New York

A dancer dips into a low second position, leaning over her right knee, chest and chin lifted, an open right hand reaching. Her silver top and the billowing folds of her skirt shimmer in the blueish light. Behidn her a row of dancers standing in gowns of different constructions and colors, sparkling and reflecting as behind them a video of a field path plays, one dancer in a yellow dress walking on screen.
Photo: Maria Baranova
  • Reviews

Multilayered Memory in a Feminist Timescape

Emilee Lord

Jasmine Hearn’s Memory Fleet: Beloved, Let’s Cross

A photo from Nami Yamamoto’s work of an Asian femme with blunt bangs and a shoulder-length haircut, standing open-mouthed. This image is translucently superimposed onto another image of two dancers wearing colorful tshirts and sweats, engaging in physical scores.
Photo: Elyse Mertz
  • Reviews

40-years-old and still kicking

ankita

Opening night at the Performance Mix Festival

Three dancers, two men and one woman, stand on a stage covered in bright autumn leaves. The background is black. They stand in a wide stance, holding thick black rolls over their heads. The man on the left, in gray pants and a t-shirt, looks up at the roll. The brunette woman wearing green pants and a brown tunic stares directly out. The man on the right, dressed in a red suit and white dress shirt, also looks straight forward.
Photo: Steven Pisano - Courtesy of Ballet Hispánico New York
  • Reviews

Mujeres in Motion

Caedra Scott-Flaherty

Ballet Hispánico’s 56th season is an exciting women-led tour of the Latine diaspora.

Douglas Dunn stands wearing a bright yellow mask which covers his eyes. His right arm is extended to his side while his other rests on a wooden chair painted with yellow flowers. He wears a grey vest, red tie, and dark pants--a contrast to dancers Dongri Suh and Janet Charleston who stand behind him weaering flowered garlands around their heads and wear tulle skirts. A video of two waterfalls is projected onto the wall behind them.
Photo: Jacob Burckhardt
  • Reviews

Douglas Dunn’s Post-modern Pastoral

Brendan McCall

An intrepid choreographer examines classical forms through a post-modern lens

David Adrian Freeland Jr., wearing a blue sleeveless top and pants, and Morgan Lugo, wearing a red sleeveless top and pants, kneel facing each other on the red-lit stage. With closed eyes and tilted heads, they touch palms, one arm straight and the other bent by their cheeks.
Photo: Stephanie Berger
  • Reviews

A (Mostly) Moving Romeo & Juliet for Our Times

Caedra Scott-Flaherty

Benjamin Millepied’s Romeo & Juliet Suite uses dance, theater, and film to retell a timeless tale.

Performers Bria Bacon and Okwui Okpokwasili, both Black women wearing black, stand in the middle of a spinning structure at the center of the room, surrounded by a seated audience. The structure is round with a black bottom and reflective panels about 8 feet tall surrounding it. Through the spaces between the panels, Bacon and Okpokwasili are seen standing close together, facing each other. Becon's knees and arms are bent. Okpokwasili has a hand on Bacon's head and gazes above it.
Photo: Ava Pellor
  • Reviews

My Tongue is a Blade, is a Blade, is a Blade

Caedra Scott-Flaherty

Sweat Variant’s new durational work tests the limits of attention.

Lisa Kron, playing dance critic Walter Terry, has short brown hair, is dressed in a tan suit and wears thick-rimmed glasses, sits with their legs crossed and a notebook on top of their lap. Opposite, Richard Move as dance icon Martha Graham sits regally in a long dark dress, their hair up in a bun, and their eyes highlighted with dramatic eyeliner. Between them, is a small table with a vase of white flowers, and behind them are two women in a unison dance shape: bowed forward, with one leg extended high up behind them.
Photo: Andrea Mohin
  • Reviews

Long Live the Queen

Brendan McCall

It’s 1963 and 2025 and Richard Move IS Martha Graham

A woman sits with her back to us while sitting at a keyboard. A candle on top of it illuminates the faces of about fifty people who sit facing her in a dim orange color. On the shadowy walls we can see framed paintings, a clock, and an artificial head of an elephant.
Photo: Azu Rodriguez
  • Reviews

From the Chrysalis: ayo ohs´ A Minor Relief

Brendan McCall

ayo ohs shows how making art is the only way to move on from loss

Wen Hui, a Chinese woman dressed in a red striped shirt and black pants, looks down past her nose at Japanese counterpart, Eiko Otake, while reaching a claw-shaped hand out to Otake’s face. Otake wears a baggy white dress that hides her form. One of her hands meets Wen Hui’s upper arm, while the other pulls Wen Hui’s hand to her face.
Photo: Zhou Huiyini
  • Reviews

War is (in)human

ankita

We are all tangled. Do you understand?

The Of Dishes and Dreams cast in blue Thai-style garments used for restaurant work. Eyes focus on choreographer Keerati Jinakunwiphat as the ensemble walks around her. Keerati is being lifted into the air in a hug, legs piked together, reaching up to the sky. On the left side of the image, Claude “CJ” Johnson, holds another point of focus – legs open in a wide stance, bending deep at the knees, shoulders and hips to one diagonal, while he peeks playfully toward Keerati in the opposite corner. Kitchen items made of plastic and twine balance precariously in the background.
  • Reviews

Found in Translation

ankita

A child of immigrants dances in her parents’ kitchen