Alvin Ailey Celebrates 50 Years at BAM
by Erika EichelbergerDance
Alvin Ailey created Alvin Ailey American Dance Theater (AAADT) in 1958 to celebrate the black experience, but also to transcend it in order to bring audiences to a higher place.
Dance Theater in Small Spaces
by Mary HodgesDance
“Get out! Get out get out! GET OUT!” He’s yelling this right next to me, in a bathroom at full capacity with a just handful of people inside.
Belly's Beginnings: A Flash Course in Arabic Dance
by April GreeneDance
Has any dance in history been so bastardized as belly? The western translation of what is known in the Middle East as raqs sharqi (literally “Oriental dance”), belly dancing was introduced to American popular culture in several late 1800s world’s fairs, where it instantly gained celebrity–though its midriff-baring and hip-swiveling elements just as quickly made it misunderstood as a scandalous act of exhibitionism rather than a social dance performed for fun and celebration by men and women of all ages.
Rain Train Transcript Cube
by Roger Van VoorheesDance
Throughout The School of Hard Knocks/Root Culture’s Not About Romanian Cinema: Poonarc (an acronym for: “Page out of order not about Romanian cinema”) at Danspace Project in June, I made out the sounds of a train (which actually were, I would find, the sounds of writing on a blackboard), and rain.
Considered and Constructed
by Dalia RatnikasDance
In an interview, choreographers Rebecca Stenn and Ben Munisteri compare their “remixing” of each other’s choreography to digital audio remixing.
Trey McIntyre Project: A Nourishing Breath of Fresh Air from Boise
by Mary StaubDance
When Trey McIntyre’s young Boise, Idaho-based dance company Trey McIntyre Project (TMP) made its New York City debut at the Joyce Theater in June, the works they brought to life gave a welcome nod to the fact that New York by no means has an exclusive hold on dance.
FTA Montréal: Jell-o Molds, Crucifixes, Sleeping Bags
Dance
A friend emails after seeing a Québécois choreographer in San Francisco: “No irony, just good old fashioned Modernism, the way God intended.”
