InfiniteBody

The Arab contribution to Western music

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 27 Jan 2012 10:50:03 PST

The Metropolitan Museum of Art

presents

The Arab Contribution to Western Music

Thursday, February 9, 6pm

Without the brilliant, sophisticated music that informed the courts of Cairo, Baghdad, and Damascus, European music as we know it today would be quite different. Arabic music traveled west with Jewish troubadours and took root in Moorish Spain, lecturer and author Nimet Habachy will explain during this event. Refreshments will be served.

With musical examples from both worlds performed live by Simon Shaheen, the renowned violinist and oud player, we trace the influence of music of the Arab world to Mozart's Magic Flute and The Abduction from the Seraglio.

Tickets: $25 (unreserved seating)

The Bonnie J. Sacerdote Lecture Hall

Uris Center for Education

The Metropolitan Museum of Art

Fifth Avenue at 82nd Street, Manhattan

(directions)

Valentine's Day is Arts Day in Albany

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 27 Jan 2012 10:06:20 PST

On Tuesday, February 14, join Dance/NYC and other New York State arts advocates in a day of face-to-face meetings with Albany legislators in support of public funding for the arts.

Get the facts, learn what you can do and get involved here.

Leichter dance: all the way live and outspoken

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 27 Jan 2012 08:31:40 PST

Shay Wafer, 651 Arts's new Executive Director, and Anna Glass, Managing Director, were on hand last evening to usher in a new season of Live & Outspoken. This popular series, presented at the Mark Morris Dance Center, features conversations between stars and innovators of the performing arts and samples of the artists' work. A magical interview between Ntozake Shange and Marc Bamuthi Joseph was one of my highlights of 2011.

Last night's session paired the richly talented Eisa Davis (playwright, singer-songwriter, actress, dancer) with dancer-choreographer Nicholas Leichter. Davis and Leichter go back a long way. When she first moved to New York, she took up residence in his basement, and they have collaborated. So it was no surprise that this conversation would be a breeze. Davis brought to it not only personal insight but fresh imagination, a real interest in discovery.

Eisa Davis (Photo by Colman Domingo)

Nicholas Leichter

Reflecting on his club-kid period, Leichter reached back to one source of the intensity in his dancing and dance-making.

"I did it so young and so early when it was still in this dark period," he said. "I saw a lot of crazy shit, though I never did any of that. There was hysteria, but there was also a crazy amount of passion on the dance floor. Such energy. It just ignited me.

"It wasn't as segregated as it is now. It was kind of pre-hip hop and felt like what modern dance should be--a mix of a lot of things."

Leichter developed an attitude towards concert dance that was a mix of a lot of things, too--the fire and fluidity of club dancing, yes, but also the discipline of the ballet studio. A technical wiz kid himself, he says that the rigor of his training still underlies all of his work, although it might not be as overt as it used to be.

The evening's talk was interspersed with excerpts from a smokin' duet (from Twenty, Leichter's evening-length work-in-progress) that features the choreographer and a younger dancer, Bryan Strimpel. Here's a bit of Strimpel.

French Kiss (excerpt from Black Barbra) from Nicholas Leichter Dance on Vimeo.

That's all fine, but you really must see Strimpel and Leichter dance together, a collaboration that, the choreographer says, revitalized his own dancing.

Different in age (by almost twenty years), race, body type and sexual orientation, Strimpel seems to have absorbed and enhanced the qualities that have always been wildly magnetic about Leichter--an elastic body nevertheless given to delivering rapid, sharp, percussive language, the entire body as speech and gesture. Leichter mentioned that critics, admiring of his dancing, sometimes chide him for not having dancers who can replicate his abilities. I suspect that there's a subtle distinction here: It's not about having dancers who look like you and dance like you but focusing on dancers who can stand up to you. Lanky, blond Strimpel does just that, approaching his work in a dramatically sexy deadpan way, matching Leichter at every turn and then some. The results are electrifying.

Catch up with everything from Nicholas Leichter Dance here, and with 651 Arts' new season here.

