By Susan Yung
Copyright 2000, 2016 Susan Yung
(Originally published April 10, 2000. Julie Atlas Muz performs with husband Mat Fraser — who she met while both were performing in the Coney Island Circus Side Show — in their company Oneofus’s production of Jeanne Marie Leprince de Beaumont’s “Beauty and the Beast,” December 1, 4, 8, 9, and 11 at Chicago’s Museum of Contemporary Art.)
NEW YORK — Sarah Michelson & Julie Atlas Muz fear nothing. To paraphrase the hot-button words they use to accompany “Blister Me,” neither the shallow nor the deep. They do not fear public scrutiny of their bodies; nor the failure of making perfect logic of an evening’s performance. Not getting right up into the audience’s face in a big primal scream, not even the smaller things, like slipping on a wet floor or landing from a fall onto a bare hipbone or spine. Nothing. The result is that “Blister Me,” their collaborative hour-long performance seen Friday at Dixon Place’s quirky theater at Vineyard 26, hits notes in every key and octave, high and low.
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(Advertisement) Founded in 1969 by Sharon E. Dante, the Nutmeg Ballet Conservatory (above, in Petipa’s “Don Quixote”) is committed to providing professional-level ballet training to aspiring young dance artists. Under the watchful eye of artistic director Victoria Mazzarelli, the Nutmeg Ballet is recognized as a leading professional ballet training organization and is accredited by the National Association of Schools of Dance. Residential and Day Student high school and post high school year-round training. Onsite accredited high school academic program available. Three rigorous summer intensive programs. Start your Nutmeg Ballet journey today! Visit www.NutmegConservatory.org . (To advertise your Ballet, Modern, College, or University dance programs with the Dance Insider, e-mail Paul at email@example.com by pasting that e-mail address into your browser.)
Akram Khan and musicians (including the triple-threat Yoshie Sunahata – see story — on taiko) performing Khan’s “Gnosis.” Photo courtesy Theatre de la Ville. Photo © & courtesy Laurent Ziegler.
By Paul Ben-Itzak
Copyright 2010, 2016 Paul Ben-Itzak
Originally published on May 11, 2010; appropriately enough, Martha Graham’s birthday. The Theatre de la Ville presents the Akram Khan company in Khan’s “Until the Lions” December 5-17 at La Villette and in his “Chotto Desh” December 21-January 6 at the les Abbesses in Montmartre.
“You can’t always get what you want But if you try sometimes, you might get what you need.”
— The Rolling Stones
PARIS — About a year ago, Akram Khan, the London-based choreographer with a penchant for mixing up Kathak and modern dance — actually more of an enterprise, with three companies touring his work — traveled to Sado Island in the north of Japan in search of a male taiko drummer to collaborate with for his latest piece, “Gnosis,” which opened last night at the Theatre de la Ville – Abbesses in Montmartre as part of a world tour (excluding the U.S., but we’ll get to that). “I wanted a man,” he recounted to last night’s audience towards the end of part one, featuring Khan engaged in interplay with a musical ensemble including two male singers (Faheem Mazhar and Sanju Sathai), and players on the tabla (also Sathai), the string instrument the sarod (Soumik Datta), the Taiko drums (we’ll get to her), and cello (Lucy Railton). “They kept telling me, ‘No, you want this girl.'” They are Kodo, the renowned Japanese drumming group. The girl was Yoshie Sunahata, a.k.a. the latest performing arts triple threat and the most thrilling discovery I’ve made 10 years covering dance in France.
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From the exhibition A Revolutionary Impulse: The Rise of the Russian Avant-Garde, opening at the Museum of Modern Art December 3, where it continues through March 12: El Lissitzky (Russian, 1890-1941), “Record,” 1926. Gelatin silver print, 10 1/2 x 8 13/16 inches(26.7 x 22.4 cm). The Museum of Modern Art, New York. Thomas Walther Collection. Gift of Thomas Walther. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.