Lifted Spirits
Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
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Bharatanatyam soloist, Christopher Gurusamy, describes his practice as purely based on his traditional dance training, Bharatanatyam, an Indian classical dance that originated in the Hindu temples of Tamil Nadu in southern India. To the outside world, his practice appears as one governed by rigour, aesthetics, and geometry, guided by musicality, with an adherence to classicism, and text-based development. But inside, to paraphrase Gurusamy, in his “Outside In—Lecture Demonstration” two nights before his performance, “Ānanda: Dance of Joy,” also at Dancehouse’s Sylvia Staehli Theatre, his practice is also based on Beyoncé, a tiny, but healthy obsession with The Little Mermaid, obscure ’90s pop culture references, and growing up in Perth in a mixed-heritage home.
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Even at his most straightforward, Paul Taylor often imbued his dances with a sardonic wit. Whether invoking darkness or light, he did so with a wink.
Continue ReadingTalk about Gesamtkunstwerk! Jawole Willa Jo Zollar’s “SCAT!...The Complex Lives of Al & Dot, Dot & Al Zollar,” is just that—a total work of art: operatic in scale, replete with stellar musicians and singers, and the glorious dancers of Urban Bush Women, the troupe that Zollar founded in 1984, is also storytelling at its best.
Continue ReadingOf all of Shakespeare’s plays, “Hamlet” might seem the hardest to adapt into dance. Its long soliloquies and a titular character stymied by indecision do not immediately scream movement potential.
Continue ReadingComplexions Contemporary Ballet turned 30 this year, and their two-week residency at the Joyce Theater was a party.
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