Thursday, January 26, 2017

TDE Hits the Streets: Ruth Patir's "I dream of the elections"

Ruth Patir's I dream of the elections at Danspace Project. Photo by Ian Douglas.

If, for many, November 9, 2016 was the day hope died, then January 20, 2017 was its funeral. Everyone responded differently. Some took to the streets to march, to brandish signs, to shout to the heavens and back that hate and intolerance are not the American way. Others needed a sanctuary to heal, to take comfort from and to find camaraderie with others.

Danspace Project offers a literal sanctuary in St. Mark’s Church-in-the-Bowery during a free event on Inauguration Day — Ruth Patir's I dream of the elections. Anyone and everyone can take consolation in dancing, pizza, wine, and groovy beats, spun by DJ Jackson Randall.

Patir has strewn the carpeted risers with . . .

To read the balance of my article, please visit The Dance Enthusiast

Wednesday, January 18, 2017

Impressions of American Realness

American Realness' Karol Tyminski's This is a musical at Abrons Arts Center. Photo by Ian Douglas. 

For many, January is a month of self-reckoning and self-contemplation, a time to reset after the sweetmeats and sugarplums of the holiday season. Not so in the dance world. January equals opportunity. Presenters from around the globe tramp through New York’s slush and snow in search of work they want to book. For dancers and dance-makers, these see-and-be-seen weeks can be a game changer.

American Realness, a festival devoted to the artistic value of the other, joined the fun eight years ago. Founded, directed, and curated by Thomas Benjamin Snapp Pryor, it embraces the subversive and the political. This year's iteration featured fifty-three performances of sixteen productions over eight days at multiple venues. Choosing whom to see is an exercise in #FOMO.

To read about Kimberly Bartosik/daela’s Étroits sont les Vaisseaux, Big Dance Theater’s world premiere of Cage Shuffle, Karol Tyminski’s solo, a US premiere, This is a musical, and Trajal Harrell's Twenty Looks or Paris is Burning at the Judson Church (S), please visit The Dance Enthusiast

Thursday, January 12, 2017

Impressions of Noche Flamenca

Noche Flamenca performing La Ronde. Photo by Zamik Moqtaderi. 

The strike of a toe. The smack of a heel. The clap of the hands. In flamenco, sound is as powerful as sight. When done well, this bodily score can grab us viewers’ hearts, coaxing ours to beat in time with theirs.

Soledad Barrio and Noche Flamenca blow the rafters off of West Park Presbyterian Church during their two-week run of La Ronde and Creación. (A three-week run of Antigona fills out the rest of January.) Although the two pieces are stand-alone works, the intermission-less evening unspools seamlessly.

This may be due to the structure of both works. Although group numbers with clacking heels and whirling wrists transpire, the prominence is on solos and duets. Yet, for all the technical brio on display — and there’s plenty of that — the presentation is democratic, supportive, devoted to sportsmanship rather than one-upmanship. The audience, chockablock with flamenco aficionados, approves, with shouts of olé and bravo.

The opener . . . 

To read the balance of my review, please visit The Dance Enthusiast