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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.
Indigenous Enterprise is rooted in tradition but also has hip-hop influences, discernible in footwork, bounce and especially attitude.
The choreographer Christopher Williams’s queer reimagining of the Narcissus myth is brilliantly conceived and costumed, though a bit stodgy.
The Martha Graham Dance Company’s return to the Joyce Theater featured a premiere, classic repertory and an intriguing experiment in reconstruction.
Risk and improvisation are integral to kathak, the Indian classical dance form on display in Rachna Nivas’s stunning solo performance at Dixon Place.
This mixed-nuts dance series returned with a whiplash-inducing program of Streb Extreme Action, A.I.M by Kyle Abraham and the Verdon Fosse Legacy.
Caleb Teicher’s “Sw!ng Out” at the Joyce Theater aims to bring swing onstage as it lives today in a program that’s part variety show, part hangout.
Alejandro Cerrudo’s “It Starts Now” gets its underwhelming debut at the Joyce Theater.
Also on the bill for this free outdoor program is the choreographer’s U.S. premiere of “Quad,” a wordless television play by Samuel Beckett.
The excellent Bharatanatyam troupe, Ragamala Dance Company, reopens the theater to live performance with “Fires of Varanasi.”
Mauro Bigonzetti’s premiere was slight, but a way to show off Maria Kowroski, who retires in October.
“In Conversation With Merce,” a virtual program, features Merce Cunningham’s “Landrover” and responses to it, by Liz Gerring and Kyle Abraham.
In Colleen Thomas’s work at New York Live Arts, created and performed by women, the sense of pent-up release was strong.
The up-and-coming company tried to deliver energy to an audience in Brooklyn with “Trapped,” but the last thing we need onstage is more screen time, our critic writes.
Two stars, Lauren Lovette of City Ballet and Jamar Roberts of Alvin Ailey, are retiring from the stage to focus on making dances.
“The Other Shore,” by the Seattle-based dance and visual art team Zoe Juniper, features an experience with a Google Cardboard VR viewer.
A rare gathering of Black dancers from different companies meet to discuss a new production on Little Island, curated by Misty Copeland and Robert Garland.
Quick and daring with New York City Ballet, she was a favorite of its leader, who would throw her into a role sometimes with barely a rehearsal.
The company’s response to pandemic cancellations? An eight-city tour with sleeper buses and a foldout stage to perform outdoors.
Archie Burnett, dancer, teacher and a father of the House of Ninja, has a show at Jacob’s Pillow. With his cast, “it’s like a family love affair.”
This choreographer sculpts outdoor space, with her performers creating new dimensions in a Bard SummerScape production.
Rain interfered with Dorrance Dance’s evening program, but the ensemble’s matinee was a playful, inviting reintroduction to the festival.
Projected onto the Merchandise Mart, “Footnotes” honors a style that’s become popular around the world but isn’t always given recognition in its hometown.
The gala features five new pieces, including one by Jamar Roberts, whose recent work confirms his importance.
Wheeldon’s “Curious Kingdom,” on a Pacific Northwest Ballet program with two premieres, achieves moments of exquisite beauty.
The festival features a film that shows the light and empowerment of vodou, a tradition of danced communication and communion with ancestors and spirits.
This year’s iteration of the Indian dance festival, in two programs, is online; with Surupa Sen, what’s gained is emotional intimacy.
“The Mayor of Harlem,” a streaming Tap Family Reunion production, features period-style dance numbers by an adept cast of hoofers.
Bill T. Jones brings a program of Saul Williams’s work to a New York Live Arts festival of ideas as audiences adjust to the city’s reopening.
To watch LaTasha Barnes dance is to watch historical distance collapse.