Dance
NOTES FROM ABOVE GROUND
Rashaun Mitchell’s Light Years
By Madison Mainwaring
There is this great thing that can happen when you are staying in the countryside, far away from any source of light pollution. It’s mid-July. The heat stays sticky even after dark, and so you decide to walk to a nearby lake in order to cool off a bit before heading to bed. When you reach the lake, you find that the clear night sky—no moon, just the stars—is reflected in the water.
THE GILDED STAGE: FLEXN
By Brian SchaeferThe Seventh Regiment Armory has been a temple of service and splendor for much of its history. Completed in 1880 in the Gothic Revival style, the dramatic brick building served as base camp for a volunteer militia made of the sons of Gilded Age titans: Vanderbilt. Roosevelt. Livingston.
NO SHARP EDGES:
Katie Workum’s Black Lakes
By Tara Sheena
“We value living over artifact” is a statement in Katie Workum’s program for her newest dance work, Black Lakes. It is declarative and abstract all at once, a paradox.
BUILDING AND UNBUILDING
Part 2 of 2 on Platform 2015: Dancers, Buildings, and People in the Streets
By Siobhan Burke
At the closing of Danspace Project’s Platform 2015: Dancers, Buildings and People in the Streets, I sensed some fatigue in the room. The final event was a panel discussion in two parts, and I was one of the panelists, so I can’t say this perception was entirely objective.
A KIND OF IMPOSSIBLE: Michelle Boulé's White
By Cassie PetersonMichelle Boulé’s piece, White, slowly emerges from what feels like both a literal and metaphoric darkness. It’s an extended darkness born of a long, unmerciful winter in NYC. As the city finally begins to thaw, we are eager to connect to something. Something of the body. Something of aliveness. Something of hope.
