Debra Cash
In “BLACK HOLE,” the TRIBE trio moves as if learning for the first time how their skeletons and muscles are constrained and empowered, perplexed and bedazzled, by gravity’s incontrovertible power.
Too, too soon, the images in MOMIX’s “Alice” alternate between unpleasant and stale.
As the first draft of documenting choreographer Alexei Ratmansky’s career, this book will be invaluable, but by the end of it, the story may look somewhat different.
We’re not saying get rid of “Madama Butterfly” We’re saying do a better Butterfly.
Here’s this week’s poem, Debra Cash’s “The Boat: April 19, 2013.”
Because Mindy Aloff is so deeply personal and idiosyncratic — and so dependent on what was programmed by certain theaters, in certain years — her book distorts the very topic it is intended to illuminate.
The struggle is to define what the problem is – and to allow the questions to have big, destabilizing, and more honest answers.
For the foreseeable, capitalist American future, full and equitable access to live, professional performing arts will depend on subsidy.
“I believe artists create a safe space for unsafe ideas in our world.”
Dance Commentary: Contract Dispute Between Union Artists and Alvin Ailey American Dance Theater — ‘Buked and Scorned?
The Ailey dancers’ demands around salaries and the length of their contracts reflect the resurgent strength of organized labor in the cultural sector.
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