By Maura Nguyen Donohue
Copyright 2009, 2019 Maura Nguyen Donohue
(First published on the DI on July 16, 2009 and re-published today thanks to DI Co-Principal Sponsor Slippery Rock Dance, this piece is one of the more than 2,000 Flash Reviews of performances, books, cinema, and art from around the world by 150 artist-critics covered by the DI/AV since 1998. To learn how you can obtain your own copy of the DI Archives, e-mail email@example.com. To support the DI/AV’s ongoing work, please make a donation today by designating your gift through PayPal to firstname.lastname@example.org or write us at that address to learn how to donate by check. Camille A. Brown performs this Saturday and Sunday at the Joyce Theater in New York.)
NEW YORK — David Dorfman is a messy guy. A subversively messy guy. Not his army of superhuman dancers, nor his luscious, sweeping choreography. Not his design team, nor his vision. Not his workshops for corporate outreach, nor his master classes for athletes. Not his chairmanship of the Connecticut College dance department, nor his stewardship of one of our most important companies — his own. His is not an untidy craftsman, but David Dorfman is a messy artist. Messing with things in disarming, informal, personable, personal, complicated, volatile, well-meaning, demanding, unpleasant and thus deeply, vitally, importantly, and inherently American ways. He will not provide easy resolutions for the violence and chaos of our historic and contemporary foils. But, once again, with “Disavowal,” seen at Danspace Project, he remains ever loyal to banging away at our hostilities in a constant search for our shared humanity.
In “Disavowal,” Dorfman takes famed abolitionist and “race traitor” John Brown as his springboard. For the full Flash, click here.