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"We find ourselves in a situation now with global warming where extreme storms, hurricanes and rising sea levels are happening throughout parts the world, and water is scarce or wasted in others," says choreographer Molissa Fenley. A comment on the current global threats to our environment, Fenley's dance series Water Table explores the patterns of large bodies of water.
We stepped into a rehearsal of Water Table with Molissa Fenley and Company as they prepare for an upcoming show at Danspace Project to talk performing in your 60s and how an international upbringing influenced her as an artist.
Sidra Bell is one of those choreographers whose movement dancers are drawn to. Exploring the juxtaposition of fierce athleticism and pure honesty in something as simple as stillness, her work brings her dancers to the depths of their abilities and the audience to the edge of their seats.
New York City Ballet is celebrating the Jerome Robbins Centennial with twenty (20!) ballets. The great American choreographer died in 1998, so very few of today's dancers have actually worked with him. There are plenty of stories about how demanding (at times brutally so) he could be in rehearsal. But Peter Boal has written about Robbins in a more balanced, loving way. In this post he writes about how Robbins' crystal clear imagery helped him approach a role with clarity and purpose.
The role of Harlequin in Marius Petipa's comic ballet Harlequinade is one American Ballet Theatre dancer Gabe Stone Shayer knows quite well. He first performed a variation of the role when he was just nine years old. Today, he explores commedia dell'arte in Alexei Ratmansky's new take on the ballet, premiering at the Metropolitan Opera House this June.
We stepped into a rehearsal of Harlequinade with Shayer and fellow ABT dancer Cassandra Trenary for our "In The Studio" series:
You can count on Mark Dendy to create a wild and crazy piece that eventually cuts to the heart of the matter. In this case, his New York premiere, Elvis Everywhere, is about our obsession with celebrities.
The piece was inspired by a monologue Dendy happened to see from when Donald Rumsfeld, former Secretary of Defense, met Elvis Presley. He captures the absurdity of the moment and then some. Commissioned by American Dance Festival with further development at Jacob's Pillow Dance Festival and UC Santa Barbara, Elvis Everywhere is a collaboration with Dendy's longtime performer, designer and filmmaker, Stephen Donovan.
Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. It's not surprising that Dance Magazine named Gina Gibney one of the most influential people in dance today.
Since starting his company in 1968, Lar Lubovitch has stood at the forefront of modern dance—although he is hesitant to label his work as "modern."
"I've always felt I've been making dances," he says. "I've always called them dances and I've never been one to exclude any language of movement. When I'm making a dance it's sort of an essay of all the movement I have in my body of all the dance I've studied."
After 50 years of creating dances, his work is still as technical and humanistic as ever.
These days, more and more museums are inviting dancers to liven up the art that's on the walls and pedestals. The New Museum, on the border of SoHo and the Lower East Side, has designated a special room for live events called the South Galleries. Every day for two months, ending April 15, this gallery is home to Co-natural, a mesmerizing performance exhibition by Romanian choreographer Alexandra Pirici (pronounced Pireech). She is acclaimed in Europe and makes her U. S. debut with this exhibit. Included is a life-size hologram that really looks like another person. If you spend some time wandering around in the gallery, you start to see congruencies between the gestures of the live performers and the not-quite-live hologram. And you start to wonder about the stamina of the dancers, who are there, as moving sculpture, all day long (with a few breaks).
The much-anticipated Martha Graham Dance Company season at New York City Center is upon us. From April 11–14, the company will present classics like Chronicle, the sly melodrama Embattled Garden and of course Graham's visceral masterwork The Rite of Spring. This season also includes works by internationally acclaimed choreographers Lucinda Childs, Lar Lubovitch and Sidi Larbi Cherkaoui.
We sat down with Graham artistic director Janet Eilber to talk about bringing back older Graham works, working with new choreographers and what Martha would have to say about today's wave of feminism.
Raja Feather Kelly's gender-bending, race-flipping and thought-provoking work Another Fucking Warhol Production or Who's Afraid of Andy Warhol?—now titled The Love Episode (Another Fucking Warhol Production)—is making its way back to the stage. Kelly's company, the feath3r theory, will be performing the revived work at Dance Place in Washington, D.C. on April 21 and 22. Per usual, the music will make you want to stand up in your seat and dance your pants off, but it's not a show you'll want to bring the kids to.
We stepped into the studio with Kelly to talk love, money and his fascination with Andy Warhol.
Dance Theatre of Harlem is busy preparing for the company's Vision Gala on April 4. The works on the program, which takes place on the 50th anniversary of the assassination of Dr. Martin Luther King Jr., reflect on the legacy of Dr. King and his impact on company founder Arthur Mitchell. Among them is the much-anticipated revival of legendary choreographer Geoffrey Holder's Dougla, which will include live music and dancers from Collage Dance Collective.
We stepped into the studio with Holder's wife Carmen de Lavallade and son Leo Holder to hear what it feels like to keep Holder's legacy alive and what de Lavallade thinks of the recent rise in kids standing up against the government—as she did not too long ago.