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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There may not be a direct correlation between bibliophiles and lovers of Butoh— the Japanese modern dance form created as a response to the bombing of Hiroshima that is sometimes referred to as the Dance of Darkness—but it’s safe to say that there never has been—nor will there ever be—a bookworm, literally, quite like Oguri.
Indeed, this paragon of Butoh, who’s been making dances in his adopted hometown of Los Angeles for more than three decades, began his latest collaborative opus—with Andrés Corchero—“Body as Evidence, Phase II,” unseen and under a pile of books. Then, in a momentous reveal, he emerged—nearly nude—looking nothing less than a literal bookworm, a trail of tomes running the length of his physique as he slinked and stalked the stage. Here was a caterpillar-like pharaoh of sorts, a twenty-first-century very learned homo erectus, if you will.
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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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