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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.
In “Once Upon a Time Called Now,” the tap dancer and musician Michela Marino Lerman tries something new: a theatrical narrative.
At City Center, the company’s season began with a debut by its first resident choreographer, Lauren Lovette, and two masterly works by Taylor.
In a program at the Joyce Theater, Brown’s company, Evidence, presented three dances that aren’t new but seem newly meaningful.
This Chicago company presents Irish dance of great skill, while trying, sometimes successfully, to modernize and invigorate the tradition.
In “Piece of Work” at the Joyce, Mearns dives into collaborations with choreographers outside the ballet world, including Jodi Melnick and Beth Gill.
“The Musician & the Mover,” a new work from the respected B-boy, had its New York premiere at New York Live Arts on Thursday.
Bodytraffic’s program at the Joyce Theater leaves you contemplating some problems of contemporary dance.
In “An Untitled Love,” an hourlong show at BAM, Abraham and his dancers turn the stage into a house party set to D’Angelo tracks.
Sankofa Danazfro returns to New York with “Accommodating Lie,” a curiously muted work about the display of Black Bodies
Pam Tanowitz’s “Four Quartets,” a rich mix of poetry, painting, music and dance, had its New York debut at the Brooklyn Academy.
This edition resembles past ones, with an international miscellany of approaches to the question of what filmed dance can be.
The challenge of casting the Encores! revival of “The Tap Dance Kid” exposes some of the complications of tap, show business and Black history.
Despite the pandemic disruptions, this festival of contemporary dance from Asia went on, nearly as planned, with four North American premieres.
Chyrstyn Fentroy was a star at Dance Theater of Harlem before joining Boston Ballet, where she has been promoted to the top rank of principal.
Michelle Dorrance and Dormeshia set the friendly tone of an evening of tap, with guests and gratitude, at the 92nd Street Y.
The French circus company Libertivore makes its American debut, though its director had to give up her performing career.
In Big Dance Theater’s new work, premiering at BAM Fisher, Annie-B Parson melds her sensibility with that of the Conceptual artist Guy de Cointet.
A year of uncertainty was capped by a happy ending: a rush of performances this fall, including standouts by masters (Twyla Tharp) and breakout stars (LaTasha Barnes).
Celebrating 10 years as the artistic director of Alvin Ailey American Dance Theater, Battle says he is most proud of the chances he has taken.
Created during the pandemic, Zvi Gotheiner’s “The Art of Fugue,” performed by ZviDance at New York Live Arts, now registers as a work of recovery.