Camille A. Brown behind the scenes

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Thu, 26 Jan 2012 11:45:17 PST

Ever dream of how much fun it would be to hang out with Camille A. Brown and her dancers and watch them create a dance? Or take a custom-designed, private class with one of the hottest dancers and choreographers on the American scene? Or get a chance to go backstage and watch one of her shows from the wings?

Well, now you can do all three. A new outfit called 1000passions has an offer for you and your kids or a few of your friends.

Check it out here:

Behind the Scenes With Camille A. Brown

Dance for Children Behind the Scenes with Camille A. Brown

Joyce Foundation award goes to Reggie Wilson

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Thu, 26 Jan 2012 06:27:35 PST

Dance Center of Columbia College Chicago, Reggie Wilson receive Joyce Foundation Award
by Zachary Whittenburg, Time Out Chicago, January 24, 2012

Ailey's Sharon Gersten Luckman will step down

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 25 Jan 2012 15:31:39 PST

Sharon Gersten Luckman. Photo by Paul Kolnik

The Alvin Ailey American Dance Theater announced today that longtime Executive Director, Sharon Gersten Luckman, will step down in 2013 to pursue new endeavors.

Joining the Ailey organization in 1992 as Director of Development, Luckman assumed the role of Executive Director in 1995. Under her leadership, the organization has enjoyed unprecedented advancement in all aspects of its operations--from its world-renowned performance troupe, now under the artistic direction of choreographer Robert Battle, to its extensive dance training and community programs, and the opening of its state-of-the-art headquarters, The Joan Weill Center for Dance, in 2005.

“I consider myself extremely fortunate to have had the opportunity to work side by side with the superb staff and brilliant dancers of the Ailey organization, with two magnificent Artistic Directors, Judith Jamison and Robert Battle, with our wonderful Associate Artistic Director Masazumi Chaya, and with a deeply dedicated Board of Trustees under the invaluable leadership of Joan Weill,” Sharon Luckman stated. “At Ailey, we often speak of ourselves as a family. I am very proud of what my family has accomplished over these past decades—and although I will now be moving on to other endeavors, I know I will always feel I’m a part of Ailey.”

In consultation with Luckman, the Board of Trustees will begin an international search for a successor to be named in early 2013.

Father, son and sands of time

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 24 Jan 2012 07:20:55 PST

from Sand

As mentioned before--see my January 19 post--the Dance Legacies program at this year's Dance on Camera festival includes an enticing short called Sand from director Cari Ann Shim Sham*. I got an advance look at this all too brief visit with father-and-son dancers Darrow and Kenji Igus.

In an empty theater, these two men get together to give us a taste of this vaudeville specialty, making a delicate, scratchy sound over a thin layer of sand. The camera moves in close on cupped hands pouring sand; sliding and skittering feet; handsome, warmly-lit faces. Each one dances a little, talks a little.

Darrow Igus recalls first seeing sand dancing in the 1960s when he was a high school student, playing a trombone for a street-dweller who showed him the moves. Now, we see him trading moves with Kenji, who is primarily a tap dancer. The elder Igus reveres the classic age of tap, the likes of Astaire and the Nicholas Brothers. He wants his son to learn to use his upper body more actively and fluidly in a way that, he says, today's tappers have gotten away from. He envisions Kenji championing a hybrid of tap and sand dance that will bring some of this classiness back.

Sand is tantalizing because, over a mere ten minutes, we don't get to see enough dancing, or really enough of the kind of dancing that Darrow Igus dreams about. But even in this brief hangout, we do feel the quiet respect between these two guys and their dedication as performers. It's a lovely film.

My January 19 post contains a trailer to give you a tidbit of this intimate tidbit of good things to come!
Dance Legacies screenings are scheduled for January 30 and January 31 at the Walter Reade Theater at Lincoln Center. For more information on this program, click here. To purchase tickets, click your selected date under "Showtimes" (left-hand column).

Dance on Camera is a presentation of Dance Films Association and co-sponsored by The Film Society of Lincoln Center.

