Debra Cash
This is the first of a series of occasional essays where Fuse Dance Critic Debra Cash will reflect on dances made for camera and new technologies. As they used to say, don’t touch that dial!
Simon Garfield’s tour of fonts, Just My Type, is a rollicking, sometimes snarky social history of the design decisions behind lettering from Gutenberg to the iPad.
Read MoreThe new documentary,
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.
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Dance Commentary: In Short Order
None of the Boston Dances Made to Order submissions dodged dance-on-camera cliches. There was a lot random dancing outdoors, body parts — especially hands and feet — shot in close-up, and random objects (mirrors, food) revealed by camera pans.
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