Debra Cash
Literally seating himself under a spotlight at the center of the stage, celebrated choreographer Bill T. Jones indulged in a celebrity interview with himself, sharing moving and mundane autobiographical anecdotes while his company danced in abstract arrangements around his desk for exactly 70 minutes.
Read MoreWhen the Boston Jewish Music Festival presented a special afternoon of Lazar Weiner’s Yiddish Art Songs, it became clear that it’s time for a reappraisal that will bring these small, intense gems back into broader musical circulation.
Read More“69°S” takes risks that never put actual life or limb in danger, but under the static of snow and history, we learn that venturing to the edge is always a kind of art.
Read MoreAdrienne Cooper’s strong voice –- musically, linguistically and as a vibrant feminist presence –- shaped the revival of klezmer music in the 1980s and beyond, but her legacy is diffuse.
Read MoreAs a dancer, Pina Bausch was the presiding spirit of speechlessness. She had the macabre body of an anorexic, but her matchstick arms communicated entire inner worlds.
Read MoreMartha Graham famously said, “I wanted to find a way to reveal the inner landscape – to chart a graph of the heart.” So now it’s your turn to play therapist.
Read MoreThis is the fourth installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw exhibition.
Read MoreThis is the third installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw — this time around its an appreciation of the Trisha Brown Dance Company.
Read MoreThe second installment in Debra Cash’s coverage of the ICA’s ambitious Dance/Draw series.
Read More“Dance/Draw” at the ICA is a major exhibit about how moving bodies leave traces, what curator Helen Molesworth, not particularly originally, calls the “afterlife of dance.” To a lesser extent, it’s also about how visual artists think about motion when they’re not focused on particular bodies.
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