofty, activist mission.
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“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
Continue ReadingAcross North Africa, the all-night music-dance-trance ritual called lila (pronounced lee-lah) is celebrated as a means for spiritual healing.
FREE ARTICLEThe Fall for Dance Festival programming formula runs roughly thus: feature a new troupe, include a pet (or vanity) project of a big NYC star, and end with a feel-good group showcase.
Continue ReadingAs the fight for greater visibility for women choreographers continues, it was encouraging to see Carlos Acosta, director of Birmingham Royal Ballet, commission an all-female creative team for “Luna,” the final piece in his trilogy celebrating the company’s hometown.
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