Dance
At some point in the late ’70s, when Douglas Crimp and I were art history doctoral students at the Graduate Center, CUNY, he invited me to the ballet.
At some point in the late ’70s, when Douglas Crimp and I were art history doctoral students at the Graduate Center, CUNY, he invited me to the ballet.
Interrogating constructed behaviors of intimacy.
A collection of texts by and about the groundbreaking choreographer and filmmaker.
Integrating psychology and spirituality with choreographic practice.
Paramodernities juxtaposes scholarly texts with movement, deconstructing iconic dances by Ailey, Balanchine, Cunningham, Fosse, Graham, and Nijinsky.
Themes of race and abandonment in Bill T. Jones’s Deep Blue Sea become all the more relevant.
The dance artist and choreographer discusses her praxis of fellowship and pleasure.
The North American debut of Belgian choreographer’s work set to Johann Sebastian Bach’s cello suites.
The artist, activist, and voguer on her Bauhaus-inspired performance for the Performa 19 Biennial.
The “mother of African contemporary dance” discusses her solo, multimedia performance SOMEWHERE AT THE BEGINNING.
Honing sensory experience and collective mindfulness.
The twenty-one-year veteran of Paul Taylor Dance Company on creating access for young dancers.
The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.
The choreographer explores movement through the vocabulary of others.
The final part of a performance trilogy on climate change, Falling Out fuses puppetry, Butoh, and Flex, to reflect on the Fukushima Daiichi nuclear disaster.
The choreographer on the site of the body, nonhuman temporalities, and translating research to the stage.
Performance and community.
The choreographer presents a cascading index of form.
Thinking the politics of race in contemporary dance.
The choreographer explodes memory and explores the multiple.