Dance
Bill T. Jones/Arnie Zane Company’s Curriculum II is no intellectual exercise. It is a gut-wrenching journey into the heart of darkness, offset by flashes of compassion and light.
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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.
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Circa has come up with a stunning way to combine the athleticism of circus training with the aesthetics of dance theater.
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In choreographer Rachel Linsky’s hands — and the bodies of her articulate, reverberating dancers — you gain both kinesthetic and emotional access to the worlds of those who lived the Holocaust.
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What Kyle Abraham has done is to conjure up a wonderfully confusing vision into the myriad possibilities raised by the cycle of death and life again.
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The struggle is to define what the problem is – and to allow the questions to have big, destabilizing, and more honest answers.
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Love, anger, frustration, hope, sadness, lullabies — they are all here through movement that is at turns elegant and awkward, nuanced and propulsive.
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The Just and the Blind sends a needed and powerful message — it is 2022, we need to wake up!
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Sankofa Danzafro’s Accommodating Lie, is a bold work of art that delivers an indispensable history lesson.
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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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