Siobhan Burke is a dance critic for The New York Times and a contributing writer for Dance Magazine. She has written on dance and performance for Artforum, Art in America, The Brooklyn Rail, Open Space, The Performance Club, and The Village Voice, among other publications.
Originally from Northampton, MA, Siobhan grew up studying Irish dance in Hartford, CT, and Tralee, County Kerry, Ireland. She shifted her focus to contemporary dance as a student at Barnard College. Between 2005 and 2014, she performed with the North American touring company of Riverdance and with artists including Hadley Smith, RoseAnne Spradlin, Jillian Sweeney, Rebecca Warner, and Narcissister.
Siobhan has been an adjunct lecturer in Barnard's Department of Dance since 2013. She was a 2013 USC Annenberg/Getty Arts Journalism Fellow and is the recipient of a 2018 Creative Capital/Warhol Foundation Arts Writers Grant.
Walsh's Moon Fate Sin at Danspace Project. Like Fame Notions, the title was derived from Yvonne Rainer's "No" manifesto. Photo by Ian Douglas, Courtesy Danspace Project
The Brooklyn-based choreographer Gillian Walsh is both obsessed with and deeply conflicted about dance. With her latest work, Fame Notions, May 17–19 at Performance Space New York, she seeks to understand what she calls the "fundamentally pessimistic or alienating pursuit" of being a dancer. Noting that the piece is "quiet and introverted," like much of her other work, she sees Fame Notions as one step in a larger project examining why dancers dance.
Okwui Okpokwasili seems to gravitate toward tests of endurance.
At the beginning of Adaku's Revolt, a recent collaboration with her husband Peter Born, four women (herself included) lie on their backs, spines arched deeply into a shape resembling yoga's fish pose. They remain there, heads inverted and forearms pressed into the ground, for 15 minutes as the audience files in.
At the opening of Bronx Gothic, her 2014 one-woman show, Okpokwasili plants herself in a corner and shudders for half an hour, sometimes more—and that's just a prelude to the hour-long performance.
Her unexpected post-Batsheva path has led to both solo shows and film work. Photo by Jayme Thornton
Even when marking a move in rehearsal, Bobbi Jene Smith seems to dance with her whole being. "It comes from the pelvis," she says while directing a few of her fellow dancers in an undulating phrase. Her lower body spirals, pulling her torso behind it in one swift, visceral motion. "Always keep a bit of groove somewhere in your body," she says during another, more improvisational section.
Dance audiences might be most familiar with this side of Smith: the heart—and the guts—that she brings to her dancing. But in the four years since she returned to the U.S. from Tel Aviv, where she spent a decade performing with the Batsheva Dance Company, she has achieved a balancing act of creative roles: dancer, choreographer, teacher and budding actor.
The scene she's rehearsing is one of 10 she choreographed for Aviva, an independent feature film directed by Boaz Yakin, best known for his 2000 blockbuster Remember the Titans. She also plays a main character in the movement-driven story, as part of a cast of more than 30 dancers that she helped to select—including 20 of her students from Philadelphia's University of the Arts.
Cloud in Beth Gill's Catacomb. Photo by Brian Rogers, Courtesy Gill
Some dancers move to New York City with their sights set on a dream job: that one choreographer or company they have to dance for. But when Maggie Cloud graduated from Florida State University in 2010, she envisioned herself on a less straightforward path.
"I always had in mind that I would be dancing for different people," she says. "I knew I had some kind of range that I wanted to tap into."