Dance
D.U.M.B.O.’s Dancing
Modern dance and ballet stalwarts are visiting Brooklyn this fall, but if tickets to William Forsythe’s Ballet Frankfurt (BAM, Sept. 30, Oct 2. – Oct. 5), Merce Cunningham’s 50th Anniversary Season (BAM, Oct.16 –18), and the acclaimed Suzanne Farrell Ballet (Brooklyn Center for the Performing Arts, Oct. 12) are out of your price range, then you might opt for the Third Annual D.U.M.B.O. Dance Festival. As part of the larger D.U.M.B.O. Arts Under the Bridge Festival and curated by Young Soon Kim, artistic director of White Wave Rehearsal and Performance Space, the dance festival features works by over 80 emerging and established choreographers from Brooklyn and beyond. Did I mention the performances are free? The festival runs from October 16 through October 19 and highlights include performances by the Martha Graham dancer Erica Dankmeyer and her Dankmeyer Dance Company, Jennifer Muller/The Works, Wendy Osserman Dance Company, and Ksenia Vidyaykina, whose Trapped won her the Fringe Festival’s Excellence Award in Choreography. Encompassing a broad range of experimental dance, the festival also features aerial and trapeze works by Fly-By-Night Theater and Christina Briggs's Incidents Physical Theater. And the Limón Dance Company will perform as part of the October 16th Gala Benefit (tickets for this will cost you $100). While most of the performances will be held at the White Wave Performance and Rehearsal Space (25 Jay Street), an outdoor performance on the waterfront at Empire-Fulton Ferry State Park is scheduled for Sunday, October 19, 1:00-3:00 p.m. Tickets are free of charge and are available at the door. For more information about the festival and for a full performance schedule visit www.whitewavedance.com.
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Dance in the Making
By Anna Yudina , Diana Vishneva, and Olivier BerggruenJUL-AUG 2020 | Critics Page
This conversation between Diana Vishneva, Anna Yudina, and Olivier Berggruen explores the evolution of dance, seen from the perspective of an “art form in the making,” to use William Forsythe’s memorable formulation.
We Will Dance Again: The Dance Community Responds Part 1
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Nearly three months after theaters began to close, we don’t seem any closer to “returning to normal” and instead face the reality that this crisis will forever change the way we dance and our world. The slow creep of coronavirus has made it difficult to see where we are and chart where we might go next.
The Bon Iver Race Dance, Reviewed
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Bon Iver began collaborating with Minnesota's TU Dance, which was cofounded by Toni Pierce-Sands and Uri Sands, both Black veterans of Alvin Ailey’s American Dance Theater, to present Come Through, a contemporary dance performance—mixing modern dance, hip hop, and ballet among other movement styles—alongside a live Bon Iver set. With Come Through, Vernon chooses to engage directly, for the first time in his career and with unfortunately haphazard treatment, with images and media like a hoodie superimposed over the word "breathe," and audio from a speech by Viola Davis about Jim Crow racism given at the Women’s March.
Tales of Hopper: The Additive Adaptation from Painting to Dance
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Hopper unknowingly painted for the novel coronavirus era. Thus, a new danced adaptation, luckily coming weeks before bans on in-person performances, has significant resonance. In Tales of Hopper, a repertory dance work that Cherylyn Lavagnino Dance premiered at New York’s DiMenna Center for Classical Music in late February, Lavagnino and composer Martin Bresnick take on Rothenstein’s “interpretation of incident and of character” for Hopper’s oeuvre.
