Moon Dance
Tides and the gravitational pull of the moon informed the latest work of Denison University of Ohio dance faculty members Marion Ramirez and Ojeya Cruz Banks.
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Fjord Review #7
Discover insightful conversations with prominent figures in the dance world, essays on ballet history and performances, reviews of leading ballet companies, and stunning dance photography in our latest issue.
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all articles
Mother of Creation
What drives the creative force in the universe? What impels motherhood? These are some of the questions that provoked the bold and colorful work that unfolded onstage as Gallim premiered “Mother” at the Joyce the first week of November.
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Dancing Out of Time
It’s a law of the universe, immutable as gravity: if you’re a ballerina, in December you’re dancing “The Nutcracker.”
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Birds of a Feather
Bird-themed dances are nothing new. In addition to the likes of “Swan Lake” (in its numerous iterations, Hello, Matthew Bourne!), “The Firebird” and “The Dying Swan,” there was also Merce Cunningham’s 1991 “Beach Birds.”
Continue ReadingWild Child
Juliana F. May’s “Optimistic Voices,” which premiered last week at BAM Fisher, was pitched as an exploration of the “tangled contradictions of family, eroticism, and motherhood.”
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Pulling Back the Curtain
In the summer of 2007, writer Stephen Manes, known for his best-selling Bill Gates biography, over thirty books for young adults and children, and for his work as a technology columnist, proposed a new endeavor. He wished to spend an entire season at Pacific Northwest Ballet to observe like a fly on the wall and capture in written word a world of which most people will never catch a glimpse.
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The Game is On
Move over, Matthew Bourne, there is a new voice in theatrical dance plays. Choreographer Penny Saunders' bespoke production of “Sherlock,” performed by Grand Rapids Ballet, was not only a triumph in bringing literature’s favorite super sleuth to the stage in dance form, but is an early contender as one of the 2025-26 dance season’s very best.
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Matters of the Heart
On the night of Halloween in South Bend, Indiana, I weave through costumed partygoers as I make my way to a special double bill at the University of Notre Dame’s DeBartolo Performing Arts Center.
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To the Beat of the Drum
This fall, Japan Society is celebrating the centenary of legendary Japanese post-war author Yukio Mishima (1925-1970) with a series of works in theater, film, and dance inspired by his oeuvre.
Continue ReadingHome Lands
Powerhouse: International, the newly launched arts festival in Gowanus, Brooklyn, continued its fall offerings with the multidisciplinary work “Fampitaha, fampita, fampitàna,” co-presented with L’Alliance New York’s Crossing the Line Festival.
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Past Lives, Future Selves
In an animation that is woven through the performances of traditional dances in Indigenous Enterprise’s “Still Here,” a young boy watches a video of powwow musicians and dancers with his grandfather on Youtube.
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Invisible Wounds
It was apropos that I attended choreographer Wanjiru Kamuyu’s latest work, “Fragmented Shadows,” just before Halloween.
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Disappearing Act
Making its long anticipated debut at Sadler’s Wells, “Figures in Extinction" is perhaps the brightest new feather in Nederland Dans Theater’s cap.
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ABT, Past, Present, and Future
The final program of American Ballet Theatre’s fall season, titled “Innovations Past and Present,” featured the world premiere of Juliano Nunes “Have We Met!?” as well as two company gems: Alexei Ratmansky’s “Serenade after Plato’s Symposium” and George Balanchine’s “Theme and Variations.”
Continue ReadingNatural Histories
Miriam Miller steps into the center and raises her arm with deliberation, pressing her palm upward to the vaulted Gothic ceiling of the cathedral.
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Defining Connection
In a series called “Just Dance” on Nowness—a site I sometimes visit to see what’s up in the world of “genre busting” dance films that make it onto this stylized platform—I sometimes find little gems that quietly rock my world.
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Ryan Tomash Steps into a New Role
Back in October, New York City Ballet got a new cowboy. His arrival occurred in the final section of George Balanchine’s “Western Symphony.”
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Complex Female Characters
When Richard Move enters from stage left, their presence is already monumental. In a long-sleeved gown, a wig swept in a dramatic topnot, and their eyes lined in striking swoops, the artist presents themself in the likeness of Martha Graham—though standing at 6’4, they have more than a foot on the late modern dance pioneer.
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Ultimate Release
Perhaps not since Mikhail Fokine’s 1905 iconic “The Dying Swan” has there been as haunting a solo dance depiction of avian death as Aakash Odedra Company’s “Songs of the Bulbul” (2024).
Continue ReadingWeighty Issues
Dance, at its best, captures nuance particularly well, allowing us to feel deeply and purely. In its wordlessness, it places a primal reliance on movement and embodied knowledge as communication...
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