Dance on Camera
Walter Reade Theater
165 West 65th Street (between Amsterdam and Broadway), Manhattan
(map/directions)

Randy Gener: A criticism without borders

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 24 Jan 2012 06:19:41 PST

In Search of a Criticism without Borders
by Randy Gener

from Critics on Criticism, Critical Stages: The IATC webjournal, October 31, 2010

“Randy Gener...argues that criticism of international theatre activity needs to be given greater visibility and needs to be supported and more effectively diffused and promoted.”

RANDY GENER is a writer, editor, critic, playwright and visual artist in New York City. He is the 2009 winner of the George Jean Nathan Award, the highest accolade for dramatic criticism in the United States, for his essays in American Theatre magazine, where he works as the senior editor. He won a 2010 Deadline Club Award from the New York chapter of the Society of Professional Journalists for “shedding light into censorship and repression of the arts.” He was named Journalist of the Year 2010 by the National Lesbian & Gay Journalists Association.

Erin Sickler on art and the 99%

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 23 Jan 2012 05:30:19 PST

Art and the 99%
by Erin Sickler, Art in America, January 2012

The boy wants to wear a tutu

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 23 Jan 2012 03:58:45 PST

What Would You Do If Your Boys Wore Tutus?
by Maria Hanley, Maria's Movers, January 20, 2012

Jewelle Gomez set to bring new play to NYC

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sun, 22 Jan 2012 09:47:03 PST

Jewelle Gomez (Photo by Diane Saben)

The Robert Chesley/Jane Chambers Playwrights Project of TOSOS

will present

A staged reading of Waiting for Giovanni

Written by Jewelle Gomez

(writer, activist, and author of the double LAMBDA Award-winning novel, The Gilda Stories)

Directed by Mark Finley

Saturday, January 28, 7pm

Waiting for Giovanni is Jewelle Gomez's imaginative, funny, and moving dream play about author James Baldwin, as he grapples with emotional and professional obstacles to completing his landmark 1956 novel, Giovanni's Room. The cast includes K. Todd Freeman (Song of Jacob Zulu, The Brother/Sister Plays) as James Baldwin, and Desiree Burch (52 Man Pickup, Tarbaby) as Lorraine Hansberry. The play was originally staged at San Francisco's New Conservatory Theater Center (Ed Decker, Artistic Director).

Ripley-Grier Studios

Studio 16T

520 Eighth Avenue, (between 36th and 37th Streets)

(directions)

Free and open to the public. No reservations required.

Information

Reelabilities film festival and Heidi Latsky Dance

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sun, 22 Jan 2012 09:10:04 PST

The 4th Annual Reelabilities: NY Disabilities Film Festival

February 9-14

ReelAbilities: NY Disabilities Film Festival is the largest festival in the country dedicated to promoting awareness and appreciation of the lives, stories and artistic expressions of people with different disabilities. Initiated in New York in 2007, the festival presents award winning films by and about people with disabilities in multiple locations throughout each hosting city. Post-screening discussions and other engaging programs bring together the community to explore, discuss, embrace, and celebrate the diversity of our shared human experience.

Schedule information and ticketing
Festival trailer

HEIDI LATSKY DANCE

a performance for Reelabilities

free and open to the public

Saturday, February 11, 2pm -- The JCC in Manhattan
Monday, February 14, 4pm -- 115th Street New York Public Library

Pushing her physically integrated work beyond conventional boundaries, Heidi Latsky offers a preview of Somewhere. Wildly different renditions of "Over the Rainbow," a song so easily misconstrued in the context of disability, propel a celebration of physical virtuosity, movement, invention and the sheer joy of dancing. Also included will be an excerpt from work-in-progress SOLO COUNTERSOLO featuring original music by Chris Brierley. Performance will be followed by a discussion with the artists.

ACCESSIBILITY INFORMATION

ReelAbilities strives for inclusion of all people. Individuals needing accommodations to participate should contact the screening venue directly at least two weeks in advance of the event.ASL interpretation, CART, Live Audio Description, and information in Braille are available upon advance request. All films are captioned or subtitled and all venues are wheelchair accessible.

