Dance Review | Parijat Desai Dance Company: Bharata Natyam Mixed With Modernity
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What was new about Parijat Desaiâs blending of the Indian classical dance form of Bharata Natyam with Western dance was its departure from the usual look of ritual.
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Composer Bharadwaj has come up with a foot-tapping album.
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Dance fans can look forward to exotic cross-genre experiments, timely revivals, and tours by international troupes.
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ÂKING OF BOLLYWOODÂ is a sweeping portrait of a man who is worshipped as a modern-day God, a country
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Arts & entertainment: Visionary choreographer Mark Morris used to think Mozart and dance didn't mix. Not any more, finds Judith Mackrell.
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CityDance Ensemble presented an impressively varied program of work by nine choreographers.
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The cast and crew of the 1956 film Naya Daur come together for the relaunch of the film's music in an evening filled with nostalgia.
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At Performa 07, New York Cityâs performance art biennial, most of the events fall somewhere in between dance and theater, in the vast, anarchic ocean of blarney and bliss that is contemporary art.
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The new âEdge/Joy,â to music by Ricardo Zohn-Muldoon, is a formal departure from Garth Faganâs dancer-driven style and requires extra work from the audience, but itâs rewarding work.
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The name of the New York Baroque Dance Companyâs new program is âPoints of Departure.â But how can an audience tell just what those points are?
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Sringaram, the debut directorial venture of Sarada Ramanathan, is a musical movie on the life of a devadasi (temple dancer) called Mathura. It is also focused on the popular South Indian classical dance form Bharatnatyam.
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By reducing dancersâ movements to a crawl, a video installation sheds light on the little things.
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It seems entirely blasphemous to open a review of Americaâs oldest dance company by commenting on something other than the choreography.
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The dance theater of Trisha Brown consists of happy paradoxes, and so does my reaction to it, not least to her current program at the Joyce Theater.
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A choreographer teams up with architects to create a fluid merger of dance and cityscape.
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The pathos engulfing the death of Parveen Babi marked not just an individual's demise. It also symbolised the passing of a philosophy, a culture and a lifestyle that defined the late 60s and much of the 70s.
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âArea 51,â a new dance by Yvonne Meier and Aki Sasamoto, was a wittily imaginative exploration of how much can be communicated almost entirely by movement.