How will we ever go back after the planting that guest curator Eva Yaa Asentawaa sowed during last week’s “the skeleton architecture, or the future of our worlds?”
French choreographer and breakdance world champion Anne Nguyen‘s Autarcie (…), presented by the Crossing the Line Festival and Dancing in the Streets at Gibney Dance Center from September 29 to October 1, 2016, is rooted in hip-hop but aims to open a new space within
We’re invited to look in, but our presence isn’t required.
Being an artist is another way of negotiating a place as a citizen.
The trouble and the treasure of writing about modern adaptations of ancient myths is that there is too much context and too many references from centuries of retelling and analysis, so that I could read about Phaedra the myth and Phaedra the woman for the
Maura Donohue reflects on the political relevance of La Mama’s production of “Pylade” in NYC and on tour in Europe.
Come as you are. come with your confusion, your sadness, your contradiction.
You wouldn’t know that the woman dancing (meditatively, joyfully) in the corner had spent much of the last two years struggling just to walk. You wouldn’t know that she’d undergone a pair of painful and frightening surgeries that left her scarred and upended her life.
In the polarity of young and old, there lies the lunacy of the human mind, a peephole into our own fraught psychosis.
I was right I was wrong I was right I was wrong.
Here, humor and failure coexist comfortably; there is room for both at all times.
Katie Dean on Stacy Grossfield’s “Hot Dark Matter” @ JACK.