Conversing with film critic J. Hoberman

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Sun, 22 Jan 2012 06:53:55 PST

"MANOHLA DARGIS In one of Jonas Mekas’s first columns for The Voice he wrote that 'every breaking away from the conventional, dead, official cinema is a healthy sign.' There was an activist element to his rhetoric, and soon after he started writing for The Voice he decided that it wasn’t enough to be a critic, he had to become, as he put it, a near-midwife, so he could hold and protect 'all the beautiful things that I saw happening in cinema and that were either butchered or ignored by my colleague writers and by the public.' He was fighting, to borrow the title of a book on him, to free the cinema."

J. Hoberman Talks About Village Voice and Film Culture
by Manohla Dargis and A. O. Scott, The New York Times, January 20, 2012

Collective for Dance Writing and New Media goes social!

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 23 Jan 2012 12:10:07 PST

Now you can connect with

Collective for Dance Writing and New Media

Facebook

and

Google+

and now

Twitter @CollectiveDWNM, too!

Make a note:

Join us at our next general meeting!

Monday, February 6 (6pm-7:45pm)

Gibney Dance Center, 890 Broadway, 5th Floor, Studio 6

Annie Lanzillotto and Lori Goldston

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 20 Jan 2012 13:11:09 PST

Annie Lanzillotto. Photo (c)Carolina Kroon

Voices Building

Saint Ann and The Holy Trinity Church

presents

Annie Lanzillotto and Lori Goldston

a duet between poet/performance artist Annie Lanzillotto and cellist Lori Goldston

Sunday February 5, 3pm

$10 suggested donation at the door

Saint Ann and The Holy Trinity Church
157 Montague Street (corner of Clinton Street), Brooklyn

By subway: 2/3, 4/5, and R to Borough Hall / Court Street

This landmarked Gothic Revival church in Brooklyn Heights, renowned for its stained glass windows, opened its doors in 1847, and has become a community commons where faith, arts, and culture meet.

Lori Goldston's life as a cellist, composer, arranger, improvisor, collaborator and listener, leads far and wide through genres and eras, moving heedlessly across borders and disciplines. She is a member of the experimental rock band Earth, and co-founder of the Black Cat Orchestra and Spectratone International. She lives in Seattle. In 1993 -1994, Lori was the touring cellist for Nirvana, and appears on their live album MTV Unplugged in New York.

Annie Rachele Lanzillotto is a New York based writer, poet and performance artist. Her first book, working title, L Is For Lion: Italian Bronx Butch Freedom Memoir is due out from SUNY Albany press this year. She reads and performs from second book of poems, Schist Songs. Available on iTunes are Annie Lanzillotto Band's rock and blues CD Blue Pill, and her poetry Eleven Recitations. She's a 2012 Franklin Furnace Award recipient, and has performed The Flat Earth: Wheredddafffhuck Did New York Go at Dixon Place, How To Wake Up a Marine In A Foxhole at The Kitchen, and a'Schapett at The Arthur Avenue Retail Market in the Bronx. Lanzillotto and Goldston have collaborated before, including tracks on Blue Pill and live at Smalls Jazz Club, in New York.

Etta James, 73

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 20 Jan 2012 09:42:18 PST

Etta James, Singer, Dies at 73
by Peter Keepnews, The New York Times, January 20, 2012

Into the woods with Keely Garfield

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Fri, 20 Jan 2012 07:44:07 PST

"To Be Clear:," dancer-choreographer Keely Garfield writes in her program notes, "Twin Pines is presented in two parts--Stump and Flesh--presented consecutively and without an intermission because one thing leads to another..."

One fairly vivid, if incomprehensible, thing does lead to another in this surreal, Zen-ish ramble through an Inner Forest crowded with tree stumps, charged gestures, old pop songs moodily altered by harmonium drones, Kabuki theatrics, and a "bowl of cherries" life that we shouldn't take too serious because it is mysterious. I'm going to leave the oddball mystery of Twin Pines to your discovery; the curious, multilayered contents of Garfield's head are quite a lot to unpack. But a few things really brightened the hour for me last evening at Danspace Project.

