In an essay, “Grandmother Spider,” writer Rebecca Solnit describes a painting by Ana Teresa Fernandez. The painting shows an image...
When the prerecorded voice of Karen Kain announced that this year marks her tenth anniversary as artistic director of the National Ballet of Canada, the theatre burst into applause. Twice.
“It always wants something more of me,” Belinda McGuire said to me with a grin a few days before the opening of her solo performance, “Waltz Slaughterhouse Requiem.” Something true of dance, I thought, and perhaps especially true for solo work. McGuire's performance of her own choreography, a personal reflection, “Slaughterhouse/Requiem” was highly original and impressive, and is one of my highlights of the year in dance.
