Category: Dance
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A Family Affair: Mare Nostrum Elements at the Tank for IHRAF 2025
Theo Armstrong on new works by A Heather Dutton/Middle Child Dance Theatre, Emily Tarrier + Emory Ferra Campbell, and Ke’ron J. Wilson
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Our Distance From The Source
Editor Eve Bromberg in conversation with Emily Coates, Ain Gordon, and Derek Lucci about their piece “Tell Me Where It Comes From” performed at Guggenheim’s Works & Process in late November.
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Shared Dreams, Temporary Realities
Contributor Brendan McCall on Alessia Palanti’s “All In Your Head” presented at Arts on Site.
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the present moment where temporalities converge
Leaving the bardo calls for transformation. The body becomes a page, a site for inscription, a blank slate. The silence echoes.
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Kayla Farrish in Three Conversations
Kayla Farrish shared two new works, A Beast and DOCILE, at Kaatsbaan Cultural Park’s Black Box Theatre
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Disco At The House of Fabulation
Maia Sauer on Symara Sarai’s “The LOVE Piece” at Danspace Project.
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Becoming an American Choreographer
Contributor Sophie Frizzell on the The Gerald Arpino Festival at The Joyce.
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Doing It Wrong Together: Alexa West’s “Jawbreaker” and the Choreography of Strain
Actual transformation will generate friction and call for care; work will require rest, and resentments made will require dialogue.
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Noa Weiss on AMERICAN IDLE by Maia Chao choreographed by Lena Engelstein
People perform for their phones, people perform for each other. We continue to watch.
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Loving Doubles: A Search for Connection in Mamie Green’s LONELINESS TRIPTYCH
The performance starts before it begins. A rug unfurled; A stretch to prepare; A folding chair opened to reveal the flat steel plane of its seat. There are bells ringing in the audience. Loneliness, as such, is a texture of one’s mind—the contours of the thoughts that we hold in relation to ourselves and others;…
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some rooms are meant for waiting: Caitlin Adams’s ASSEMBLY is a phenomenology of emergent meaning
“Go!” is an affirmation of consent. Meaning emerges from this limited vocabulary as well. “Ready? Four!” becomes “ready for” a dangling question asking, “ready for what?”
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In CURRICULUM III: PEOPLE, PLACES, AND THINGS Bill T. Jones Journeys Into the Heart of American Darkness
At the conclusion of the electrifying performance of Curriculum III: People, Places, and Things, members of the Bill T. Jones/Arnie Zane Dance Company took their bows to a standing ovation from an enthusiastic audience. When the dancers invited their company’s Artistic Director to join them, it was no surprise. Opening nights, especially when it´s a…