I find myself resisting the strained, tight-spring look of Garfield's own dancing--it tells the tale, for sure, if perhaps too well--but I deeply enjoy how she seizes on simple objects and visual ideas the way a child might grab whatever's laying around at home and magically turn these modest items into ambitious theater. As a fantasist, she could not have a better crew of mindful collaborators than her lighting designer, Kathy Kaufmann, her fellow dancers, Anthony Phillips, Brandin Steffensen and Omagbitse Omagbeni, and the quietly enchanting folk singer-songwriter Matthew Brookshire, described on Beaconpass.com as "somewhere between a ukelele-playing Jeff Buckley and a sober Shane McGowan.

Watch for a wonderfully-crafted duet of unison dancing between Phillips and Steffensen and another beautifully-performed duet between Omagbeni and Steffensen that introduces air and buoyancy at the moment that the dance greatly needs some spaciousness.

Twin Pines continues at Danspace Project tonight and Saturday evening at 8pm. For information and tickets, click here.

Danspace Project
St. Mark's Church-in-the-Bowery
131 East 10th Street (at Second Avenue), Manhattan
(directions)

CDWNM: Towards the future of dance writing

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Thu, 19 Jan 2012 13:36:30 PST

The new Collective for Dance Writing and New Media seeks to connect dance writers with one another and with our allies across disciplines in the arts and technology. We form these bonds to address longstanding needs in the service of experienced, emerging and prospective dance writers.

If you are a dance writer, a dance artist or a professional in an allied or supporting field who cares about the current conditions and future of dance reportage, documentation, criticism and creative expression, please join us for our next general meeting:

Monday, February 6 (6pm-7:45pm) at Gibney Dance Center, 890 Broadway, 5th Floor, Studio 6.

For further information, contact Eva Yaa Asantewaa via message on Facebook.

Young Jean Lee and the naked truth

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Thu, 19 Jan 2012 09:06:35 PST

Untitled Feminist Show--created by award-winning director Young Jean Lee, choreographer Faye Driscoll, associate director Morgan Gould and other collaborators--has earned a place on my mental list of favorite dance events of the very young 2012. I know I'm going to have some explaining to do because--as I see here in Lee's program notes--Lee doesn't consider this work to be a dance piece. "Like the performers themselves," she writes, "the show is meant to resist categorization."

So, what am I talking about?

Well, aside from the fact that I would like to be able to claim every damn good thing in the Universe for dance, I'm beginning to get a sense that calling something "theater" (as she calls her company, after all: Young Jean Lee's Theater Company) is fine and dandy, but calling something "dance" is somehow limiting.

Hmmm....

Seems it was just yesterday that the idea of calling all sorts of wild and crazy (or mild and boring) things "dance" was bold and liberating.

In any case, Lee's six marvelous stars are performing arts of the body, including dance and some incredibly edgy mime, and they are stark naked throughout the hour. I'm calling this one for dance, and I will not be dissuaded.

I also hear tell--because I've been reading some of her interviews--that she doesn't want Untitled Feminist Show to be considered sexy. Oh, please. Nothing wrong with (or un-feminist about) sexy. Bring sexy back. In fact, this show does so--directly and indirectly.

What couldn't be genuinely sexy about six unselfconsciously nude, female-bodied performers, each with a distinct body type and size, defining themselves across a fluid gender spectrum and expressing, almost entirely in iconic and primal physical movement, how it might feel to be free?

Free is sexy.

They are Becca Blackwell, World Famous *BOB*, Amelia Zirin-Brown (aka Lady Rizo), Hilary Clark, Katy Pyle and Regina Rocke, collectively hailing from cabaret, theater, dance and burlesque with some crossovers, all stripped of theatricalizing makeup, hairstyling and, of course, costumes. They make a fabulous team in this fabulous romp, but Blackwell, Zirin-Brown and especially Clark seem to be having the most high-charged and, yes, liberating fun.

Some of them initially enter the space by slowly drifting down the aisles, giving the audience a sense of being represented in the performance space. (They come from us.) We hear their soft and human breathing, which establishes a comforting sense of common humanity. But don't get too comfortable. Although the inhabitants of Lee's feminist utopia sometimes sport frilly pink parasols, they're capable of using these items as weapons, and they'll happily consume their victim. No, you've never seen Marcel Marceau do the kind of mime you'll see in Untitled Feminist Show--at least, not on Ed Sullivan's show.

