Dance
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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Flamenco is big, bold, and fully human as it (often) traces the tensions of courtship, indulging in the sensual and the aggressive.
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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.
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The point was clear: we had been watching an elaborate invitation, a dance made to tempt the magical crows.
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Too, too soon, the images in MOMIX’s “Alice” alternate between unpleasant and stale.
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