Debra Cash
Adrienne 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.
As 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.
Martha 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.
This is the fourth installment of Debra Cash’s coverage of events associated with the Institute of Contemporary Art’s Dance/Draw exhibition.
This 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.
The second installment in Debra Cash’s coverage of the ICA’s ambitious Dance/Draw series.
“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.
The musical SILVER SPOON is at its strongest when a lullaby evolves into a ballad about the arrest of a group of undocumented migrant workers.
Which suppests the quandary at the heart of choreographer Lemi Ponifasio’s work. Can sophisticated political critique be made outside the bounds of narrative? Can a poetic work without directionality enacted in a setting designed to be beyond specific time and place create an environment for redress, for action, for change?
Like the Dance Exchange’s staged and site-specific productions, Liz Lerman’s “Hiking the Horizontal” is pieced like a quilt. Like Liz, it’s a little rumpled and gives the reader a lot of permission to go her own way.
Recent Comments