Wendy danced with the Trisha Brown Company in the 1970s and has performed with many other NYC choreographers. Her own group, the Wendy Perron Dance Company, appeared at the Lincoln Center Festival, the Joyce, Danspace Project and other venues in the U.S. and abroad from 1983 to 1997. The documentary film Retracing Steps: American Dance Since Postmodernism profiles Perron along with seven other choreographers. She has taught at many colleges including Bennington and Princeton, has given lectures on dance across the country, and was associate director of Jacob's Pillow in the early '90s. In addition to serving as editor in chief of Dance Magazine from 2004 to 2013, she has written for The New York Times, The Village Voice, Ballet Review and Dance Europe. In 2011 she was inducted into the New York Foundation for the Arts' Hall of Fame and was honored by Dancewave in Brooklyn in 2014. She has been artistic adviser to the Fall for Dance Festival and often adjudicates for Youth America Grand Prix and the American College Dance Festival. Currently she teaches a graduate seminar at NYU Tisch School of the Arts and performs occasionally with Vicky Shick. Her book,
Through the Eyes of a Dancer, is a selection of her essays, memoirs, and reviews spanning 40 years.
The cast of Dragon Spring Phoenix Rise in rehearsal. Photo by Stephanie Berger, Courtesy The Shed
Akram Khan loves to dive into genres he is unfamiliar with. While his own movement vocabulary is a hybrid of kathak and contemporary dance, he has choreographed a new Giselle for English National Ballet, collaborated with flamenco artist Israel Galván and made a dance theater duet with film star Juliette Binoche. Now, in between touring Xenos, his final full-length solo, and several other projects, he's found time to tackle kung fu. Khan is part of the collaborative team behind Dragon Spring Phoenix Rise, a blockbuster musical based on themes of migration and the fight for survival, running June 22–July 27. Directed by Chen Shi-Zheng and featuring a score that remixes songs by Sia, it's part of the inaugural season of The Shed, a new venue in New York City.
Imagine dancing in a large studio, with windows on two sides, mountains in the distance and flowers right up close. You take a shower outdoors with "grey water" that's been collected from the roof and recycled into the plants. You use compost toilets to avoid using water in the desert and you might even stay overnight in a "mud room."
This is Vertigo Dance Company's Eco-Art Village in the Elah Valley (where, in biblical times, David fought Goliath). It is not only a beautiful spot on earth but also a model of ecologically sustainable living and working. And a place where the company of fierce yet gentle dancers, create new work in the partly improvised approach guided by Wertheim.
Concert #13, A Collaborative Event, Judson Dance Theater, 1963. PC Peter Moore, Courtesy MoMA
In the early 1960s, a group of dancers started questioning the existing rules of choreography. Influenced by John Cage, they created dances that were startling in their simplicity and risk-taking. Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, Deborah Hay, Elaine Summers and Lucinda Childs were all part of this group. Most of them had studied or danced with Anna Halprin or Simone Forti. Visual artists like Robert Rauschenberg and Alex Hay were part of this cauldron of experimentation as well as composer Philip Corner.
The Museum of Modern Art has mounted an expansive exhibit called "Judson Dance Theater: The Work Is Never Done." It gathers photos, artwork, scores, objects and films that bring the period alive. If you get there before January 16, you'll see the films of Brown's early work. Her piece Walking on the Wall was so disorienting that it was almost hallucinatory. (Actually, this film and most of the Brown pieces are from the 70s.) Playing with perception was a big part of the Judson and post-Judson eras.
The Call by Ronald K. Brown marks the choreographer's seventh work for Ailey. Photo by Paul Kolnik, courtesy Ailey
It's the 60th anniversary of the Alvin Ailey American Dance Theater, and their season at New York City Center is going strong with more than 20 works—including world premieres and company premieres.
Ronald K. Brown, who just received a Dance Magazine Award, has made his seventh work for Ailey, The Call. It's a gorgeous pastiche of three different types of music: Bach, jazz by singer Mary Lou Williams and Malian music by Asase Yaa Entertainment Group.