I’ve always believed that dance has a literature, much like music or drama. Dance’s literature consists of both ideas (choreography) and the execution of ideas (performance).
How, frankly, could I help people engage with their inherent creative powers and feel just a little bit better?
It was a treat to see Camille A. Brown & Dancers inhabit (and elaborate on) a number of different African American dance traditions with such winning ease and grace.
Boston Ballet’s rEVOLUTION is memorable because of its duel commitment: it is both enormously entertaining as well as edifying.
There’s hardly a minute in this hour-long show that isn’t stirred by singing, clapping, stomping, and drumming.
The amazing Bereishit Dance Company asks how dance fits into the physical world.
The Boston Dance Theater’s talented group of dancers spent much of the performance nervously twitching and swaying.
The dance revolution of the 1960s and 70s seems to be making a comeback as dancers think about making their performances less artificial, more “natural.”
In this new biography, Ted Shawn is on display in all his narcissism, paternalism, hypocrisy, originality, and the dedication to creative expression that set American modern dance on its way.
We are immersed for 70-minutes in a powerful evocation of the destructive culture created by men who treat women as sex objects.