On the Upper East Side, at the corner of 92nd and Lexington Avenue, lies a building steeped in dance history. Martha Graham, Jerome Robbins, Alvin Ailey, Katherine Dunham, and Doris Humphrey all performed, taught, or rehearsed there, and fittingly, their work was included in the 75th Anniversary Gala of the 92nd Street Y Harkness Dance Center.
Realness is slang for the ability of a drag queen, transgender, or other LGBT person to pass as the opposite gender. And American Realness? According to the press release of American Realness, a new contemporary performance festival held January 7th-11th at Abrons Arts Center, it is an expansion of realness beyond gender roles into style, ways of life, and art making.
In like a lion, out like a lambbut for dance-loving New Yorkers, this March also promises three anticipated film events. First, dance film pioneer Elaine Summers is honored over three evenings at Danspace Project at Saint Marks Church and one afternoon discussion at the New Museum, which will explore her influence on a younger generation of artists.
In the late afternoon of February 4th, the Baryshnikov Arts Center (BAC) was noisy, dusty, and filled with construction workers going about their business. The sense of urgency in the Hells Kitchen building was palpable, and with good reason.
It was rather peculiar to hear the opening notes of Tchaikovskys heart wrenching Swan Lake at the Center for Performance Research, an intimate venue in Williamsburg that provides affordable space for rehearsal and performance of contemporary dance.
Pilobolus, Momix, and Cirque du Soleil have amazed audiences for years with their fantastical creations, but the predecessor and inspiration for their work was Alwin Nikolais, a 20th-century choreographer and pioneer of multimedia dance.
Seven new ballets. Four commissioned scores. One renowned architect. This is what New York City Ballet offered over the course of its eight-week spring season, called Architecture of Dance.
Well, you can say this for Susan Stroman: shes consistent. In late January the Broadway director and choreographer unveiled her latest contribution to New York City Ballets repertory: another clichéd, sleepy Broadway-ballet fusion. Great.
Evan Namerow recently spoke with Naharin by phone about his approach to choreography, what he expects of audiences, Gaga (the movement style he created that emphasizes channeling pleasure), and the importance of playfulness.
Faye Driscoll and Jesse Zaritt cant move. They shift uncomfortably under the weight of a rainbow of fabric and clothing that hangs messily from their bodies. Standing on tables, they are disheveled giants who stare aloofly around the silent room. They are, in fact, trapped by each other in Youre Me, Driscolls newest work, which premiered at the Kitchen last month.
Last month an uprising rocked the BAM Howard Gilman Opera House. A dictator roared, loud percussion vibrated through the floor, and fog filled the air as the dancers of Hofesh Shechter Company performed Political Mother, a 70-minute commentary on the tension between captors and captives.
In mid-August, I received an e-mail (subject line:train wreck) from a friend, inviting me to watch the trailer for Black Swan. Corny, melodramatic, and menacing are all adjectives that come to mind, and when Natalie Portmans character pulls a feather from her bloody back, I laugh. Is this a drama, horror film, or cautionary tale for the avian flu?