I had only been belly dancing for six months when my classmates goaded me to don a stage name and enter the wilds of public performance.
The open pastures of performance are becoming a landscape strewn with celluloid. The advances and influence of media in general, and cinema in particular, have pointed out that dance, theater, and performance art are all situated over a geological fault line, and Hollywood is seeping through the fissures in the bedrock.
If you’ve never seen Miguel Gutierrez’s work, you’re missing out. There are people who are born to make art, to make us think, to make us question what we do, and Miguel is one of those people.
What excites me about the dance company everything smaller is just about everything: their collaborative work, their athleticism, their art, and their dedication.
It would be glib and inaccurate to make a connection between Le Vu Long/Together Higher’s company, Together Higher’s dancers’ deftness and the ferocity of their dancing in Stories of Us performed at Dance Theater Workshop in March.
A night at Black Mountain College, a summer night, in 1952: artists gather in the school’s cafeteria for an evening of theater. For Carolyn Brown and her husband in New York, “Black Mountain meant nothing more to Earle and me than some place where David [Tudor] would be…thereby enabling us to use his vacant flat.”