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Aim True
REVIEWS | Victoria Looseleaf

Aim True

With his peerless vocabulary of postmodern abstract moves—or, as he’s called it, “gumbo style,” which blends Black dance with classical ballet techniques—Kyle Abraham, a 2013 MacArthur Genius grant awardee, has been making thought-provoking works for decades.

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In Good Company
FEATURES | Eoin Fenton

In Good Company

At this year’s Resolution Festival in London, one of the city’s major events of the dance calendar, I found myself in a conversation about the state of affairs of dance internationally.

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Artistic Reintegration
REVIEWS | Faye Arthurs

Artistic Reintegration

While the television show Severance has been exploring the pitfalls of a complete division between people’s work and home lives, Sara Mearns’s recent solo show at New York City Center presented the dangers of the inverse.

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Pig Ghosts and the Irish Renaissance
INTERVIEWS | Eoin Fenton

Pig Ghosts and the Irish Renaissance

Oona Doherty is a choreographer that increasingly needs no introduction. The London-born Belfast native, who worked as a dancer across Europe, roared onto the scene as a choreographer with her solo work “Hope Hunt and the Ascension into Lazarus,” a searing examination of masculine culture that had the contemporary dance world abuzz.

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The Dancers Have It
REVIEWS | Sophie Bress

The Dancers Have It

In Ballet West’s most recent triple bill, which featured Jiří Kylián’s “Symphony of Psalms,” George Balanchine’s “Apollo,” and Nicolo Fonte’s “The Rite of Spring,” the dancers shone brighter than the choreographers.

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A Moving Prayer
REVIEWS | Karen Hildebrand

A Moving Prayer

In 1982, Bebe Miller made her debut as a dancemaker when Ishmael Houston-Jones invited her into his Parallels series that featured Black choreographers who were experimenting in new forms.

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A Little Treasure
REVIEWS | Lorna Irvine

A Little Treasure

The bubble machine is the first thing that hits you as you enter. There are bubbles everywhere. The second is the energy—families with babies and small children are crammed into every corner, bringing a kinetic force to the auditorium. It's pandemonium—all going off like popcorn in a pan.

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No Gray Areas
REVIEWS | Merilyn Jackson

No Gray Areas

Programming, like staging and choreography, is an art, and Ángel Corella surpassed himself with all three in this early spring show featuring all new works.

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Extreme Feats
REVIEWS | Emily May

Extreme Feats

In some ways, dance could be considered an extreme sport: it meets many of the same criteria, featuring (at times) high speeds, significant risk, and the potential for severe injury. French choreographer Rachid Ouramdane seeks to reinforce this parallel in his new work “Outsider,” which received its UK premiere at Sadler’s Wells on March 26th as part of Dance Reflections by Van Cleef & Arpels.

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