In the opening section of Noé Soulier’s evening-length dance The Waves, the dancers inhabit individual worlds that briefly cohere into rushing moments of unison, only to easily dissolve back into solos, not so unlike the tide that animates and inspires the Virginia Woolf novel of the same name.

Performed by Ballet Hispánico to celebrate their fifty-fifth season, CARMEN.maquia is yet another version of the popular ballet derived from the 150-year-old opera by French composer Georges Bizet, which in turn took libretto inspiration from Prosper Mérimée’s novella of the same name. This colorful story of an independent and seductive Gypsy woman, Carmen, who works in a cigar factory and finds herself caught in a love triangle between a military officer, Don José, and the famous toreador, Escamillo, sprang from a French man’s fantasy about Andalusia, in southern Spain.

Black Aesthetics, curated by Malcolm-x Betts and Arien Wilkerson, is an ongoing experimental dance series in residence at Judson Church. 

Tenenbaum first approached Ahuvia in 2017 about filming a short artist profile. But over time, the project grew into a more ambitious documentary as Ahuvia’s backstory and the tensions in her work surrounding historical oppression unfolded on camera.

In a new book out October 29, 2024 from Duke University Press, Jill Johnston in Motion, author Clare Croft sets the task of braiding together these many, and shifting, identities through Johnston’s associative, witty, embodied, and highly idiosyncratic writing. Along the way, Croft develops “lesbian adjacencies” that locate Johnston in her radical time, scrutinizing the “intensity of whiteness” in her milieu and putting her in conversation with other queer writers and intellectuals. “