Clik here to view.
Stormy Budwig on Meg Stuart’s UNTIL OUR HEARTS STOP
Meg Stuart’s Until Our Hearts Stop at NYU Skirball Center, May 4, 2018 Photo credit: Iris JankePicture left to right: Leyla Postalcioglu, Neil Callaghan, Jared Gradinger Source and direction There are...
View ArticleClik here to view.
Dancing a History and Defining a Project: Some Notes on Netta Yerushalmy’s...
“What should we have the body do?” Netta Yerushalmy and her dancers performed Paramodernities #3 during River To River Festival 2017 in a large open space at the Museum of the American Indian, where...
View ArticleClik here to view.
Overlap, Intersections, and Emergence in Dance Performance
Photo: Brian Rogers It is the evening after the presidential election, and Sam Kim is rehearsing with her dancers. When I walk into the Chocolate Factory, I find Tess Dworman, Amanda Hunt, and Katie...
View ArticleClik here to view.
“Sister to a Fiend”: incantation, energy, and terrific force
When you first began this dance, was it you alone making material in the studio, or did you immediately bring Amanda Kmett’Pendry and Joanna Kotze into the process? It all started with some...
View ArticleClik here to view.
Eating up & carving out: Cynthia Oliver and David Thomson discuss “Sister”
Grant Halverson, ©ADF 1. Could you give a transcript-like description of what happens in the dance, from your point of view? Cynthia: No, I can’t. That would be antithetical to the way in which Tere...
View ArticleClik here to view.
The choice to see Dance Performance (according to my experience of Gibney...
g1br33l. Photo by Alex Escalante. Mission statements of an emerging generation of artists, in 3 to 9 word excerpts …an examination of the intimate role of spectacle… —Death Made Love to My Feet It...
View ArticleClik here to view.
December Dispatches
December 2014 in dance: MR Festival, Greg Zuccolo, Keely Garfield, Tere O’Connor. Articulate movement: holding what can’t be had AN EXPLORATION IN NAMING, one of Movement Research Festival’s three...
View ArticleClik here to view.
Ecology/Counterpoint
Julieta Cervantes WHO GOES TO SEE MEREDITH MONK IN PERFORMANCE AT BAM I am seven rows from the front, left side of the orchestra. Frye boots feel as casual here as they did when I interviewed for a...
View ArticleClik here to view.
Seeing Double
Culturebot contributors Stormy Budwig and Tara Sheena explore the dialogue-as-criticsm form of performance review. In their conversation, they speak about the work of Alex Rodabaugh and Rakiya Orange...
View ArticleClik here to view.
Alchemizing Energies: Ann Liv Young, Marina Abramović, and all of Us
On December 4th I experienced blindness, hugged a stranger intimately for several minutes, ran—gently—head first into a wall, did five pushups in front of an audience, tried to explain how I write...
View ArticleClik here to view.
Oxbow — a description (unless otherwise noted)
Eleanor Smith in Ivy Baldwin’s Oxbow. Photo: Yi-Chun Wu [RYAN TRACY]’s piano solo begins the piece, and introduces drama to the stage. Everything seems business as usual, as far as piano solos go (a...
View ArticleClik here to view.
Cynthia Oliver on exhaustion, posturing, and emotional cost in BOOM!
Photo by Ian Douglas Last week Cynthia Oliver and I spoke about her latest duet dance work, BOOM!, which premiered at New York Live Arts in October. I was compelled by the way one aesthetic or singular...
View ArticleClik here to view.
Samita Sinha’s “Cipher” at The Kitchen
www.thekitchen.org/event/samita-sinha-cipher Samita Sinha has turned The Kitchen’s stage into a tricked out recording studio/playground. Our eyes are allowed to wander. Strings of twine come from the...
View ArticleClik here to view.
g-h-o-s-t-c-r-o-w-n (working title): a collection of movements, moments, and...
image of Natalie Green and Rebecca Warner by Andrew Mohin MOVEMENT The first moment of the piece is Rebecca Warner in flux. She performs an arresting series of pivots about her vertical axis, bent leg...
View ArticleClik here to view.
We Are Still Watching: the author, the text, and asking for directions
The other day, while trying to cross from the east to west side, I got lost in Central Park. I finally made it across, but not without the help of three strangers whom I approached for directions. On...
View ArticleClik here to view.
notes on dance performance
I imagine that much of this essay could be about live arts in general, not excluding music, theater, and performance art, because I wrote it to discuss the experience of a total scene in which all...
View ArticleClik here to view.
Molissa Fenley: Instructions, Collaboration & Favorites
As part of New York Live Arts’ Replay Series, this week Molissa Fenley will present a new work titled Found Object, along with previous works The Floor Dances (1989), Witches’ Float (1993), and...
View ArticleClik here to view.
Fight, flight, freeze or something else
photo by Liliana Dirks-Goodman In Emily Wexler’s solo performance Blood Lines, she walks into the space and starts on the floor. She moves through positions that seem to follow a blueprint we cannot...
View ArticleClik here to view.
Gravity in lieu of grief
There are three lasting images from Niall Jones’ Blown October lash—two of them mostly funny, one of them beautiful and serene—that I am glad not to get out of my mind since watching the performance:...
View ArticleClik here to view.
(Body) language, hesitation and recoil
Rebecca Patek. Photo by Vincent Lafrance (?) After seeing Rebecca Patek’s ineter(a)nal f/ear this weekend, walking up Grand Street to the B train, I tried to digest what I’d experienced. I see-sawed...
View Article
/fit-in/580x348/filters:format(webp)/english-betterindia/media/media_files/2026/09/30/project-neev-rural-education-2026-09-30-12-36-15.png)
