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Dance

We Will Dance Again: The Dance Community Responds Part 1

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.

In Conversation

ANNIE-B PARSON with Ivan Talijancic

Although I carry dice in my backpack, I don’t use them. I guess they are there just in case I need to summon the goddesses. And, though I teach the use of chance in dancemaking, I personally don’t use it with the intentionality of, say, Cunningham, where I ostensibly give over authorship to the universe. My work is sort of the opposite: the place where chance enters and is welcome is whatever I can capture from real life in rehearsal.

In Conversation

PAM TANOWITZ with Susan Yung

A lot of the time I start with a new phrase, movement, or idea, but I’ll also bring along old material that feels interesting, that could be worked on more, or failed in another piece but I want to bring it forward, because part of the nature of a project-based company is that we don’t have a repertory to rehearse. That always inspires me. We’re not like Mark Morris Dance Group, working on a new piece in the morning, and rehearsing old pieces in the afternoon. What we’re working on is what we’re working on.

Dancing Alone

A specialist in self-portraiture, who often works with masks, Gillian Wearing has always been invested in that barrier between the private and the public. Here, she’s severed, superimposed. Her flailing arms, her private dance, detached from passing crowds. The Peckham public barely regards her—and she jiggles on regardless.

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The Brooklyn Rail

JUNE 2020

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