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.
Visually notating dance.
On the release of Al Di Là, a collection of her sound works, Forti guides us through her decades-long practice of observation, intuition, and kinaesthetic awareness.
Available Light returns to New York.
The choreographer on exhaustion and revival.
Previewing a public performance on the Bronx River.
A taste of what’s to come at Manhattan’s new space for multidisciplinary programming.
Alvin Ailey’s Jamar Roberts on pain, joy, and choreographing to John Coltrane.
Dance as a political confrontation and a place of dreams.
A choreographer and a visual artist imagine ways of inhabiting civic spaces.