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Recent experiments in describing dance, like the film “Telephone,” approach it not just as an accessibility service but as a space for artistic exploration.
In her funny and fidgety way, the choreographer Michelle Ellsworth presents new works that probe the uses and limits of language and movement.
In two programs, (La)Horde and the Ballet National de Marseille introduced New York to work that taps into a youthful, rebellious spirit.
Spare and simple, “Aging Prelude” at the Chocolate Factory is a new beginning for the choreographic duo Chameckilerner.
The center, an unstructured retreat for dance artists, ran into financial difficulties that were heightened by the pandemic.
Yoshiko Chuma and her company’s “Shockwave Delay” at La MaMa layers movement and music with video and spoken text. It’s a lot to take in.
The South African choreographer and dancer Dada Masilo’s “The Sacrifice,” at the Joyce Theater, responds to Pina Bausch.
In “Yes and Yes,” at the Irish Arts Center, Liz Roche responds to “Ulysses,” true to her own voice as she converses with his famously convoluted one.
Bobbi Jene Smith’s “Broken Theater” is perhaps the most high-profile offering at La MaMa Moves!, but other programs were just as memorable.
Kathy Westwater’s dances at the Chocolate Factory, “Revolver” and “Choreomaniacs,” build on her focused movement investigations of the last 20 years.
At New York City Center, a characteristically generous Casel presents works by other choreographers as well as her own “Where We Dwell V.2.”
Gutierrez, whose work often calls attention to the precariousness of life in the performing arts, is experiencing a period of midcareer abundance.
In “Weathering” at New York Live Arts, the performers seem like the last holdouts of a civilization clinging to survival.
The contemporary dance group Bereishit performed two works by its founder, Park Soon-ho, at NYU Skirball.
In Dean Moss’s “Your marks and surface,” at Danspace, images of softness and struggle coexist.
“Life of Pi” and Laura Linney on Broadway, Lise Davidsen at the Met Opera, SZA on tour: Here’s what we’re looking forward to this season.
Israel Galván brought a new iteration of his visually pared-down, danced-without-music “Solo” to Baryshnikov Arts Center.
The interdisciplinary Out-FRONT! fills a gap in the dance calendar, showing incandescent works like Jasmine Hearn’s “Salt and Spirit.”
The Indigenous artist Daina Ashbee’s first group piece, at the Gibney, simmers with tension and offers an approach to healing.
Vertigo Dance Company’s “Pardes” is handsomely constructed if occasionally contrived.
Ivy Baldwin’s defiant and poignant work for four dancers at the Chocolate Factory Theater is the outcome of deeply considered collaboration.
At 30, Jacquelin Harris is expanding her repertoire, with role debuts in store for the latest Alvin Ailey American Dance Theater season.
At Kyle Abraham’s premiere for Alvin Ailey American Dance Theater at New York City Center, dancers find intimacy in songs by Erykah Badu and Jazmine Sullivan.
After a few slow, sad years, the dance calendar returned to something like abundance, with standout shows that leaned into joy and community.
The most intriguing aspects of Dimitris Papaioannou’s “Transverse Orientation” arise from a tension between grandeur and simplicity.
Emily Johnson’s “Being Future Being” unfolds in two parts, one at East River Park, the other at New York Live Arts.
Two classics, “In the Upper Room” and “Nine Sinatra Songs,” share a program at City Center.
In a joyous program at the Joyce Theater, Barnes and company show the relationships among Black social dance forms. It’s all connected, and it’s all jazz.
Rainer, who has said “Hellzapoppin’: What About the Bees?,” will be her last dance, tackles race, if at a puzzling remove.
The annual smorgasbord at New York City Center features dancers from Music from the Sole, the Bavarian State Ballet and Alvin Ailey.
Momix’s latest show, now at the Joyce Theater, is inspired by Lewis Carroll’s “Alice in Wonderland.”