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Guest Post

Zvi Gotheiner's "Chairs" | Photo Grace Courvoisier Zvi Gotheiner's "Chairs" | Photo Grace Courvoisier

Celebrate Dance 2013 at The Ailey Citigroup Theater

Kicking off their season at The Ailey Citigroup Theater, the Steps Repertory Ensemble has proven once again their devotion to collaboration in Celebrate Dance 2013.  Led by Artistic Director, Claire Livingstone, this company of twelve dancers showcased the choreography of six emerging and established artists, April 18-20, 2013. Always enamored…


Ballet Next in "Tintinnabuli" | Photo Paul B. Goode Ballet Next in "Tintinnabuli" | Photo Paul B. Goode

REVIEW: Ballet Next at the Joyce Theater

Ballet Next opened its season at the Joyce Theater Tuesday with Alison Cook Beatty’s premier of “Tinntinnabuli.” Set to Arvo Part’s “Tabula Rasa”. The piece begins on a solemn note. The audience is peering in on a dark and fearful hour. Michele Wiles prays desperately into a beam of light…


Jonah Bokaer and Anthony McCall "ECLIPSE" | Photo Stephanie Berger Jonah Bokaer and Anthony McCall "ECLIPSE" | Photo Stephanie Berger

REVIEW: Jonah Bokaer’s ECLIPSE at BAM

Editor’s note: DancePulp would like to welcome Rick Herron, guest contributor and contemporary arts curator. We are thrilled to have him in the ongoing conversation of dance. The heat having finally broken, New Yorkers are back in town, getting down to business and starting a new season. New York Fashion…


Fred Astaire 1952 | Photo Getty Images Fred Astaire 1952 | Photo Getty Images

Looking Back: A Dance Icon Video Tour

Editor’s note: DancePulp would like to welcome Leah O’Donnell to our Guest contributors. We are excited to share Leah’s experienced voice with you. Every dancer has an idol. Even our idols can trace their own influences through history. As far as our family trees can be traced, so can our…


Brian Brooks Moving Company | Photo Matthew Murphy Brian Brooks Moving Company | Photo Matthew Murphy

REVIEW: Brian Brooks Moving Co. At Gotham Dance Festival 2012

When it comes to Brian Brooks Moving Company, endurance is an understatement.  In the opening of the Joyce’s Gotham Dance Festival, the company commanded attention with smooth, seamless movement and an ability to take and give weight with ease.  In its New York premiere, the company’s most recent work Big City mirrored the constant…


"Sit, Stand Kneel" | Photo Gallim Dance "Sit, Stand Kneel" | Photo Gallim Dance

PREVIEW: Gallim Dance at the Joyce Theater

Two weeks ago, Gallim Dance opened the doors to its new home in Brooklyn at the Church of St. Luke and St. Matthew. In addition, the lucky attendees were offered a sneak peak at Andrea Miller’s new work Sit, Kneel, Stand to be premiered at the Joyce Theater June 8th-10th. It was an overwhelming experience, not only to see such exclusive sights, but also to witness the growth that Gallim Dance has undergone.

Gallim has gained its reputation by utilizing Ms. Miller’s extremely physical movement vocabulary coupled with raw emotional construction to expose deep and visceral themes. However, the choreography has never really strayed from its firm roots in the genre of “Dance”, staying true to more traditional choreographic tools.

"Hemels" performed by Introdans | Photo Hans Gerritsen "Hemels" performed by Introdans | Photo Hans Gerritsen

REVIEW: Introdans at the Joyce Theater

Ballet has always held itself in a different genre, treasuring technique and choreographic innovation within that aesthetically clean framework. Prestigious visionaries like George Balanchine and Jiří Kylián found their own unique ways of transforming the classical to the contemporary, historically breaking new ground and allowing a next generation of creativity to progress and discover new ways to enrapture audiences. One of the national dance companies of the Netherlands, Introdans was met with high expectations for their US debut at the Joyce Theater. Ballet desperately needs new flag-bearers. The result this week was disappointing in its transparency.

Roel Voorintholt, artistic director of Introdans, opened with Heavenly, featuring divinity-themed revivals from three different choreographers. The first work, Fünf Gedichte (five poems), was choreographed by Nils Christe and premiered in 1996.

Ballet Hispanico | Photo Eduardo Patino Ballet Hispanico | Photo Eduardo Patino

REVIEW: Ballet Hispanico Program A at the Joyce Theater

Ballet Hispanico holds a great luxury in their diverse and vibrant company members. Known for a colorful blending of classical and contemporary vocabularies with the grounded and passionate traditions of Latin dance, the company moves to further stretch boundaries with the works presented in their current season. The key to success for the evolving company lies in presenting their dancers as the athletic movers they are without losing the subtlety that draws audiences in. This balance was achieved to various degrees in program A of their current Joyce season.

Angel Corella stars in Barcelona Ballet | Photo Erin Baiano Angel Corella stars in Barcelona Ballet | Photo Erin Baiano

REVIEW: Barcelona Ballet at New York City Center

In 2008, American Ballet Theater star, Ángel Corella , stepped beyond the role of dancer and added Artistic Director to his resume. Now four years later, Barcelona Ballet (formerly Corella Ballet) will gain Corella’s full-time devotion when he retires from his principal role at ABT at the end of this season.

In its second visit to New York City Center, the newly renamed company looked to merge the worlds of classical ballet and traditional Spanish dance in the world premiere of Pálpito (Spanish for “hunch”). A lengthy program note tells us of “a main character who is trying to free himself from the strings that have bound him to his former role of a dancer,” naturally played by Corella who will say goodbye to American Ballet Theatre this June. But before the ballet begins, I can’t help but to worry how the dramatically written synopsis will unfurl onstage.

Sylvie Guillem in "Bye" | Photo Bill Cooper Sylvie Guillem in "Bye" | Photo Bill Cooper

REVIEW: Sylvie Guillem’s “6000 Miles Away” at Lincoln Center

Sylvie Guillem presents something of a conundrum for dance criticism. Typically, it’s possible to separate the dancer from the dance — to distinguish the merits of the choreography itself, from how the dancer executes it and brings it to life.

The 47-year-old Guillem has performed so many roles and styles over her long career that this would seem to be an easy task. And yet, watching her inhabit tailor-made works in “6000 Miles Away,” it was hard to imagine anyone else performing them — for she is one of those rare artists whose instrument alone expands the boundaries of what dance can express.

In the program recently staged by The Joyce at Lincoln Center, Sylvie’s instrument was in the hands of William Forsythe and Mats Ek, from whom the ballerina commissioned two original works to flank an excerpt from Jiří Kylián’s explosive “27’52”.”

For both Forsythe and Ek, classical ballet provides as much a foundation as a subject for artistic commentary. That is about where the similarities between the two choreographers end, however. Whereas Forsythe’s steely “Rearray” puts Guillem’s exceptional technique under a microscope, Ek gives it a back seat in “Bye” — a work that, best it can, portrays Sylvie as a normal human being.