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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).
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      World-class review of ballet and dance.
When viewing any work of art, patience may be a necessity, rather than a virtue alone. At least, in New York City Center’s second program for its annual Fall for Dance Festival, instant gratification is discouraged, with a slate of three works that reward viewers as they build, gradually, to ecstasy, horror, and mania.
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              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 ReadingDance, 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 all its own. It can speak directly from the body to the heart, bypassing the brain’s drive to “make sense of.”
Continue Reading“Racines”—meaning roots—stands as the counterbalance to “Giselle,” the two ballets opening the Paris Opera Ballet’s season this year.
Continue Reading“Giselle” is a ballet cut in two: day and night, the earth of peasants and vine workers set against the pale netherworld of the Wilis, spirits of young women betrayed in love. Between these two realms opens a tragic dramatic fracture—the spectacular and disheartening death of Giselle.
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