DALIA RATNIKAS is a sometimes-dancer sometimes-writer who enjoys playing with her toes and twisting her body like a pretzel. You can also find her at dahlhaus.
Garth Fagans Phone Tag, Thanks, and Things? No, Thanks.By Dalia Ratnikas
Good dances are about bodies, what bodies can feel and do, what, as choreographer Joe Goode explains, the body knows. Garth Fagans dancers bodies know something different, which is why, when you watch them, you see insinuations of traditionsGraham, Horton, Limon, African and Afro-Caribbean dancecomprise something completely different.
Get Ready! For a Fake-OutBy Dalia Ratnikas
DD Dorvillier uses a rigorously programmatic scheme to create Choreography, A Prologue for the Apocalypse of Understanding, Get Ready! And yet, the generated movement is highly intentional, if only intellectually so. But lets back up.
Wheeldon and Pärt at Works & ProcessBy Dalia Ratnikas
It starts in the dark, and a shear sheath of light brightens as a dancer moves her arms: first the muscular flutter of a crane, then the sharp extensions of a sundials shadow, then the romantic gesture of a nymph paying homage to the sunburst of her own face.
Sacred or Sensually Profane? Alonzo Kings LINES Ballets Dust and Light and Rasa at the Joyce, May 5-10By Dalia Ratnikas
In a post-show interview on May 6th, Alonzo King made two short but definitive statements. The first was technical: his dancers focus on two goals: more and better.
DUTCH IN THE DARK: ANOUK VAN DIJKS SHOT AT THE NEW ISLAND FESTIVAL, SEPTEMBER 10-20By Dalia Ratnikas
Modern dances anything-goes nature is all-accepting, making it difficult for audiences to discern not only what is and isnt good, but what is and isnt dance. Stumbling upon SHOT at the New Island Festival on Governors Island last month, for example, I could not be certain whether I was early or latethe 20-plus minute piece was scheduled to be performed at intervals throughout the evening, and the four dancers onstage, dressed in disparate gear, were moving their bodies in separate, exploratory spheres.
HIGH CONCEPT; DEEP IMPACT: Balletto Teatro Di Torino's Primo ToccareBy Dalia Ratnikas
Brightly lit, the stage gives the chill of a museum or mausoleum, set center with a long, low vitrine showcasing a silver skull and two bunches of white lilies. Flanking it, farther upstage, are two empty, taller vitrines, even more chilling in their statures promise and refusal of a human offering.
BILL T. JONES: Serenade/The PropositionBy Dalia Ratnikas
The post-performance discussion of Serenade/The Proposition nervously circled around the question of how one can (and even whether one should) make dance about history.
Preview THE GOOD DANCEDAKAR/BROOKLYN AT BAM, December 16th-19thBy Dalia Ratnikas
In mid-December, as part of the 2009 Next Wave Festival, BAM will showcase The Good Dancedakar/brooklyn, a collaboration between American Reggie Wilson and African Andréya Ouamba.
INCITING EXPERIENCEBy Dalia Ratnikas
I met my fiancé on a dance floor, at an open-air discotheque in Europe. The other people were standing around, in groups of two or three, but their stasis had no impact on us. Fixated upon each other, we danced intently.
Give Me GagaBy Dalia Ratnikas
No art is automatically relevant. Ive said before that good dances are about bodies, but never meant that all dances about bodies are good.
City Parks Foundation's Central Park Summerstage: NATHANTRICE/RITUALS DANCE THEATER AND DAYTON CONTEMPORARY DANCE COMPANY (DCDC)By Dalia Ratnikas
A mission statement is hardly the genesis of an organizations intention, but these crystallized comments are often surprisingly revelatoryin their construction as much as their meaning. Take, for example, the mission statement of the Dayton Contemporary Dance Company, founded over 40 years ago by Jeraldyne Blunden in Dayton, Ohio, as compared with that of nathantrice/RITUALS dance theater, with one quarter of DCDCs history, yet infinitely more artistic wealth.
Reviving the Grande DameBy Dalia Ratnikas
Theres something grand about the New York City Ballet, but theres also something musty, even though the twinkling ceiling is spotlessly clean.
Pomps Perils : World Premiere of Rioults The Great Mass at the Joyce, April 2009By Dalia Ratnikas
Pascal Rioult once danced with Martha Graham, who thrust her heart to the heavens while tilting her pelvis to the Earth.
Considered and ConstructedBy Dalia Ratnikas
In an interview, choreographers Rebecca Stenn and Ben Munisteri compare their remixing of each others choreography to digital audio remixing.
Keeping it Kamp: Keigwin Kabaret at Symphony Spaces Thalia Dance, April 2009By Dalia Ratnikas
If you avoid dance because its stuffy, or serious, or tedious, but you dig nudity and dirty jokes, Keigwin + Companys Keigwin Kabaret is a good way to get your feet wet.