Dance
When the performers finally left the platform, breathing hard, crawling towards us and into the audience, I realized I was seeing something new.
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“Modern dance is not a secret club. Yes, we are presenting masterpieces by a visionary 20th century artist, but we are communicating that through the greatest dancers today, and showing how that work continues to evolve.”
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Choreographer Heather Stewart’s use of the stage space, while not “immersive” by the standard art world definition, is inventive and meaningful.
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It was a mind-blowing experience. Countless times in dance performances a choreographer strives to make movements on stage mimic music. But Dianne McIntyre was dramatizing a much deeper, more organic connection.
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Homer’s use of ancient myth is used to show that women, like the sea, have been — and will continue to be — the ecological instigators of growth and transformation.
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For MOMIX’S performance at Jacob’s Pillow, Moses Pendelton assembled a “greatest hits” selection of sixteen vignettes from the troupe’s oeuvre.
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At the Pillow, the wonderful Social Tango Project brought the form back to its political and aesthetic origins: it is a dance designed to unify and uplift participants and audiences.
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Sara Juli has proven herself to be a master of using humor to examine subjects that are uncomfortable and not at all comic.
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“We ask them to interpret the music through their own experiences, so they are connecting to and performing what Mr. Ailey called ‘blood memories’ on stage.”
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Drawing on wide-ranging research and personal anecdotes gathered during the time he spent with the company, Robert Pranzatelli navigates us through the insouciance and absurdity of Pilobolus’ past.
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