World-class review of ballet and dance.
Ships Internationally
240 pages. 7.25″ x 10″
Ships Internationally
240 pages. 7.25″ x 10″
Ships Internationally
240 pages. 7.25″ x 10″
Okwui Okpokwasili’s arms undulate, reach, and circle in the near dark under an oval projection of rippling water. Her arms babble out from her expressive back, capable of relating tales both epic and intimate. Notably, this is how I first encountered her work, nearly a decade ago, in “Bronx Gothic”—through her incredibly articulate spine and upper body coming into its own, conveying the metamorphosis of adolescence.
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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.
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Los Angeles-based Heidi Duckler, dubbed “Queen of Site-Specific Dance,” and whose Heidi Duckler Dance is celebrating 40 years of transforming spaces through the power of contemporary movement—kudos!—has stepped aside as artistic director, handing the reigns to associate artistic director, Raymond Ejiofor.
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“Tanz” opens on a ballet class like none I’ve ever attended. Onstage are two portable barres and four dancers in rehearsal clothes stretching and warming up. Eighty-three year old ballerina Beatrice Cordua teaches from a wheelchair, naked.
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