Dance

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Page 48
Ochoa's 'Castrati': Why undergo physical degradation? (Photo: Alexander Iziliaev.)

BalletX Summer Series (2nd review)

Night of the dense metaphors

Where Roger Jeffrey employed dance to explore dense metaphors concerning individuals and crowds, Amy Seiwert displayed dance at its most powerful for distilling the essence of remembered pain.
Jim Rutter

Jim Rutter

Articles 5 minute read
Kerollis, Horne in Seiwert's 'It's Not a Cry': How relationships change. (Photo: Alexander Iziliaev.)

BalletX Summer Series (1st review)

The BalletX formula: Compose seriously, dance joyfully

BalletX's summer program demonstrated just how accomplished this spunky company has become in a short time. Whether they're creating their own work or bringing in intriguing experimenters from around the world, the BalletXers rarely produce anything that isn't totally professional and excitingly new.

Janet Anderson

Articles 4 minute read
Xavier: Intensity bordering on religious fervor.

The genius of Raphael Xavier

One man's single unifying endeavor

Two autobiographical works by Raphael Xavier suggest a choreographer whose vision extends far beyond the necessarily narrow world of a dancer.
Jim Rutter

Jim Rutter

Articles 4 minute read
The author (right), training in Russia: The head master as supreme dictator.

Russian and African dancers: A common thread

Africa's ‘Soviet ballet'

Russia and the West African nation of Guinea are two countries with little in common. Yet as I learned first-hand, their mutual passion for dance, and their approach to training dancers, share remarkable similarities.
Rebecca Davis

Rebecca Davis

Articles 5 minute read
Bindler and Holt making out: Manic irony, for a change.

Dance Affiliates' "A.W.A.R.D. Show'

Dancing for dollars

The A.W.A.R.D. Show series of competitive dance performances has returned, in yet another marketing attempt to rescue dance from the margins of American culture. In Philadelphia, the most refreshing work was Gabrielle Revlock's spoof of the competition itself.
Jonathan M. Stein

Jonathan M. Stein

Articles 6 minute read
Fargnoli (front) leads dancers in Mostar: The ultimate challenge in a divided city.

Dancing across barriers in the Balkans

Miracle in the Balkans: The political power of dance

Can dancers accomplish what diplomats can't— namely, erase the barriers of fear and suspicion stemming from the brutal Bosnian war of the mid-1990s? Ashley Fargnoli, a 27-year-old self-style “dance activist,” demonstrated what can be done just this year.
Rebecca Davis

Rebecca Davis

Articles 4 minute read
A woman's body, between the sensual and the chaste.

'Through the Skin' by Koresh Dance Company

Our bodies, ourselves

Through the Skin, Koresh Dance Company's new performance, articulates with breathtaking beauty the modern relationship between body and mind and invites the audience to do likewise.
Madeline Schaefer

Madeline Schaefer

Articles 4 minute read

Aszure Barton's "Blue Soup' and "Busk' at Annenberg

Expect the unexpected

The Baryshnikov protégé Aszure Barton uses— and subverts— our expectations about how dancers move and how meaning is communicated in dance.
Judy Weightman

Judy Weightman

Articles 2 minute read
Callender (left), Pilla: When statues move.

Jeanne Ruddy's "Montage Ó Trois'

Painting and sculpting with the body

In Montage Ó Trois, Jeanne Ruddy and her dancers used the Pennsylvania Academy and its paintings to explore questions about where art comes from and how it moves us. Few site-specific works have achieved such power.
Jim Rutter

Jim Rutter

Articles 4 minute read
Dlugosz, Struck: New light on an old character.

Miro Dance Theatre's "Punch,' and PIFA's trifecta

The Festival's Stravinsky trifecta

The “Let a thousand Parisian flowers bloom” approach to festival making opened the way to many outstanding productions and exhibitions. Consider, in particular, the synergy of three Stravinsky Pulcinellas, notably Miro Dance Theatre's raw and raucous Punch.
Jonathan M. Stein

Jonathan M. Stein

Articles 8 minute read