And check out that acid-trip video projection at the end! Through the Looking Glass, through the black hole you go! What are you going to be when you come out the other side?

With scenic design by David Evans Morris; lighting design by Raquel Davis; sound design by Chris Giarmo and Jamie McElhinney; and projection design by Leah Gelpe.

Untitled Feminist Show is a presentation of Performance Space 122's COIL Festival and runs at the Baryshnikov Arts Center through February 4. For information, schedule and ticketing, click here.

Baryshnikov Arts Center

Jerome Robbins Theater

450 West 37th Street (between 9th and 10th Avenues), Manhattan

(directions)

"Dance Legacies" on film

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 24 Jan 2012 06:39:23 PST

from Sand directed by Cari Ann Shim Sham
(USA, 2010; 10 min)

The hour-long Dance Legacies program, a lesser-known gem of this year's Dance on Camera Festival, will present a spectrum of short-film topics--from Jawole Willa Jo Zollar's re-staging of her 1988 work, Shelter, in the wake of New Orleans' Katrina crisis to a look at the vaudeville tradition of sand dancing with father-and-son tappers Darrow Igus and Kenji Igus. The directors of all five films will be on hand to introduce their work.

Dance Legacies screenings are scheduled for January 30 and January 31 at the Walter Reade Theater at Lincoln Center. For more information on this program, click here. To purchase tickets, click your selected date under "Showtimes" (left-hand column).

Dance on Camera is a presentation of Dance Films Association and co-sponsored by The Film Society of Lincoln Center.

Dance on Camera
Walter Reade Theater
165 West 65th Street (between Amsterdam and Broadway), Manhattan
(map/directions)

NY Times obituary for Niles Ford

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Wed, 18 Jan 2012 04:15:44 PST

Niles Ford, Dancer and Choreographer, Dies at 52
by Jennifer Dunning, The New York Times, January 17, 2011

See memorial information here.

Tweeting the night away?

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 17 Jan 2012 07:30:11 PST

Hollis Bartlett of the DanceIntuit blog invites you to join in on the next Dance (Twitter) Party.

Here's his post, and here's more information on how to jump in and join the #LetsTalkDance Tweetchat, every Monday night, 10-11pm EST.

Dance critic Tobi Tobias remembers Bill Como

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Tue, 17 Jan 2012 06:24:12 PST

Admittedly, Bill and I were an odd match. We must have disagreed about three-quarters of the issues that came our way. Our artistic taste was light years apart. Just for instance, he was a Béjart guy; I was a Balanchine gal. (Need any more be said?)

-- Tobi Tobias on Dance Magazine's Bill Como

Beginning in the dynamic 1970s, Tobi Tobias was my first review editor at Dance Magazine at the launch of my professional writing career and, along with Burt Supree at The Village Voice, eagerly sent me out on a million quests for what's interesting in dance across all kinds of traditions and techniques. (So, now you know who to thank--or blame, perhaps--as I do.) Here's a spot-on, gorgeous blog post about the start of her own dance writing career and her working relationship with Bill Como, the magazine's editor-in-chief from 1970-1988, who died in January 1989.

The Boss: Personal Indulgences No. 21
by Tobi Tobias, Seeing Things, ArtsJournal.com, January 16, 2012

Time for a dance interlude with Gilles Jobin

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 16 Jan 2012 10:20:12 PST

The Moebius Strip (2001, 26 min. video)

by Gilles Jobin

A sensual, fluid, hypnotic exploration of a “human sculpture”: the bodies of five dancers pass, cross, follow, intertwine with each other. A video of dance, adaptation of Swiss choreographer Gilles Jobin’s The Moebius Strip,created at the Théâtre de la Ville in Paris during the spring of 2001.

Presented by dance-tech.tv.

For more "innovation in motion" from dance-tech.tv, click here.

Dance folks are talking...or should be

hummingwitch@gmail.com (Eva Yaa Asantewaa) — Mon, 16 Jan 2012 06:49:50 PST

APAP Preview: Ten Things the Dance Field Should Be Talking About in 2012
by Marc Kirschner, TenduTV, January 5, 2012