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.

Paramodernities juxtaposes scholarly texts with movement, deconstructing iconic dances by Ailey, Balanchine, Cunningham, Fosse, Graham, and Nijinsky.

The North American debut of Belgian choreographer’s work set to Johann Sebastian Bach’s cello suites.

The “mother of African contemporary dance” discusses her solo, multimedia performance SOMEWHERE AT THE BEGINNING.

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 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.