The last time I saw a piece by Sasha Waltz, she set the stage on fire. Literally. The preoccupations of that piece were apocalyptic compared to those of the whimsical Impromptus, set to a selection of Schubert's heavenly impromptus and art songs.
If you go to one of Raimund Hoghe's dance performances and just listen, eyes closed, you'll understand much of the story he's trying to tell. Hoghe is a master of the musical collage, shaping playlists of drama and scope, surprise and humor.
Pina a visually stunning and thought-provoking documentary by Win Wenders, shows the medium of dance as language. Not just in a perfection of movements, coordination and balance -- but the language that comes out of the deep humanness, alive as a conversation.
Harvey was best known as the inspirational leader who turned the Brooklyn Academy of Music into one of the great arts institutions of the nation. Before becoming an arts manager, he was a dancer who collaborated with choreographers like Merce Cunningham, Eliot Feld, Bill T. Jones and Pina Bausch.
Heavy-hitting filmmakers are turning their cameras on dance and it's an honor. It's also a puzzlement. With Pina, Wim Wenders joins the recent ranks in crafting rapturous, high-tech paeans to the art form.
By the end of this year, globalization in dance won't be an emerging trend... it will be a permanent state of existence, and every company should be aware of their global positioning, even if they've never toured outside of their home city.
Like anyone with an interest in movies, I've seen my consumption evolve from repertory houses, to indie chains, to the current streaming standard. Now I am entertained and edified by amazing libraries of material instantaneously available to cater to whatever whim.
They were planets apart, Pina Bausch and Merce Cunningham. But one year after both dance visionaries died -- she, suddenly, at a fully active 69, he at 90 -- Angelenos heard those giant footsteps resounding last week.