Patricia Noworol strategizes culture and arts politics via hip-hop. Decades ago, some writers considered that ballet was on its way to becoming an international language, despite its obvious roots in western European courts, culture, and dance forms. Other people raised the issue of cultural imperialism. Hip-hop—emerging from American city streets, its roots tangling back to Africa—has … [Read more...]
Heat and Ice
I regret not having been able to see Carte Blanche, the Norwegian National Dance Company, perform Corps de Walk at the Joyce Theater. In this piece by Sharon Eyal and Gai Behar, the dancers, I read, have whitened hair and wear blue contact lenses. What better illustration of the Nordic mini-festival’s name: Ice Hot? The other participants were the Tero Saarinen Company and Danish Dance … [Read more...]
A Pas de Deux and a Society in Chaos
Dance doesn’t happen in a vacuum. One evening, I’m at the Baryshnikov Arts Center’s Howard Gilman Space—glancing from time to time at the night city glowing outside two big windows, listening to some rich recorded music, and watching a delicately intense, sometimes barely moving dance by two people that traverses two hours without intermission. The next night I’m in another theater … [Read more...]
Out of Africa
In the not-so-distant past, white explorers, colonizers, missionaries, and historians referred to Africa as “the dark continent” or dramatized it as “darkest Africa.” They may have been alluding to the skin color of most of its native inhabitants, but certainly to their own inability (and unwillingness) to understand its customs and lore. Over two September weeks, at two different New York … [Read more...]
Pounding the Earth, Aspiring to the Air
Cultural identity, terrain, traditions, body types, beliefs. How many other markers reveal how we like to move, how we define dance? Two very dissimilar styles appeared last week some miles north of New York City in pastoral surroundings. Israel’s Vertigo Dance Company performed in Jacob’s Pillow’s Ted Shawn Theater July 4 through 8, and on July 6, France’s Compagnie Fêtes galantes opened Bard’s … [Read more...]
A Single Dance in Four Chapters
Shantala Shivalingappa has always been an artistic voyager. Trained in India’s classical Kuchipudi style (first by her mother, Savitry Nair, then by Vempati Chinna Satyam), she danced with an unbridled white horse in Bartabas’s equine spectacle Chimère. She played Ophelia in Peter Brooks’s production of Shakespeare’s Hamlet and Miranda in his The Tempest. She has performed with Pina Bausch’s … [Read more...]
My Hand, Your Head, Por Favor
The man leads. Right? In the social and ballroom dances of Europe and the Americas, the man always leads. Still, when you watch couples who are adept at, say, the Argentinian tango or the Viennese waltz, the man and his partner seem so bonded that you can envision them as complicit equals. Never mind that his right hand pressing on her back and his left arm pulling at her right arm are guiding … [Read more...]
Cherish The Dancers
Cedar Lake Contemporary Ballet is the most stable mid-sized company in New York. Its top-notch funding guarantees that its dancers are very well taken care of, which means that they don’t come and go. Every time artistic director Benoit-Swan Pouffer puts together a new program for a season at the company’s own black-box theater on West 26th street or at the Joyce Theater (this spring, May 15 … [Read more...]
Living in a Green World
When Ohad Naharin left New York for Israel, his homeland, in 1990 and took over Batsheva Dance Company, he developed a distinctive movement style. In all his dances, the performers are muscular in unconventional ways. Watching them, I imagine elements of the inner apparatus that moves the human body trying to find new conduits into motion. Sometimes a dancer’s hip or a shoulder is impelled to … [Read more...]
Traveling The Upward Path
The sound of distant dripping fills the darkness. Lights gradually, dimly, reveal a barely discernible standing figure. Suddenly the person plunges forward against what turns out to be a translucent curtain that stretches from one side of the stage to the other. Whenever his hands or his scribbling finger or his head presses against the flexible membrane separating him from us, that part comes … [Read more...]