I had the privilege recently to attend a dance festival a bit different from the norm -- not one produced by an established organization, or part of a regional effort, or one of the well known dance festivals found in nearby New York City
Lula Washington, the co-founder of this modern dance company, is a serious woman. She has a commitment to her community and has fought to create this place to dance. She expects the highest level of integrity and hard work, and she gets it from her students.
Much of his work is ephemeral, expressly designed to be obliterated by wind, rain, snow or heat. Other structures, like his recent Culvert Cairn, a private commission in Marin County, will likely be around as long as Stonehenge.
Known for its mix of classical ballet and modern dance, the Alvin Ailey American Dance Theater was founded in 1958 by Alvin Ailey, during a time when African-Americans had little access to classical dance.
The broader point to be discussed is this: we have transitioned away from a paradigm where newspaper critics act as the gatekeeper between art and audiences to a new reality where algorithms perform that function.
Through From the Horse's Mouth "talk/dance" format, Anna Sokolow Way will offer a firsthand look at the personal experiences of dancers, actors, critics and musicians who worked with Anna over the course of her 60-year career in dance.
Collective, indeed. As many professional dance companies struggle with the usual difficulties of production on a shoestring budget, The Dance COLEctive (TDC) offers dancers the precious gift of production support with the creative freedom to develop their own unique ideas.
Thirty-three artists/choreographers, from emerging to mid-career, will present their work, reflecting the American Dance Guild's unique position as both a promoter of the new and preserver of the living history of modern dance as an art form.
Inspiration and creativity are so elusively interwoven that the most compelling and important new art is always a collaboration, perhaps unrecognized, with whatever past accomplishment made the present what it is.
I love dancers' parties. The floor's full and no one's drunk, with every style and move you can think of unleashed, celebrated, spun, from electric boogaloo to sixties go-go to glam jazz to the running man.
Summer in San Francisco is too damn cold for picnic blankets, so we get our summer dance fix indoors at the hip ODC Theater, headquarters of the sixth annual Summer Performance Festival, SPF6, featuring eight emerging dance artists hand-picked by Joe Landini.
You all know by now that Inside/Out -- the outdoor festival stage at Jacob's Pillow -- is my absolute favorite place to photograph dancers. The Pillow's outdoor stage is magical. The trees, the mountains, the sky. Everything is perfect -- as long as the weather cooperates.
Opening night for the Footprints concert at Duke's Reynolds Industries Theater feels like convocation: the house is packed and buzzing with ADF students ready to applaud their friends. When the lights go out, everyone leans forward.
Why the diversity? Because modern dance encourages it, for one thing. If classical ballet still inclines toward symmetrical rows of swans, in other types of Western dance the pendulum's swung towards a gathering of individuals, varied in look and movement background.
"The ground is shifting." Students hurly-burly across the dance floor, legs flying out from under them. "Birds are diving," the tall woman at the center of the whirlwind calls out. Hands shield the students' heads; they duck and skitter.
"I'm interested in how the mind works," Dr. Ruth Day says. She has the enviable title of ADF Cognitive Scientist in Residence -- which makes her, so far as she knows, the only cognitive scientist in residence at any dance festival.