World-class review of ballet and dance.
The Flamenco Festival has been bringing Spain's greatest flamenco artists to New York City Center for twenty years. This year's two-week run saw the National Ballet of Spain, Premio Nacional de Danza winner Olga Pericet in her intimate solo piece, “La Leona,” and Gala Flamenca, highlighting dance talents Manuel Liñán, Alfonso Losa, El Yiyo, and Paula Comitre, accompanied by vocalist Sandra Carrasco. Steven Pisano photographed the festival for Fjord Review.
“State of Heads” opens with a blaze of white light and loud clanking onto a white-suited Levi Gonzalez, part Elvis, part televangelist addressing his congregation. A pair of women sidle in—Rebecca Cyr and Donna Uchizono—dressed in ankle-length white dresses and cowered posture.
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The late John Ashford, a pioneer in programming emerging contemporary choreographers across Europe, once told me that he could tell what sort of choreographer a young artist would turn into when watching their first creations.
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Last weekend, the Royal New Zealand Ballet hosted two nights of performance in collaboration with the Scottish Ballet at the St. James’ Theatre in Wellington, New Zealand. The bill included two works by choreographers affiliated with Scottish Ballet, and two by RNZB choreographers. There was welcome contrast in timbre and tempo, and common themes of self-actualisation and connection, through a love of dance. As RNZB artistic director Ty King-Wall announced in the audience address, the two-night only performance was in the spirit of “bringing the companies together in mutual admiration and respect.”
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Who knew that a PB & J sandwich could conjure Proust’s madeleine? Certainly not this writer. But it’s not farfetched to think that Lincoln Jones, the artistic director, choreographer and conceptual guru of American Contemporary Ballet, had the idea of memory in mind when he conceived “Homecoming.”
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