Cynthia Loemij, Superstar: All-Reich from De Keersmaeker & Rosas in Paris

rosas-finalCynthia Loemij, left, and Tale Dolven of Rosas in Anne Teresa De Keersmaeker’s “Piano Phase.” Herman Sorgeloos photo copyright Herman Sorgeloos and courtesy Rosas and Theatre de la Ville.

Copyright 2007, 2016 Paul Ben-Itzak

Originally published May 3, 2007. Sponsored by Slippery Rock University Dance and Donna Scro Samori / Freespace Dance.

PARIS — There are certain dances that, simply put, justify Dance. Anne Teresa De Keersmaeker’s 1982 “Fase,” an excerpt of which ATDK’s company Rosas performed in last night’s Theatre de la Ville – Sarah Bernhardt opening of an all Steve Reich program, is one of those landmark works.

To get the rest of the article, subscribers can contact publisher Paul Ben-Itzak at artsvoyager@gmail.com. Not a subscriber? Complete articles are $5 or three for $10. Subscribe to the Dance Insider for just $29.95/year ($119 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015 — including reviews of the work of Rosas and De Keersmaeker from New York, Paris, London, San Francisco, Brussels, Antwerp, and Vienna. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at artsvoyager@gmail.com .

The DI Interview: Sandstrom interviews Elkins

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To get the rest of the interview,   first published on November 29, 2006, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider  and Arts Voyager for just $36/year and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. Just designate your payment to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check.

Flash Flashback, 9-15: Shadows of our Remembered Ancestors ‘Labor Union’ Works it; Workum and Rawls Paint the Ark

By Alison D’Amato
Copyright 2007, 2016 Alison D’Amato

(Originally published February 15, 2007.)

NEW YORK — For an art form that’s barely a century old, modern dance often appears obsessed with its own legacy. Maybe that’s because our ranks are so slim, the branches of our family tree still so close to its roots; most dancers my age (which is an admittedly green 26) have had, and probably also adored, a teacher who danced with Trisha Brown or Merce Cunningham. We can often even trace ourselves, perhaps through the teacher of a teacher, to Martha Graham herself. It’s empowering to feel a part of that history, and crucial to understand it. The trouble is, the closeness of it is often overwhelming enough to keep a young choreographer from finding her own voice. While innovation is often singled out as the ultimate mark of choreographic achievement, some dance makers choose to address that fact as problematic, and reincorporate the past as something all their own. Two pairs of such dance makers appeared on a split bill at Dance Theater Workshop last weekend. One of those calls themselves “The Labor Union,” and is manned by co-creators Isabel Lewis and Erika Hand. The other is made up of Katie Workum and Will Rawls.

To get the rest of the article, subscribers can contact publisher Paul Ben-Itzak at artsvoyager@gmail.com. Not a subscriber? Complete articles are $5 or three for $10. Subscribe to the Dance Insider for just $29.95/year ($119 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Contact Paul at artsvoyager@gmail.com .

“Bill T. Jones, Los Angeles, 1995,” by Herb Ritts

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Did anyone popularize post-modern dance in the 1990s — and simultaneously prove its *relevance* by using its language to address contemporary concerns, singularly making dance a player in so-called ‘identity politics’ — as much as Bill T. Jones? No surprise, then, that Jones found a photographer to match his mettle in popular appeal in Herb Ritts, who once said, “If we look to the past, (for example) at Paul Outerbridge and Man Ray, many of their best photographs started out as commercial assignments.” Ritts’s singular portrait (above), “Bill T. Jones, Los Angeles, 1995” is among the iconic Ritts oeuvres on view at the Maison Européenne de la Photographie of the City of Paris September 10 through October 15. Copyright Herb Ritts Foundation.