82 stories by "Siobhan Burke"
Bobbi Jene Smith's "Broken Theater" is perhaps the most high-profile offering at La MaMa Moves!, but other programs were just as memorable.
Kathy Westwater's dances at the Chocolate Factory, "Revolver" and "Choreomaniacs," build on her focused movement investigations of the last 20 years.
At New York City Center, a characteristically generous Casel presents works by other choreographers as well as her own "Where We Dwell V.2."
Gutierrez, whose work often calls attention to the precariousness of life in the performing arts, is experiencing a period of midcareer abundance.
In "Weathering" at New York Live Arts, the performers seem like the last holdouts of a civilization clinging to survival.
The contemporary dance group Bereishit performed two works by its founder, Park Soon-ho, at NYU Skirball.
In Dean Moss's "Your marks and surface," at Danspace, images of softness and struggle coexist.
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.
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.
