Dance
The Boston dance community is reeling.
“Jazzed” makes a persuasive case for Jack Cole’s artistic importance, even as its overly admiring portrait evades some of his darkest behavior.
There is no question that this new volume will be the resource that all subsequent historians will turn to when they explore the trajectory of classical ballet’s slow — and not yet completed — choreography towards racial inclusion.
Animated calligraphy, dancers in half-shadow, and two industrial robots create an eerie, elegant theater of marks, motions, and metallic afterimages at Jacob’s Pillow.
In her Boston solo premiere, “Rāgachitra,” the former Nrityagram artist draws on a lifetime in classical Indian dance to create searching, contemporary works shaped by memory, mythology, gender, and an inward turn.
At Jacob’s Pillow, Brinae Ali’s “Baby Laurence Legacy Project” reanimates a jazz tap master’s bebop musical brilliance through choreography, live music, and technology.
In “Thrikra: Night of Remembering,” Akram Khan’s searing imagery of female ritual and sacrifice is shadowed by what the work chooses not to confront.
A sensor-driven dance work probes embodiment, data, and the limits of technological intimacy.
Currently running at the Joyce Theater, “Trips” pairs classic Pilobolus works with new creations, reaffirming what has made the company one of dance’s most distinctive ensembles.
Shakia Barron’s “The Gathering” transforms the stage into a shared space of rhythm, improvisation, and release.
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