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The festival, with its variety of styles and cheap tickets, plays to excited audiences. Why can’t it give them better programs?
Wanjiru Kamuyu’s solo performance at the Chocolate Factory Theater in Queens isn’t a straightforward immigration story.
The production, about the slow rewards of romance, starring the musician serpentwithfeet, premiered at the Joyce Theater in Manhattan on Friday.
Matthew Lutz-Kinoy’s “Filling Station” has new choreography and music but converses with the 1938 original and its “glimmer of queer liberation.”
Balanchine didn’t think his ballets would last. But many have become classics, the cornerstone of repertory not just at City Ballet but around the world.
Alexis Blake’s “Crack Nerve Boogie Swerve,” her first work to be shown in New York, focuses on strength and fragility.
The choreography on Taylor Swift’s Eras Tour doesn’t ask her to do too much, but she knows how to use her simple moves to her advantage.
Jody Gottfried Arnhold has a mission (and the means) to cultivate dance education. To her, it is a basic human right — and vital to democracy.
Engaging viewers’ bodies is central to this Broadway musical, a rare production that sets its audience in motion on the dance floor.
Stormy weather at a summer festival wraps performances of a debut and some classic works by two very distinct choreographers.
The polka chinata, in which two men whirl together in a crouch, is revived in a dance by Alessandro Sciarroni, coming to PS21 in Chatham, N.Y.
The choreographer and his Puremovement troupe brought their touring show, “Nuttin’ but a Word,” to Prospect Park for BRIC Celebrate Brooklyn!
“One Dance,” part of Korean Arts Week at Lincoln Center, puts a contemporary spin on rituals and ceremonies.
The Lower Manhattan Cultural Council’s free summer arts festival presented several pieces, including “duel c” on Governors Island, that employed humor for serious purposes.
Carlota Santana is neither a star performer nor a choreographer. But her skills as a director have kept her company an active part of the New York scene.
An arts program in a California state facility disproves the idea that “nobody dances in prison,” encouraging inmates to channel their lives and emotions into movement.
Ballet Hispánico debuts two works: one about the 17th-century nun and poet Sor Juana Inés de la Cruz, and the other, “Papagayos,” featuring a supernatural hat.
Mack, whom one student called an agent of change, wants to “create a place where people feel like themselves” — and a model for the professional world.
The dancer, also known as HallowDreamz, is the face of krump in New York. Now he’s found another artistic home with the choreographer Andrea Miller.
Two South Asian dance troupes, Nrityagram and Chitrasena, exemplars of different styles, team up for a program at the Joyce Theater.
Is theatrical choreography at a turning point? Or just leaping, lurching and shimmying as usual? Our critics weigh in.
Juliana May’s “Family Happiness” at Abrons Arts Center at times feels like a punishing exercise.
The spring gala featured premieres by the veteran Christopher Wheeldon and a newcomer, Alysa Pires. The surprise was the lack of contrast and risk.
A premiere by Judith Sánchez Ruíz goes its own way but, like Brown’s work, shows an active, questioning mind and a sensual physicality.
Shamel Pitts’s “Touch of Red,” at New York Live Arts, takes place in a boxing ring. It’s not a competition, though. It’s a relationship.
A decade after its rebirth, the company is assured and radiant in a challenging Balanchine and a moody piece set to James Blake’s electronic soul music.
The two premieres in the company’s two-week run at the Joyce Theater are by fledgling choreographers whose efforts don’t add much to Graham’s legacy.
The choreographer Beth Gill’s “Nail Biter,” at the Fisher Center at Bard College, is absolutely deliberate but also mysterious.
Atamira Dance Company’s “Te Wheke” at the Joyce Theater drops you into its world and trusts you can swim in it.
Schlenzka, who took the reins in 2017, presided over a rebranding and a new name for the organization — and an experiment in artist rule.
Baras’s show, the only dance production in this year’s Flamenco Festival New York, was looser than usual, with soothing moments and good times.