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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.”
The choreographer Milka Djordjevich’s work at New York Live Arts investigates regimented movement before opening up to something more joyous and loose.
On Thursday’s mixed bill, Ulysses Dove’s “Dancing on the Front Porch of Heaven” was the most arresting and emotionally resonant work.
“It’s not really like we’re dancing. It’s more just like we’re moving,” Heera Gandhu, 13, says of his collaboration with the choreographer Mariana Valencia at Abrons.
Amanda Castro, Brinda Guha and Arielle Rosales come from different traditions but share a reverence for the dancers’ foundation: the ground.
Gibney Company presents “Up Close, a program of boundary-teasing works by three choreographers.
In a delayed celebration of its 50th anniversary, the Brown company presented two dazzling works she made with Robert Rauschenberg.
Pam Tanowitz, a deconstructor of the classical, has a new work, “Law of Mosaics,” and a company premiere on the program “Visionary Voices.”
Marshall’s solo “I & I,” set to reggae, was the highlight of his company’s program at the Chelsea Factory.
Celebrating its 50th anniversary, Ballet Hispánico takes on a new challenge: its first full-length ballet, with choreography by Annabelle Lopez Ochoa.
A mixed bill entitled “Dichotomous” brimmed with the hopeful and sometimes unsure energy of a fresh start for this dance company.
In his evening-length work coming to BAM, Abraham wanted to focus on celebration and joy in Black culture, “the way we love and love on each other.”
Paul Lazar and friends recite and move to (most of) Cage’s 90 one-minute stories from “Indeterminacy,” with serendipitous alignments between words and gestures.
Oona Doherty, a rising star in Europe, brings a Belfast-inspired piece to New York. “This is about kinetic trauma,” she says. “This is about you, as well.”
A year of uncertainty was capped by a happy ending: a rush of performances this fall, including standouts by masters (Twyla Tharp) and breakout stars (LaTasha Barnes).
The starry program “Twyla Now,” at New York City Center, ends with a dazzling premiere featuring dancers who could be the stars of tomorrow.
In “I Am Also – Monte,” Molly Poerstel and Monte Jones consider how, in dance, the past seeps into the present and into collaborations.