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At N.Y.U. Skirball, an exploration at the edges of beauty and death, with touches of Wagner.
Audio descriptions are one path into this disability arts ensemble’s show. In some ways, these mirror the critic’s job: putting dance into words.
During a renovation of its Chelsea space, the Kitchen will move to Westbeth, which houses artists, the Martha Graham company and much avant-garde history.
The company, a keeper of the great British choreographer Frederick Ashton’s flame, has brought a pleasant and slight program to the Joyce Theater.
With a score by the innovative electronic musician Jlin, Abraham’s dance has beautiful skeins of motion but lacks cohesive structure.
A jazz trio and three other dancers join Dormeshia for a classy, classic program filled with swing.
At Ragamala Dance Company’s nature-themed performance at BRIC Celebrate Brooklyn!, the strongest connection was between music and dance, our critic writes.
Michelle N. Gibson brings her one-woman show exploring the origins of New Orleans second line, “Takin’ It to the Roots,” to Jacob’s Pillow.
Her new dance at Bard, a collaboration with the composer David Lang, is a refined, restrained and sometimes breathtaking response to the biblical poem.
At Jacob’s Pillow, the Ted Shawn Theater has reopened with the inclusive “America(na) to Me” and a premiere by Ronald K. Brown/Evidence.
Flamenco Vivo Carlota Santana’s show “Fronteras” at the Joyce Theater has a group of very good and remarkably equal dancers sharing a bounded space.
In Martha Clarke’s piece about St. Francis of Assisi, at La MaMa’s Ellen Stewart Theater, the song carries the dance.
Programs at the Joyce Theater feature early works that show how Taylor integrated the radical and the popular.
The student dancers looked good in Kids Dance, the performance troupe of Ballet Tech, which has passed from Eliot Feld to Dionne Figgins.
Abrera, a former principal dancer with American Ballet Theater, has been named acting director of the school.
Musicals like “MJ” and “Paradise Square” take on dance of the past — with some missed opportunities. But the dance in For Colored Girls” helps us to “remember what cannot be sa…
The fashion designer Isaac Mizrahi is a terrific host, but this production at the Guggenheim Museum is awfully shaggy for an avian story, our critic writes.
PS21 presents work that challenges and invites, like performances by QDance, a Nigerian troupe whose leader says, “I am not your entertainment.”
The year’s festival features local troupes. “The stories and music and dance that evolved here were just as important” as those from Africa, its director says.
The group returns to the Joyce with a program that includes a new work, a Trisha Brown revival and a 2006 Petronio dance.
Bijayini Satpathy, a MetLiveArts artist in residence, pushed the borders of her Odissi classicism to meet the art around her.
Yaa Samar! Dance Theater’s production at Gibney is an uncommonly deft combination of dance and verbal theater.
This year’s dance festival pays homage to a Butoh founder, tango’s encounters, the pop group TLC and more.
Waltz’s dance to Terry Riley’s seminal score, at the Brooklyn Academy, is loose and cheerful, giving a spatial sense of the suspension of time.
The choreographer and dancer Shamel Pitts’s “Black Hole: Trilogy and Triathlon” at New York Live Arts is stylish and sincere.
The company, belatedly celebrating its 75th anniversary, presented a program with works by Limón and Doris Humphrey and a premiere by Olivier Tarpaga.
The Lagos-born, Ireland-raised dancer Mufutau Yusuf comes to the Irish Arts Center with “Owe,” a solo, he says, “about my ancestry, my Yoruba heritage.”
Calpulli Mexican Dance Company is using the holiday to share the culture of the Puebla region with New York audiences this weekend.
Robert Garland’s “Higher Ground” combines classical ballet and vernacular Black dance to sharpen the social commentary in Wonder songs from the ’70s.
The gap between his category-defying artistry and his career options seems to expose a missing lane in American culture.